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1. Of the Classic Myths in their Relation to Literature. It is essential that the teacher of mythology, no matter what textbook or system he uses or what classic epic he proposes to present, should first make himself acquainted with the meaning of myth, its origin and elements; the difference between myth and fable, between myths explanatory and myths æsthetic, myths reasonable and myths unreasonable, the theories of myth-making as a process of deterioration or as a process of development. He should also inform himself concerning the ways in which the leading myths have been disseminated, and how the survivors have been preserved. Materials for this preparation he will find in Chapters XXX-XXXII of this book as readily, perhaps, as elsewhere; but no matter where he obtains this information he should in a simple and interesting talk pass on the cream of it to the pupils about to begin the study of the stories themselves. He will in that way bring them to a reasonable appreciation of the value of myths and their relation to our civilization, and awaken in them anticipatory interest in the proposed reading. It is a great mistake to plunge students of high-school age, without preliminary orientation and a justification of the study, into a world which may otherwise appear to them unreasonable in conception and unrelated in experience. Pupils may, if time permits, read these concluding chapters, and so obtain a systematic outlook upon the subject, during a brief review in the senior year, but not earlier.

This book should be studied for its materials and the inspiration that it affords, – not word by word for its style, or as a dictionary or scientific authority; nor paragraph by paragraph with a painful committing to memory of each myth and each episode in the myth. Discrimination must be made. Some of these myths, and especially the episodes from the epics (Chapters XXII-XXIX), are to be read rapidly and in large assignments, sometimes at home with reports in class, sometimes in class and at sight, but always for the enjoyment. Others are to be studied in detail, but solely when they are of special and vital significance, historically, morally, or æsthetically. Emphasis should be laid only occasionally and sparingly upon interpretations of mythical materials. What both teacher and student should aim at is the picture – manners, morals, ideals, heroic figures, epic events, broad and vivid against the canvas of antiquity: that, and the reality of classic order, grandeur, and restraint.

The myths are here presented in a logical and genealogical arrangement; and they should be studied in this order, so that the pupil may carry away, not a jumble of sporadic recollections, but some conception of the systems of creative imagination which obtained in earlier civilizations. The knowledge of the myths and the proper perspective of their relation, one to another, may further be fixed by the study of the family ties that motivate many of the incidents of mythical adventure, and that must have been commonplaces of information to the inventors and narrators of these stories.

The myths may well be reproduced as exercises in narration, comparison, description; and they may be regarded as stimulus for imaginative invention concerning local wonders and beauties of nature. Pupils may also be encouraged to consider, and to comment upon, the moral qualities of the heroes and heroines of mythology. Thus they may be led to recognize the difference between ancient and modern standards of right and wrong. To this end, and for the supply of further nutriment, it is important that teachers collect from their reading of the classic originals, or from translations of the Iliad, the Odyssey, the Greek dramatists, the Æneid, the Metamorphoses, etc., material supplementary to the text, and give it freely to their classes. To facilitate this practice the sources of the myths have been indicated in the footnotes of this volume, and a few of the best translations have been mentioned in the Commentary. Instructors should also read to the classes illustrative English poems, or portions of them based upon the myths under consideration; and they should encourage the pupils to collect from their English reading additional examples of the literary survival or adaptation of ancient story. For this purpose special sections of the Commentary have been prepared, indicating some of the best known literary applications of each myth.

The Commentary is numbered in sections corresponding to those of the text. The Textual Notes should be studied in connection with each lesson, the Interpretative more sparingly, as I have said. They should not be suffered to spoil the interest in the stories as such. They are of interest in themselves only to maturer minds. Allusions and interpretations which the younger pupil does not appreciate will, if the book is used for purposes of reference in his further English, Latin, or Greek studies, be clear before the end of his course.

From the outset care should be taken that pupils give to the classical names their proper accent, and that they anglicize both vowels and consonants according to the recognized rules laid down in the Latin grammars, the English dictionaries, and the pages preceding the Index of this book.

Mythological and classical geography should not be neglected. The maps accompanying this volume will be serviceable; but there should be in the classroom one of Kiepert's maps of the World as Known to the Ancients (Orbis Veteribus Notus), or maps of Ancient Italy, Greece, and Asia Minor. The teacher will find the International Atlas (G. P. Putnam's Sons, New York), A. Keith Johnston's School and College Atlas of Ancient Geography, or the new edition of the same by James Cranstoun, issued as Ginn and Company's Classical Atlas, indispensable in the prosecution of general reading.

When it is the intention to study, in connection with the book, an Homeric epic or a portion of it, the teacher should first make sure that the class has an adequate preliminary training in general mythology (such, for instance, as may be provided by the first twenty-one chapters); he should then outline rapidly and entertainingly the epic as a whole, emphasizing its position in the literature of the world and its relation to the world of its own times, before proceeding to read it in detail with the class. Excellent suggestions as to this method of study are offered in the Introduction to Maxwell & Chubb's Pope's Homer's Iliad, Books I, VI, XXII, and XXIV (Longmans), and in the Introduction to the Riverside Edition of the Odyssey: Ulysses among the Phæacians (Houghton Mifflin Company).

The more important myths and the best illustrative poems should provide not only nutriment for thought, but material for memory. Our youth in the push for hasty achievement bolt their meals; they masticate little, swallow everything, digest nothing, – and having agonized, forget. If fewer things were dispatched, especially in the study of literature, and if more were intrusted to the memory, there would be something to assimilate and time to assimilate it; there would be less dyspepsia and more muscle. Teachers and parents are over-considerate, nowadays, of the memory in children: they approach it gingerly; they have feared so much to wring its withers that in most children the memory has grown too soft for saddling. In our apprehension lest pupils may turn out parrots, we have too often turned them out loons. It is better that a few of the facts in their heads be wrong than that no facts be there at all. With all our study of children and our gabble about methods of teaching them, while we insist, properly enough, that youth is the seedtime of observation, we seem to have forgotten that it is also the harvest-time of memory. It is easy for children to remember what they learn, it is a delight for them to commit to memory; we act criminally when we send them forth with hardly a fact or a date or a glorious verse in the memory of one out of ten of them. Such, unfortunately, is the case in many of our schools; and such was not the case in the day of our fathers. Pupils should be encouraged to recite memoriter the best poems and verses that accompany the myths here given; and they should not be allowed to pass allusions already explained without recalling verses that contain them.

But above all things should be cultivated, by means of this study, the spiritual capabilities of our youth. Pabulum for thought, accurate habits of memory, critical judgment, simplicity and directness of oral and written expression, may all be furnished or developed by other educative agencies; but what stimulus to fancy, to poetic sensitiveness and reflection, to a near kinship with the spirit of nature humanized, can be found more cogent than the contemplation of the poetic traditions that abide in verse? Mythology, fraught with the fire of imagination, kindles the present from the past.

In this new world of ours, shall slopes and mountains, gorges, cañons, flowery fields and forests, rivers, bays, Titanic lakes, and shoreless reach of ocean be seen of eyes that lack insight, be known of men for whom nature does not live? Surely the age of myth is not wholly past; surely the beauties and the wonders of nature are a fable of things never fully revealed; surely this new republic of ours, no less than her prototypes by Tyrrhenian and Ægean seas, utters, in her queenly form and flowing robes, a spirit, a truth, a potential poetry, and a beauty of art, the grace of which we Americans, with deeper imaginative training and sympathy and awe, may yet more highly value and more clearly comprehend.

2. Of the Classic Myths in their Relation to Art.1 The illustration of a book on ancient mythology offers great difficulties, because the modern reader expects one thing and the ancient artist, on whose works one must rely, intentionally offers a very different thing. We have grown to be a reading people, forming our ideas largely on the written word, while in antiquity the spoken word opened the door to understanding. A story which has been committed to writing is fixed for all time, having lost its power of growth; whereas a tale that passes from mouth to mouth, with no record by which to check its accuracy in particulars, is free to expand. It changes with the moods of those who tell it, and the intellectual and moral standards of those who listen. People to-day are unimaginative and literal. They also expect that the pictures which illustrate their books shall follow the individual conceptions of the author closely. When the story is dramatized a certain latitude is granted to the actor; the artist, however, who illustrates the book has no such freedom. He is expected to take precisely the author's view of a fictitious character, and, consequently, his individuality may show itself only in the technique. In antiquity there were no standard books of fiction or of myths. When writing came into use with the sixth century before Christ, the individual versions of this or that great epic poem or drama were preserved; but the great mass of the people knew them, not because they had read the manuscripts, but because they had heard them acted or recited. Book illustrations, therefore, were unknown. Yet so powerful was the impression which the myths made on the people that most of the artists drew their inspiration from them. Artists and poets alike wished to make real the powerful characters of Greek tradition. To make a literally true illustration of any one version of a great myth was not the aim of a classic artist.

Another difficulty is found in the fact that few ancient myths continued to be equally interesting to the people all the time. It is therefore necessary for us, in choosing illustrations, to draw on all periods of ancient art, the crude beginning and the decline as well as the brief span of fine art. The comparatively meager store of genuinely classic works of art acts as one of the greatest obstacles to the compilation of a continuous record of classic myths in classic art. To give such a record, however, rather than to illustrate his book, must be the aim of the author who publishes to-day a version of ancient mythology together with such pictures or reliefs or statues as are preserved. The modern reader of such a book should therefore appreciate this fact: he must make allowance for the gradual development of ancient art. The picture is not there for the sake of strengthening the written work, but for its own sake. It often offers an independent version of the myth which he reads, and at all times may give him an insight into the mental make-up of the classic people.

Sculpture was the finest art of the Greeks, if one may judge by the remains. In this province the artists worked according to the best principles of art, making their appeal directly to the nobler side of man. Before an ancient statue one feels the power of an idea immediately, and not by the circuitous route of remembering a sequence of words which may have aimed to suggest a similar idea. The Greeks were the least literal in their sculpture. Their marbles, therefore, cannot yield illustrations which the modern editor can use, except when they embody, like the Demeter of Knidos (Fig. 29) or the Athena of Velletri (Fig. 10), a well-defined character-conception. The modern reader, on the other hand, cannot fail to notice that this conception never does justice to the character of the goddess as it appears in all the myths, and very rarely even to that characteristic which may dominate the particular version of any one myth. If such pictures, however, were entirely omitted from the book, the best means of appreciating the essential nobility of the Greek mind would be lost.

None of the Greek masterpieces of painting are extant. Their attenuated influence, however, may be traced in the Italian wall paintings from Pompeii and elsewhere. Painting permits greater literalness than sculpture. The picture from Herculaneum, for instance, – Io, Argus, and Mercury (Fig. 47), – tells a definite story and one which is also told by the poets. But the painter has considered the making of a pleasing picture first, and given only a secondary thought to accuracy of tradition. This must be so; for while we may without displeasure listen to the description of a monster, we cannot see his actual representation without discomfort. When we hear how the companions of Ulysses were turned into swine, the tragic note is never lost. To paint this scene, however, and not to border on the ridiculous or the burlesque is given only to the greatest artist – if it is at all possible.

Fortunately for our purposes of illustration, there was a class of secondary artists in Greece which did not always shrink from selecting subjects ill adapted for art, and from rendering them with slight variations so that they are neither bad to look at nor altogether untrue. These were the painters of vases. Some of them were masters of their craft (cf. Fig. 116), others were of only mediocre skill. All, however, like their nobler brethren, were primarily concerned with the decorative and technical side of their art and but secondarily with their subject. If the story, for instance, called for four persons and their space for five, they unhesitatingly added the fifth person, and, vice versa, removed one without compunction if they had place for fewer figures than the story demanded. Being, moreover, commercial people, they painted according to fashion. Whatever version of a myth happened to be popular, that they selected, so that it has been possible to trace by their vases the changes which several myths underwent from the sixth century onward.

A careful student notices the similarity of types in many of these pictures and realizes that the ancient painter of vases started out with a certain stock-in-trade which he altered as little as possible, adding something new only where it was absolutely necessary.

From these observations it is clear that the works of men who were least gifted artistically are the best adapted for the purposes of book illustrations; for a painter is literal in the inverse ratio of his worth as artist. Nothing, therefore, could be less fair than to judge Greek vase painting by the collection of pictures here offered. Only paintings like Figures 85 and 101, for instance, can give a hint of the best that these men produced.

Going gradually down the scale of artists one finally comes to the level of the makers of Roman sarcophagi, in whose honor it can only be said that to descend lower is impossible. Several myths, however, – the story of the fall of Phaëthon (Fig. 59), for instance, – are not illustrated in art before the decadent period of imperial Roman sculpture. It is therefore necessary to draw also upon this source.

Of course unity of art or school or excellence cannot be preserved in a set of pictures which groups the Demeter of Knidos (Fig. 29), the blinding of Polyphemus (Fig. 171), and the fall of Phaëthon (Fig. 59). But individually the pictures help to fix in memory the particular stories that they are chosen to illustrate; and collectively they show how strongly the myths here retold influenced the noblest fancy of the great artists as well as the receptive minds of mediocre artisans. The suggestive power of classic myths, moreover, was not confined to antiquity. When learning and culture returned to the world in the Renaissance, this power also returned. Raphael (see Fig. 12) and Michelangelo (see Fig. 183) were under its sway, and so are many modern artists (see Figs. 72 and 154). They did not all understand the classic spirit equally, therefore some of their pictures are modern in everything save the title, while others have caught the truth with singular accuracy and are modern only in technique. Adding these Italian and more recent pictures to the collection further destroys mere unity, but it insures, on the other hand, a full appreciation of the abiding and ennobling power of ancient mythology.