The Age of Fable - Thomas Bulfinch (beginner reading books for adults .txt) 📗

ceased to give responses. Ancient Christian writers assert that they became silent at the birth of Christ, and were heard no more after that date. Milton adopts, this view in his “Hymn on the Mativity,” and in lines of solemn and elevated beauty pictures the consternation of the heathen idols at the Advent of the Saviour:

“The oracles are dumb; No voice or hideous hum Rings through the arched roof in words Deceiving. Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos heaving. No nightly trance or breathed spell Inspires the pale-eyed priest from the prophetic cell”

In Cowper’s poem of “Yardley Oak” there are some beautiful mythological allusions. The former of the two following is to the fable of Castor and Pollux; the latter is more appropriate to our present subject. Addressing the acorn he says:

“Thou fell’st mature; and in the loamy clod, Swelling with vegetative force instinct, Didst burst thine, as theirs the fabled Twins Now stars; twor lobes protruding, paired exact; A leaf succeede and another leaf, And, all the elements thy puny growth Fostering propitious, thou becam’st a twig. Who lived when thou wast such? Of couldst thou speak, As in Dodona once thy kindred trees Oracular, I would not curious ask The future, best unknown, but at thy mouth Inquisitive, the less ambiguous past.”

Tennyson, in his “Talking Oak,” alludes to the oaks of Dodona in these lines:

And I will work in prose and rhyme, And praise thee more in both Than bard has honored beech or lime, Or that Thessalian growth In which the swarthy ring-dove sat And mystic sentence spoke; etc.

Byron alludes to the oracle of Delphi where, speaking of Rousseau, whose writings he conceives did much to bring on the French revolution, he says:

“For the, he was inspired, and from him came, As from the Pythian’s mystic cave of yore, Those oracles which set the world in flame, Nor ceased to burn till kingdoms were no more.”

 

CHAPTER XXXV

ORIGIN OF MYTHOLOGY—STATUES OF GODS AND GODDESSES—POETS OF MYTHOLOGY

ORIGINS OF MYTHOLOGY

 

Having reached the close of our series of stories of Pagan mythology, and inquiry suggests itself. “Whence came these stories? Have they a foundation in truth or are they simply dreams of the imagination?” Philosophers have suggested various theories on the subject; and 1. The Scriptural theory; according to which all mythological legends are derived from the narratives of Scripture, though the real facts have been disguised and altered. Thus Deucalion is only another name for Noah, Hercules for Samson, Arion for Jonah, etc. Sir Walter Raleigh, in his “History of the World,” says, “Jubal, Tubal, and Tubal-Cain were Mercury, Vulcan, and Apollo, inventors of Pasturage, Smithing, and Music. The Dragon which kept the golden apples was the serpent that beguiled Eve. Nimrod’s tower was the attempt of the Giants against Heaven.” There are doubtless many curious coincidences like these, but the theory cannot without extravagance be pushed so far as to account for any great proportion of the stories.

2. The Historical theory; according to which all the persons mentioned in mythology were once real human beings, and the legends and fabulous traditions relating to them are merely the additions and embellishments of later times. Thus the story of Aeolus, the king and god of the winds, is supposed to have risen from the fact that Aeolus was the ruler of some islands in the Tyrrhenian Sea, where he reigned as a just and pious king, and taught the natives the use of sails for ships, and how to tell from the signs of the atmosphere the changes of the weather and the winds. Cadmus, who, the legend says, sowed the earth with dragon’s teeth, from which sprang a crop of armed men, was in fact an emigrant from Phoenicia, and brought with him into Greece the knowledge of the letters of the alphabet, which he taught to the natives. From these rudiments of learning sprung civilization, which the poets have always been prone to describe as a deterioration of man’s first estate, the Golden Age of innocence and simplicity.

3. The Allegorical theory supposes that all the myths of the ancients were allegorical and symbolical, and contained some moral, religious, or philosophical truth or historical fact, under the form of an allegory, but came in process of time to be understood literally. Thus Saturn, who devours his own children, is the same power whom the Greeks called Cronos (Time), which may truly be said to destroy whatever it has brought into existence. The story of Io is interpreted in a similar manner. Io is the moon, and Argus the starry sky, which, as it were, keeps sleepless watch over her. The fabulous wanderings of Io represent the continual revolutions of the moon, which also suggested to Milton the same idea.

“To behold the wandering moon Riding near her highest noon, Like one that had been led astray In the heaven’s wide, pathless way.”

—Il Penseroso.

4. The Physical theory; according to which the elements of air, fire, and water were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature. The transition was easy from a personification of the elements to the notion of supernatural beings presiding over and governing the different objects of nature. The Greeks, whose imagination was lively, peopled all nature with invisible beings, and supposed that every object, from the sun and sea to the smallest fountain and rivulet, was under the care of some particular divinity. Wordsworth, in his “Excursion,” has beautifully developed this view of Grecian mythology:

“In that fair clime the lonely herdsman, stretched On the soft grass through half a summer’s day, With music lulled his indolent repose; And, in some fit of weariness, if he, When his own breath was silent, chanced to hear A distant strain far sweeter than the sounds Which his poor skill could make, his fancy fetched Even from the blazing chariot of the Sun A beardless youth who touched a golden lute, And filled the illumined groves with ravishment. The mighty hunter, lifting up his eyes Toward the crescent Moon, with grateful heart Called on the lovely Wanderer who bestowed That timely light to share his joyous sport; And hence a beaming goddess with her nymphs Across the lawn and through the darksome grove (Not unaccompanied with tuneful notes By echo multiplied from rock or cave) Swept in the storm of chase, as moon and stars Glance rapidly along the clouded heaven When winds are blowing strong. The Traveller slaked His thirst from rill or gushing fount, and thanked The Naiad. Sunbeams upon distant hills Gliding apace with shadows in their train, Might with small help from fancy, be transformed Into fleet Oreads sporting visibly. The Zephyrs, fanning, as they passed, their wings, Lacked not for love fair objects whom they wooed With gentle whisper. Withered boughs grotesque, Stripped of their leaves and twigs by hoary age, From depth of shaggy covert peeping forth In the low vale, or on steep mountain side; And sometimes intermixed with stirring horns Of the live deer, or goat’s depending beard; These were the lurking Satyrs, wild brood Of gamesome deities; or Pan himself, That simple shepherd’s awe-inspiring god.”

All the theories which have been mentioned are true to a certain extent. It would therefore be more correct to say that the mythology of a nation has sprung from all these sources combined than from any one in particular. We may add also that there are many myths which have arisen from the desire of man to account for those natural phenomena which he cannot understand; and not a few have had their rise from a similar desire of giving a reason for the names of places and persons.

STATUES OF THE GODS

To adequately represent to the eye the ideas intended to be conveyed to the mind under the several names of deities was a task which called into exercise the highest powers of genius and art. Of the many attempts FOUR have been most celebrated, the first two known to us only by the descriptions of the ancients, the others still extant and the acknowledged masterpieces of the sculptor’s art.

THE OLYMPIAN JUPITER

The statue of the Olympian Jupiter by Phidias was considered the highest achievement of this department of Grecian art. It was of colossal dimensions, and was what the ancients called “chryselephantine;” that is, composed of ivory and gold; the parts representing flesh being of ivory laid on a core of wood or stone, while the drapery and other ornaments were of gold. The height of the figure was forty feet, on a pedestal twelve feet high. The god was represented seated on his throne. His brows were crowned with a wreath of olive, and he held in his right hand a sceptre, and in his left a statue of Victory. The throne was of cedar, adorned with gold and precious stones.

The idea which the artist essayed to embody was that of the supreme deity of the Hellenic (Grecian) nation, enthroned as a conqueror, in perfect majesty and repose, and ruling with a nod the subject world. Phidias avowed that he took his idea from the representation which Homer gives in the first book of the “Iliad,” in the passage thus translated by Pope:

“He spoke and awful bends his sable brows, Shakes his ambrosial curls and gives the nod, The stamp of fate and sanction of the god. High heaven with reverence the dread signal took, And all Olympus to the centre shook.”

[Footnote: Cowper’s version is less elegant, but truer to the original:

“He ceased, and under his dark brows the nod Vouchsafed of confirmation. All around The sovereign’s everlasting head his curls Ambrosial shook, and the huge mountain reeled.”

It may interest our readers to see how this passage appears in another famous version, that which was issued under the name of Tickell, contemporaneously with Pope’s, and which, being by many attributed to Addison, led to the quarrel which ensued between Addison and Pope:

“This said, his kingly brow the sire inclined; The large black curls fell awful from behind, Thick shadowing the stern forehead of the god; Olympus trembled at the almighty nod.”]

THE MINERVA OF THE PARTHENON

This was also the work of Phidias. It stood in the Parthenon, or temple of Minerva at Athens. The goddess was represented standing. In one hand she held a spear, in the other a statue of Victory. Her helmet, highly decorated, was surmounted by a Sphinx. The statue was forty feet in height, and, like the Jupiter, composed of ivory and gold. The eyes were of marble, and probably painted to represent the iris and pupil. The Parthenon, in which this statue stood, was also constructed under the direction and superintendence of Phidias. Its exterior was enriched with sculptures, many of them from the hand of Phidias. The Elgin marbles, now in the British Museum, are a part of them.

Both the Jupiter and Minerva of Phidias are lost, but there is good ground to believe that we have, in several extant statues and busts, the artist’s conceptions of the countenances of both. They are characterized by grave and dignified beauty, and freedom from any transient expression, which in the language of art is called repose.

THE VENUS DE’ MEDICI

The Venus of the Medici is so called from its having been in the possession of the princes of that name in Rome when it first attracted attention, about two hundred years ago. An inscription on the base records it to be the work of Cleomenes, an Athenian sculptor of 200 B.C., but the authenticity of the inscription is doubtful. There is a story that the artist was employed by public authority to make a statue exhibiting the perfection of female beauty, and to aid him in his task the most