Myths and Legends of Ancient Greece and Rome 14

Myths and Legends of Ancient Greece and Rome 14

We are told by the poets that the lonely mariner watches the Nereides with

silent awe and wondering delight, as they rise from their grotto-palaces in

the deep, and dance, in joyful groups, over the sleeping waves. Some, with

arms entwined, follow with their movements the melodies which seem to hover

over the sea, whilst others scatter liquid gems around, these being

emblematical of the phosphorescent light, so frequently observed at night

by the traveller in southern waters.

 

The best known of the Nereides were Thetis, the wife of Peleus, Amphitrite,

the spouse of Poseidon, and Galatea, the beloved of Acis.

 

THE NAIADES.

 

The NAIADES were the nymphs of fresh-water springs, lakes, brooks, rivers,

&c.

 

As the trees, plants, and flowers owed their nourishment to their genial,

fostering care, these divinities were {168} regarded by the Greeks as

special benefactors to mankind. Like all the nymphs, they possessed the

gift of prophecy, for which reason many of the springs and fountains over

which they presided were believed to inspire mortals who drank of their

waters with the power of foretelling future events. The Naiades are

intimately connected in idea with those flowers which are called after them

Nymphæ, or water-lilies, whose broad, green leaves and yellow cups float

upon the surface of the water, as though proudly conscious of their own

grace and beauty.

 

We often hear of the Naiades forming alliances with mortals, and also of

their being wooed by the sylvan deities of the woods and dales.

 

DRYADES, OR TREE NYMPHS.

 

The tree nymphs partook of the distinguishing characteristics of the

particular tree to whose life they were wedded, and were known collectively

by the name of the Dryades.

 

The HAMADRYADES, or oak nymphs, represent in their peculiar individuality

the quiet, self-reliant power which appears to belong essentially to the

grand and lordly king of the forest.

 

The BIRCH NYMPH is a melancholy maiden with floating hair, resembling the

branches of the pale and fragile-looking tree which she inhabits.

 

The BEECH NYMPH is strong and sturdy, full of life and joyousness, and

appears to give promise of faithful love and undisturbed repose, whilst her

rosy cheeks, deep brown eyes, and graceful form bespeak health, vigour, and

vitality.

 

The nymph of the LINDEN TREE is represented as a little coy maiden, whose

short silver-gray dress reaches a little below the knee, and displays to

advantage her delicately formed limbs. The sweet face, which is partly

averted, reveals a pair of large blue eyes, which appear to look at you

with wondering surprise and shy mistrust; {169} her pale, golden hair is

bound by the faintest streak of rose-coloured ribbon.

 

The tree nymph, being wedded to the life of the tree she inhabited, ceased

to exist when it was either felled, or so injured as to wither away and

die.

 

NYMPHS OF THE VALLEYS AND MOUNTAINS.

 

NAPÆÆ AND OREADES.

 

The Napææ were the kind and gentle nymphs of the valleys and glens who

appear in the train of Artemis. They are represented as lovely maidens with

short tunics, which, reaching only to the knee, do not impede their swift

and graceful movements in the exercise of the chase. Their pale brown

tresses are fastened in a knot at the back of the head, whence a few stray

curls escape over their shoulders. The Napææ are shy as the fawns, and

quite as frolicsome.

 

The OREADES, or mountain nymphs, who are the principal and constant

companions of Artemis, are tall, graceful maidens, attired as huntresses.

They are ardent followers of the chase, and spare neither the gentle deer

nor the timid hare, nor indeed any animal they meet with in their rapid

course. Wherever their wild hunt goes the shy Napææ are represented as

hiding behind the leaves, whilst their favourites, the fawns, kneel

tremblingly beside them, looking up beseechingly for protection from the

wild huntresses; and even the bold Satyrs dart away at their approach, and

seek safety in flight.

 

There is a myth connected with one of these mountain nymphs, the

unfortunate Echo. She became enamoured of a beautiful youth named

Narcissus, son of the river-god Cephissus, who, however, failed to return

her love, which so grieved her that she gradually pined away, becoming a

mere shadow of her former self, till, at length, nothing remained of her

except her voice, which henceforth gave back, with unerring fidelity, every

sound that was uttered in the hills and dales. Narcissus himself {170} also

met with an unhappy fate, for Aphrodite punished him by causing him to fall

in love with his own image, which he beheld in a neighbouring fountain,

whereupon, consumed with unrequited love, he wasted away, and was changed

into the flower which bears his name.

 

The LIMONIADES, or meadow nymphs, resemble the Naiades, and are usually

represented dancing hand in hand in a circle.

 

The HYADES, who in appearance are somewhat similar to the Oceanides, are

cloudy divinities, and, from the fact of their being invariably accompanied

by rain, are represented as incessantly weeping.

 

The MELIADES were the nymphs who presided over fruit-trees.

 

Before concluding this subject, attention should be drawn to the fact that,

in more modern times, this beautiful idea of animating all nature in detail

reappears under the various local traditions extant in different countries.

Thus do the Oceanides and Nereides live again in the mermaids, whose

existence is still believed in by mariners, whilst the flower and meadow

nymphs assume the shape of those tiny elves and fairies, who were formerly

believed to hold their midnight revels in every wood and on every common;

indeed, even at the present day, the Irish peasantry, especially in the

west, firmly believe in the existence of the fairies, or "good people," as

they are called.

 

THE WINDS.

 

According to the oldest accounts, Æolus was a king of the Æolian Islands,

to whom Zeus gave the command of the winds, which he kept shut up in a deep

cave, and which he freed at his pleasure, or at the command of the gods.

 

In later times the above belief underwent a change, and the winds came to

be regarded as distinct divinities, whose aspect accorded with the

respective winds with which they were identified. They were depicted as

{171} winged youths in full vigour in the act of flying through the air.

 

The principal winds were: Boreas (the north wind), Eurus (the east wind),

Zephyrus (the west wind), and Notus (the south wind), who were said to be

the children of Eos and Astræus.

 

There are no myths of interest connected with these divinities. Zephyrus

was united to Chloris (Flora), the goddess of flowers. Of Boreas it is

related that while flying over the river Ilissus, he beheld on the banks

Oreithyia, the charming daughter of Erechtheus, king of Athens, whom he

carried off to his native Thrace, and there made her his bride. Boreas and

Oreithyia were the parents of Zetes and Calais, afterwards famous in the

expedition of the Argonauts.

 

There was an altar erected at Athens in honour of Boreas, in commemoration

of his having destroyed the Persian fleet sent to attack the Greeks.

 

On the Acropolis at Athens there was a celebrated octagonal temple, built

by Pericles, which was dedicated to the winds, and on its sides were their

various representations. The ruins of this temple are still to be seen.

 

PAN (FAUNUS).

 

[Illustration]

 

Pan was the god of fertility, and the special patron of shepherds and

huntsmen; he presided over all rural occupations, was chief of the Satyrs,

and head of all rural divinities.

 

According to the common belief, he was the son of Hermes and a wood nymph,

and came into the world with horns sprouting from his forehead, a goat's

beard and a crooked nose, pointed ears, and the tail and feet of a goat,

and presented altogether so repulsive {172} an appearance that, at the

sight of him, his mother fled in dismay.

 

Hermes, however, took up his curious little offspring, wrapt him in a hare

skin, and carried him in his arms to Olympus. The grotesque form and merry

antics of the little stranger made him a great favourite with all the

immortals, especially Dionysus; and they bestowed upon him the name of Pan

(all), because he had delighted them _all_.

 

His favourite haunts were grottoes, and his delight was to wander in

uncontrolled freedom over rocks and mountains, following his various

pursuits, ever cheerful, and usually very noisy. He was a great lover of

music, singing, dancing, and all pursuits which enhance the pleasures of

life; and hence, in spite of his repulsive appearance, we see him

surrounded with nymphs of the forests and dales, who love to dance round

him to the cheerful music of his pipe, the syrinx. The myth concerning the

origin of Pan's pipe is as follows:--Pan became enamoured of a beautiful

nymph, called Syrinx, who, appalled at his terrible appearance, fled from

the pertinacious attentions of her unwelcome suitor. He pursued her to the

banks of the river Ladon, when, seeing his near approach, and feeling

escape impossible, she called on the gods for assistance, who, in answer to

her prayer, transformed her into a reed, just as Pan was about to seize

her. Whilst the love-sick Pan was sighing and lamenting his unfortunate

fate, the winds gently swayed the reeds, and produced a murmuring sound as

of one complaining. Charmed with the soothing tones, he endeavoured to

reproduce them himself, and after cutting seven of the reeds of unequal

length, he joined them together, and succeeded in producing the pipe, which

he called the syrinx, in memory of his lost love.

 

Pan was regarded by shepherds as their most valiant protector, who defended

their flocks from the attacks of wolves. The shepherds of these early

times, having no penfolds, were in the habit of gathering together their

flocks in mountain caves, to protect them against the {173} inclemency of

the weather, and also to secure them at night against the attacks of wild

animals; these caves, therefore, which were very numerous in the mountain

districts of Arcadia, Boeotia, &c., were all consecrated to Pan.

 

As it is customary in all tropical climates to repose during the heat of

the day, Pan is represented as greatly enjoying his afternoon sleep in the

cool shelter of a tree or cave, and also as being highly displeased at any

sound which disturbed his slumbers, for which reason the shepherds were

always particularly careful to keep unbroken silence during these hours,

whilst they themselves indulged in a quiet siesta.

 

Pan was equally beloved by huntsmen, being himself a great lover of the

woods, which afforded to his cheerful and active disposition full scope,

and in which he loved to range at will. He was regarded as the patron of

the chase, and the rural sportsmen, returning from an unsuccessful day's

sport, beat, in token of their displeasure, the wooden image of Pan, which

always occupied a prominent place in their dwellings.

 

All sudden and unaccountable sounds which startle travellers in lonely

spots, were attributed to Pan, who possessed a frightful and most

discordant voice; hence the term _pan_ic terror, to indicate sudden fear.

The Athenians ascribed their victory at Marathon to the alarm which he

created among the Persians by his terrible voice.

 

Pan was gifted with the power of prophecy, which he is said to have

imparted to Apollo, and he possessed a well-known and very ancient oracle

in Arcadia, in which state he was more especially worshipped.

 

The artists of later times have somewhat toned down the original very

unattractive conception of Pan, as above described, and merely represent

him as a young man, hardened by the exposure to all weathers which a rural

life involves, and bearing in his hand the shepherd's crook and

syrinx--these being his usual attributes--whilst small horns project from

his forehead. He is either undraped, or wears merely the light cloak called

the chlamys.

 

The usual offerings to Pan were milk and honey in {174} shepherds' bowls.

Cows, lambs, and rams were also sacrificed to him.

 

After the introduction of Pan into the worship of Dionysus, we hear of a

number of little Pans (Panisci), who are sometimes confounded with the

Satyrs.

 

FAUNUS.

 

The Romans had an old Italian divinity called Faunus, who, as the god of

shepherds, was identified with the Greek Pan, and represented in a similar

manner.

 

Faunus is frequently called Inuus or the fertilizer, and Lupercus or the

one who wards off wolves. Like Pan, he possessed the gift of prophecy, and

was the presiding spirit of the woods and fields; he also shared with his

Greek prototype the faculty of alarming travellers in solitary places. Bad

dreams and evil apparitions were attributed to Faunus, and he was believed

to enter houses stealthily at night for this purpose.

 

Fauna was the wife of Faunus, and participated in his functions.

 

THE SATYRS.

 

[Illustration]

 

The Satyrs were a race of woodland spirits, who evidently personified the

free, wild, and untrammelled life of the forest. Their appearance was both

grotesque and repulsive; they had flat broad noses, pointed ears, and

little horns sprouting from their foreheads, a rough shaggy skin, and small

goat's tails. They led a life of pleasure and self-indulgence, followed the

chase, revelled in every description of wild music and dancing, were

terrible wine-bibbers, and addicted to the deep slumbers which follow heavy

potations. They were no less dreaded by mortals than by the gentle woodland

nymphs, who always avoided their coarse rough sports.

 

The Satyrs were conspicuous figures in the train of Dionysus, and, as we

have seen, Silenus their chief was tutor to the wine god. The older Satyrs

were called Silens, and are represented in antique sculpture, as more

nearly approaching the human form.

 

{175}

 

In addition to the ordinary Satyrs, artists delighted in depicting little

Satyrs, young imps, frolicking about the woods in a marvellous variety of

droll attitudes. These little fellows greatly resemble their friends and

companions, the Panisci.

 

In rural districts it was customary for the shepherds and peasants who

attended the festivals of Dionysus, to dress themselves in the skins of

goats and other animals, and, under this disguise, they permitted

themselves all kinds of playful tricks and excesses, to which circumstance

the conception of the Satyrs is by some authorities attributed.

 

In Rome the old Italian wood-divinities, the FAUNS, who had goats' feet and

all other characteristics of the Satyrs greatly exaggerated, were

identified with them.

 

PRIAPUS.

 

Priapus, the son of Dionysus and Aphrodite, was regarded as the god of

fruitfulness, the protector of flocks, sheep, goats, bees, the fruit of the

vine, and all garden produce.

 

His statues, which were set up in gardens and vineyards, acted not only as

objects of worship, but also as scarecrows, the appearance of this god

being especially repulsive and unsightly. These statues were formed of wood

or stone, and from the hips downwards were merely rude columns. They

represent him as having a red and very ugly face; he bears in his hand a

pruning knife, and his head is crowned with a wreath of vine and laurel. He

usually carries fruit in his garments or a cornucopia in his hand, always,

however, retaining his singularly revolting aspect. It is said that Hera,

wishing {176} to punish Aphrodite, sent her this misshapen and unsightly

son, and that when he was born, his mother was so horrified at the sight of

him, that she ordered him to be exposed on the mountains, where he was

found by some shepherds, who, taking pity on him, saved his life.

 

This divinity was chiefly worshipped at Lampsacus, his birthplace. Asses

were sacrificed to him, and he received the first-fruits of the fields and

gardens, with a libation of milk and honey.

 

The worship of Priapus was introduced into Rome at the same time as that of

Aphrodite, and was identified with a native Italian divinity named Mutunus.

 

ASCLEPIAS (ÆSCULAPIUS).

 

Asclepias, the god of the healing art, was the son of Apollo and the nymph

Coronis. He was educated by the noble Centaur Chiron, who instructed him in

all knowledge, but more especially in that of the properties of herbs.

Asclepias searched out the hidden powers of plants, and discovered cures

for the various diseases which afflict the human body. He brought his art

to such perfection, that he not only succeeded in warding off death, but

also restored the dead to life. It was popularly believed that he was

materially assisted in his wonderful cures by the blood of the Medusa,

given to him by Pallas-Athene.

 

[Illustration]

 

It is well to observe that the shrines of this divinity, which were usually

built in healthy places, on hills outside the town, or near wells which

were believed to have healing powers, offered at the same time means of

cure for the sick and suffering, thus combining religious with sanitary

influences. It was the custom for the sufferer to sleep in the temple,

when, if he had been earnest in his devotions, Asclepias appeared to him in

a dream, and revealed the means to be employed for the cure of his malady.

On the walls of these temples were hung tablets, inscribed by the different

pilgrims with the particulars of their maladies, the remedies practised,

and the cures {177} worked by the god:--a custom undoubtedly productive of

most beneficial results.

 

Groves, temples, and altars were dedicated to Asclepias in many parts of

Greece, but Epidaurus, the chief seat of his worship,--where, indeed, it is

said to have originated,--contained his principal temple, which served at

the same time as a hospital.

 

The statue of Asclepias in the temple at Epidaurus was formed of ivory and

gold, and represented him as an old man with a full beard, leaning on a

staff round which a serpent is climbing. The serpent was the distinguishing

symbol of this divinity, partly because these reptiles were greatly used by

the ancients in the cure of diseases, and partly also because all the

prudence and wisdom of the serpent were deemed indispensable to the

judicious physician.

 

His usual attributes are a staff, a bowl, a bunch of herbs, a pineapple, a

dog, and a serpent.

 

His children inherited, for the most part, the distinguished talents of

their father. Two of his sons, Machaon and Podalirius, accompanied

Agamemnon to the Trojan war, in which expedition they became renowned, not

only as military heroes, but also as skilful physicians.

 

Their sisters, HYGEIA (health), and PANACEA (all-healing), had temples

dedicated to them, and received divine honours. The function of Hygeia was

to maintain the health of the community, which great blessing was supposed

to be brought by her as a direct and beneficent gift from the gods.

 

ÆSCULAPIUS.

 

The worship of Æsculapius was introduced into Rome from Epidaurus, whence

the statue of the god of healing {178} was brought at the time of a great

pestilence. Grateful for their deliverance from this plague, the Romans

erected a temple in his honour, on an island near the mouth of the Tiber.

 

* * * * *

 

ROMAN DIVINITIES.

 

JANUS.

 

From the earliest ages Janus was regarded by the Romans with the utmost

affection and veneration, as a divinity who ranked only second to Jupiter

himself, and through whom all prayers and petitions were transmitted to the

other gods.

 

He was believed to preside over the beginnings of all things, hence it was

he who inaugurated the years, months, and seasons, and in course of time

came to be considered as specially protecting the beginnings of all human

enterprises. The great importance which the Romans attached to an

auspicious commencement, as contributing to the ultimate success of an

enterprise, accounts for the high estimation in which Janus was held as the

god of beginnings.

 

This divinity would appear to have been the ancient sun-god of the Italian

tribes, in which capacity he opens and closes the gates of heaven every

morning and evening. Hence he was regarded as the door-keeper of heaven,

and also as the presiding deity over all gates, entrances, &c., on earth.

 

The fact of his being the god of city gates, which were called Jani after

him, is ascribed, however, to the following myth:--After the abduction of

their women by the Romans, the Sabines, in revenge, invaded the Roman

state, and were already about to enter the gates of the city, when suddenly

a hot sulphur spring, which was believed to have been sent by Janus for

their special preservation, gushed forth from the earth, and arrested the progress of the enemy.