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If no other knowledge deserves to be called useful but that which helps to enlarge our possessions or to raise our station in society, then Mythology has no claim to the appellation. But if that which tends to make us happier and better can be called useful, then we claim that epithet for our subject. For Mythology is the handmaid of literature; and literature is one of the best allies of virtue and promoters of happiness.
Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. When Byron calls Rome "the Niobe of nations," or says of Venice," She looks a Sea-Cybele fresh from ocean," he calls up to the mind of one familiar with our subject illustrations more vivid and striking than the pencil could furnish, but which are lost to the reader ignorant of mythology. Milton abounds in similar allusions. The short poem "Comus" contains more than thirty such, and the ode "On the Morning of the Nativity" half as many. Through "Paradise Lost," they are scattered profusely. This is one reason why we often hear persons by no means illiterate say that they cannot enjoy Milton. But were these persons to add to their more solid acquirements the easy learning of this little volume, much of the poetry of Milton which has appeared to them "harsh and crabbed" would be found "musical as is Apollo's lute." Our citations, taken from more than twenty-five poets, from Spenser to Longfellow, will show how general has been the practice of borrowing illustrations from mythology.
The prose writers also avail themselves of the same source of
elegant and suggestive illustration. One can hardly take up a number of the Edinburgh or Quarterly Review without meeting with instances. In Macaulay's article on Milton there are twenty such.
But how is mythology to be taught to one who does not learn it through the medium of the languages of Greece and Rome? To devote study to a species of learning which relates wholly to false marvels and obsolete faiths, is not to be expected of the general reader in a practical age like this. The time even of the young is claimed by so many sciences of facts and things, that little can be spared for set treatises on a science of mere fancy.
But may not the requisite knowledge of the subject be acquired by reading the ancient poets in translations? We reply, the field is too extensive for a preparatory course; and these very translations require some previous knowledge of the subject to make them intelligible. Let any one who doubts it read the first page of the "Eneid," and see what he can make of "the hatred of Juno," the "decree of the Parcæ," the "judgment of Paris," and the "honors of Ganymede," without this knowledge.
Shall we be told that answers to such queries may be found in notes, or by a reference to the Classical Dictionary? We reply, the interruption of one's reading by either process is so annoying that most readers prefer to let an allusion pass unapprehended rather than submit to it. Moreover, such sources give us only the dry facts without any of the charm of the original narrative; and what is a poetical myth when stripped of its poetry? The story of Ceÿx and Halcyone, which fills a chapter in our book, occupies but eight lines in the best (Smith's) Classical Dictionary; and so of others.
Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement. We have endeavored to tell them correctly, according to the ancient authorities, so that when the reader finds them referred to he may not be at a loss to recognize the reference. Thus we hope to teach mythology not as a study, but as a relaxation 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 of
education. The index at the end will adapt it to the purposes of reference, and make it a Classical Dictionary for the parlor.
Most of the classical legends in this book are derived from Ovid and Virgil. They are not literally translated, for, in the author's opinion, poetry translated into literal prose is very unattractive reading. Neither are they in verse, as well for other reasons as from a conviction that to translate faithfully under all the embarrassments of rhyme and measure is impossible. The attempt has been made to tell the stories in prose, preserving so much of the poetry as resides in the thoughts and is separable from the language itself, and omitting those amplifications which are not suited to the altered form.
The Northern mythological stories are copied with some abridgment from Mallet's Northern Antiquities. These chapters, with those on Oriental and Egyptian mythology, seemed necessary to complete the subject, though it is believed these topics have not usually been presented in the same volume with the classical fables.
The poetical citations so freely introduced are expected to answer several valuable purposes. They will tend to fix in memory the leading fact of each story, they will help to the attainment of a correct pronunciation of the proper names, and they will enrich the memory with many gems of poetry, some of them such as are most frequently quoted or alluded to in reading and conversation.
Having chosen mythology as connected with literature for our province, we have endeavored to omit nothing which the reader of elegant literature is likely to find occasion for. Such stories and parts of stories as are offensive to pure taste and good morals are not given. But such stories are not often referred to, and if they occasionally should be, the English reader need feel no mortification in confessing his ignorance of them.
Our book is not for the learned, nor for the theologian, nor for the philosopher, but for the reader of English literature, of either sex, who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets, and those which occur in polite conversation.
We trust our young readers will find it a source of entertainment; those more advanced a useful companion in their reading; those who travel, and visit museums and galleries of art, an interpreter of paintings and sculptures; those who mingle in cultivated society, a key to allusions which are occasionally made; and last of all, those in advanced life, pleasure in retracing a path of literature which leads them back to the days of their childhood, and revives at every step the associations of the morning of life.
The permanency of those associations is beautifully expressed in the well-known lines of Coleridge, in "The Piccolomini," Act ii. Scene 4.
"The intelligible forms of ancient poets,
The fair humanities of old religion,
The Power, the Beauty, and the Majesty
That had their haunts in dale or piny mountain,
Or forest, by slow stream, or pebbly spring,
Or chasms and watery depths; all these have vanished;