Age of Fable

Thomas Bulfinch

Description

Long regarded as one of the most significant collectors and interpreters of folklore and mythology, Thomas Bulfinch was an esteemed but not affluent scholar from Massachusetts who set about making the world's folk tales accessible to the lay reader. In this, Bulfinch's first published work, he explores ancient Greek and Roman folk tales and their interpretation by various authors over the course of thousands of years.

Sujets

• Sociologie, société et politique
• Folclore
• Folklore

Informations

• Publié par: The Floating Press
• Date de parution: 01 juillet 2012
• Nombre de lectures: 0
• EAN13: 9781775562955
• Langue: English

Extrait

THE AGE OF FABLE
STORIES OF GODS AND HEROES
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THOMAS BULFINCH
 
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The Age of Fable Stories of Gods and Heroes First published in 1855 ISBN 978-1-77556-295-5 © 2012 The Floating Press and its licensors. All rights reserved. While every effort has been used to ensure the accuracy and reliability of the information contained in The Floating Press edition of this book, The Floating Press does not assume liability or responsibility for any errors or omissions in this book. The Floating Press does not accept responsibility for loss suffered as a result of reliance upon the accuracy or currency of information contained in this book. Do not use while operating a motor vehicle or heavy equipment. Many suitcases look alike. Visit www.thefloatingpress.com
Contents
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Author's Preface Chapter I - Introduction Chapter II - Prometheus and Pandora Chapter III - Apollo and Daphne—Pyramus and Thisbe Cephalus and Procris Chapter IV - Juno and Her Rivals, Io and Callisto—Diana and Actaeon—Latonaand the Rustics Chapter V - Phaeton Chapter VI - Midas—Baucis and Philemon Chapter VII - Proserpine—Glaucus and Scylla Chapter VIII - Pygmalion—Dryope-Venus and Adonis—Apollo and Hyacinthus Chapter IX - Ceyx and Halcyone: Or, the Halcyon Birds Chapter X - Vertumnus and Pomona Chapter XI - Cupid and Psyche Chapter XII - Cadmus—The Myrmidons Chapter XIII - Nisus and Scylla—Echo and Narcissus—Clytie—Hero and Leander Chapter XIV - Minerva—Niobe Chapter XV - The Graeae or Gray-Maids—Perseus—Medusa—Atlas—Andromeda Chapter XVI - Monsters Chapter XVII - The Golden Fleece—Medea Chapter XVIII - Meleager and Atalanta Chapter XIX - Hercules—Hebe and Ganymede Chapter XX - Theseus—Daedalus—Castor and Pollux Chapter XXI - Bacchus—Ariadne Chapter XXII - The Rural Deities—Erisichthon—Rhoecus—The Water Deities—Camenae—Winds Chapter XXIII - Achelous and Hercules—Admetus and Alcestis—Antigone—Penelope Chapter XXIV - Orpheus and Eurydice—Aristaeus—Amphion—Linus—Thamyris—Marsyas—Melampus—Musaeus Chapter XXV - Arion—Ibycus—Simonides—Sappho Chapter XXVI - Endymion—Orion—Aurora and Tithonus—Acis and Galatea Chapter XXVII - The Trojan War Chapter XXVIII - The Fall of Troy—Return of the Greeks—Orestes and Electra Chapter XXIX - Adventures of Ulysses—The Lotus-Eaters—Cyclopes—Circe—Sirens—Scylla and Charybdis—Calypso Chapter XXX - The Phaeacians—Fate of the Suitors Chapter XXXI - Adventures of Aeneas—The Harpies—Dido—Palinurus Chapter XXXII - The Infernal Regions—The Sibyl Chapter XXXIII - Camilla—Evander—Nisus and Euryalus—Mezentius—Turnus Chapter XXXIV - Pythagoras—Egyptian Deities—Oracles Chapter XXXV - Origin of Mythology—Statues of Gods and Goddesses—Poets ofMythology Chapter XXXVI - Modern Monsters—The Phoenix—Basilisk—Unicorn—Salamander Chapter XXXVII - Eastern Mythology—Zoroaster—Hindu Mythology—Castes—Buddha—Grand Lama Chapter XXXVIII - Northern Mythology—Valhalla—The Valkyrior Chapter XXXIX - Thor's Visit to Jotunheim Chapter XL - The Death of Baldur—The Elves—Runic Letters—Iceland—TeutonicMythology—Nibelungen Lied Chapter XLI - The Druids—Iona Glossary Endnotes
Author's Preface
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If no other knowledge deserves to be called useful but that whichhelps to enlarge our possessions or to raise our station insociety, then Mythology has no claim to the appellation. But ifthat which tends to make us happier and better can be calleduseful, then we claim that epithet for our subject. For Mythologyis the handmaid of literature; and literature is one of the bestallies of virtue and promoters of happiness.
Without a knowledge of mythology much of the elegant literature ofour own language cannot be understood and appreciated. When Byroncalls Rome "the Niobe of nations," or says of Venice, "She looks aSea-Cybele fresh from ocean," he calls up to the mind of onefamiliar with our subject, illustrations more vivid and strikingthan the pencil could furnish, but which are lost to the readerignorant of mythology. Milton abounds in similar allusions. Theshort poem "Comus" contains more than thirty such, and the ode "Onthe Morning of the Nativity" half as many. Through "Paradise Lost"they are scattered profusely. This is one reason why we often hearpersons by no means illiterate say that they cannot enjoy Milton.But were these persons to add to their more solid acquirements theeasy learning of this little volume, much of the poetry of Miltonwhich has appeared to them "harsh and crabbed" would be found"musical as is Apollo's lute." Our citations, taken from more thantwenty-five poets, from Spenser to Longfellow, will show howgeneral has been the practice of borrowing illustrations frommythology.
The prose writers also avail themselves of the same source ofelegant and suggestive illustration. One can hardly take up anumber of the "Edinburgh" or "Quarterly Review" without meetingwith instances. In Macaulay's article on Milton there are twentysuch.
But how is mythology to be taught to one who does not learn itthrough the medium of the languages of Greece and Rome? To devotestudy to a species of learning which relates wholly to falsemarvels and obsolete faiths is not to be expected of the generalreader in a practical age like this. The time even of the young isclaimed by so many sciences of facts and things that little can bespared for set treatises on a science of mere fancy.
But may not the requisite knowledge of the subject be acquired byreading the ancient poets in translations? We reply, the field istoo extensive for a preparatory course; and these verytranslations require some previous knowledge of the subject tomake them intelligible. Let any one who doubts it read the firstpage of the "Aeneid," and see what he can make of "the hatred ofJuno," the "decree of the Parcae," the "judgment of Paris," andthe "honors of Ganymede," without this knowledge.
Shall we be told that answers to such queries may be found innotes, or by a reference to the Classical Dictionary? We reply,the interruption of one's reading by either process is so annoyingthat most readers prefer to let an allusion pass unapprehendedrather than submit to it. Moreover, such sources give us only thedry facts without any of the charm of the original narrative; andwhat is a poetical myth when stripped of its poetry? The story ofCeyx and Halcyone, which fills a chapter in our book, occupies buteight lines in the best (Smith's) Classical Dictionary; and so ofothers.
Our work is an attempt to solve this problem, by telling thestories of mythology in such a manner as to make them a source ofamusement. We have endeavored to tell them correctly, according tothe ancient authorities, so that when the reader finds themreferred to he may not be at a loss to recognize the reference.Thus we hope to teach mythology not as a study, but as arelaxation from study; to give our work the charm of a story-book,yet by means of it to impart a knowledge of an important branch ofeducation. The index at the end will adapt it to the purposes ofreference, and make it a Classical Dictionary for the parlor.
Most of the classical legends in "Stories of Gods and Heroes" arederived from Ovid and Virgil. They are not literally translated,for, in the author's opinion, poetry translated into literal proseis very unattractive reading. Neither are they in verse, as wellfor other reasons as from a conviction that to translatefaithfully under all the embarrassments of rhyme and measure isimpossible. The attempt has been made to tell the stories inprose, preserving so much of the poetry as resides in the thoughtsand is separable from the language itself, and omitting thoseamplifications which are not suited to the altered form.
The Northern mythological stories are copied with some abridgmentfrom Mallet's "Northern Antiquities." These chapters, with thoseon Oriental and Egyptian mythology, seemed necessary to completethe subject, though it is believed these topics have not usuallybeen presented in the same volume with the classical fables.
The poetical citations so freely introduced are expected to answerseveral valuable purposes. They will tend to fix in memory theleading fact of each story, they will help to the attainment of acorrect pronunciation of the proper names, and they will enrichthe memory with many gems of poetry, some of them such as are mostfrequently quoted or alluded to in reading and conversation.
Having chosen mythology as connected with literature for ourprovince, we have endeavored to omit nothing which the reader ofelegant literature is likely to find occasion for. Such storiesand parts of stories as are offensive to pure taste and goodmorals are not given. But such stories are not often referred to,and if they occasionally should be, the English reader need feelno mortification in confessing his ignorance of them.
Our work is not for the learned, nor for the theologian, nor forthe philosopher, but for the reader of English literature, ofeither sex, who wishes to comprehend the allusions so frequentlymade by public speakers, lecturers, essayists, and poets, andthose which occur in polite conversation.
In the "Stories of Gods and Heroes" the compiler has endeavored toimpart the pleasures of classical learning to the English reader,by presenting the stories of Pagan mythology in a form adapted tomodern taste. In "King Arthur and His Knights" and "TheMabinogeon" the attempt has been made to treat in the same way thestories of the second "age of fable," the age which witnessed thedawn of the several states of Modern Europe.
It is believed that this presentation of a literature which heldunrivalled sway over the imaginations of our ancestors, for manycenturies, will not be without benefit to the reader, in additionto the amusement it may afford. The tales, though not to betrusted for their facts, are worthy of all credit as pictures ofmanners; and it is beginning to be held that the manners and modesof thinking of an age are a more important part of its historythan the conflicts of its peoples, generally leading t