Mythology

  O Phoebus, from your throne of truth,

  From your dwelling-place at the heart of the world,

  You speak to men.

  By Zeus’s decree no lie comes there,

  No shadow to darken the word of truth.

  Zeus sealed by an everlasting right

  Apollo’s honour, that all may trust

  With unshaken faith when he speaks.

  Delphi under towering Parnassus, where Apollo’s oracle was, plays an important part in mythology. Castalia was its sacred spring; Cephissus its river. It was held to be the center of the world, so many pilgrims came to it, from foreign countries as well as Greece. No other shrine rivaled it. The answers to the questions asked by the anxious seekers for Truth were delivered by a priestess who went into a trance before she spoke. The trance was supposed to be caused by a vapor rising from a deep cleft in the rock over which her seat was placed, a three-legged stool, the tripod.

  Apollo was called Delian from Delos, the island of his birth, and Pythian from his killing of a serpent, Python, which once lived in the caves of Parnassus. It was a frightful monster and the contest was severe, but in the end the god’s unerring arrows won the victory. Another name often given him was “the Lycian,” variously explained as meaning Wolf-god, God of Light, and God of Lycia. In the Iliad he is called “the Sminthian,” the Mouse-god, but whether because he protected mice or destroyed them no one knows. Often he was the Sun-god too. His name Phoebus means “brilliant” or “shining.” Accurately, however, the Sun-god was Helios, child of the Titan Hyperion.

  Apollo at Delphi was a purely beneficent power, a direct link between gods and men, guiding men to know the divine will, showing them how to make peace with the gods; the purifier, too, able to cleanse even those stained with the blood of their kindred. Nevertheless, there are a few tales told of him which show him pitiless and cruel. Two ideas were fighting in him as in all the gods; a primitive, crude idea and one that was beautiful and poetic. In him only a little of the primitive is left.

  The laurel was his tree. Many creatures were sacred to him, chief among them the dolphin and the crow.

  ARTEMIS (DIANA)

  Also called Cynthia, from her birthplace,

  Mount Cynthus in Delos.

  Apollo’s twin sister, daughter of Zeus and Leto. She was one of the three maiden goddesses of Olympus:—

  Golden Aphrodite who stirs with love all creation,

  Cannot bend nor ensnare three hearts: the pure maiden Vesta,

  Gray-eyed Athena who cares but for war and the arts of the craftsmen,

  Artemis, lover of woods and the wild chase over the mountains.

  She was the Lady of Wild Things, Huntsman-in-chief to the gods, an odd office for a woman. Like a good huntsman, she was careful to preserve the young; she was “the protectress of dewy youth” everywhere. Nevertheless, with one of those startling contradictions so common in mythology, she kept the Greek Fleet from sailing to Troy until they sacrificed a maiden to her. In many another story, too, she is fierce and revengeful. On the other hand, when women died a swift and painless death, they were held to have been slain by her silver arrows.

  As Phoebus was the Sun, she was the Moon, called Phoebe and Selene (Luna in Latin). Neither name originally belonged to her. Phoebe was a Titan, one of the older gods. So too was Selene—a moon-goddess, indeed, but not connected with Apollo. She was the sister of Helios, the sun-god with whom Apollo was confused.

  In the later poets, Artemis is identified with Hecate. She is “the goddess with three forms,” Selene in the sky, Artemis on earth, Hecate in the lower world and in the world above when it is wrapped in darkness. Hecate was the Goddess of the Dark of the Moon, the black nights when the moon is hidden. She was associated with deeds of darkness, the Goddess of the Crossways, which were held to be ghostly places of evil magic. An awful divinity,

  Hecate of hell,

  Mighty to shatter every stubborn thing.

  Hark! Hark! her hounds are baying through the town.

  Where three roads meet, there she is standing.

  It is a strange transformation from the lovely Huntress flashing through the forest, from the Moon making all beautiful with her light, from the pure Maiden-Goddess for whom

  Whoso is chaste of spirit utterly

  May gather leaves and fruits and flowers.

  The unchaste never.

  In her is shown most vividly the uncertainty between good and evil which is apparent in every one of the divinities.

  The cypress was sacred to her; and all wild animals, but especially the deer.

  APHRODITE (VENUS)

  The Goddess of Love and Beauty, who beguiled all, gods and men alike; the laughter-loving goddess, who laughed sweetly or mockingly at those her wiles had conquered; the irresistible goddess who stole away even the wits of the wise.

  She is the daughter of Zeus and Dione in the Iliad, but in the later poems she is said to have sprung from the foam of the sea, and her name was explained as meaning “the foam-risen.” Aphros is foam in Greek. This sea-birth took place near Cythera, from where she was wafted to Cyprus. Both islands were ever after sacred to her, and she was called Cytherea or the Cyprian as often as by her proper name.

  One of the Homeric Hymns, calling her “Beautiful, golden goddess,” says of her:—

  The breath of the west wind bore her

  Over the sounding sea,

  Up from the delicate foam,

  To wave-ringed Cyprus, her isle.

  And the Hours golden-wreathed

  Welcomed her joyously.

  They clad her in raiment immortal,

  And brought her to the gods.

  Wonder seized them all as they saw

  Violet-crowned Cytherea.

  The Romans wrote of her in the same way. With her, beauty comes. The winds flee before her and the storm clouds; sweet flowers embroider the earth; the waves of the sea laugh; she moves in radiant light. Without her there is no joy nor loveliness anywhere. This is the picture the poets like best to paint of her.

  But she had another side too. It was natural that she should cut a poor figure in the Iliad, where the battle of heroes is the theme. She is a soft, weak creature there, whom a mortal need not fear to attack. In later poems she is usually shown as treacherous and malicious, exerting a deadly and destructive power over men.

  In most of the stories she is the wife of Hephaestus (Vulcan), the lame and ugly god of the forge.

  The myrtle was her tree; the dove her bird—sometimes, too, the sparrow and the swan.

  HERMES (MERCURY)

  Zeus was his father and Maia, daughter of Atlas, his mother. Because of a very popular statue his appearance is more familiar to us than that of any other god. He was graceful and swift of motion. On his feet were winged sandals; wings were on his low-crowned hat, too, and on his magic wand, the Caduceus. He was Zeus’s Messenger, who “flies as fleet as thought to do his bidding.”

  Of all the gods he was the shrewdest and most cunning; in fact he was the Master Thief, who started upon his career before he was a day old.

  The babe was born at the break of day,

  And ere the night fell he had stolen away

  Apollo’s herds.

  Zeus made him give them back, and he won Apollo’s forgiveness by presenting him with the lyre which he had just invented, making it out of a tortoise’s shell. Perhaps there was some connection between that very early story of him and the fact that he was God of Commerce and the Market, protector of traders.

  In odd contrast to this idea of him, he was also the solemn guide of the dead, the Divine Herald who led the souls down to their last home.

  He appears oftener in the tales of mythology than any other god.

  ARES (MARS)

  The God of War, son of Zeus and Hera, both of whom, Homer says, detested him. Indeed, he is hateful throughout the Iliad, poem of war though it is. Occasionally the heroes “rejoice in the delight of Ares’ battle,” but far often
er in having escaped “the fury of the ruthless god.” Homer calls him murderous, bloodstained, the incarnate curse of mortals; and, strangely, a coward, too, who bellows with pain and runs away when he is wounded. Yet he has a train of attendants on the battlefield which should inspire anyone with confidence. His sister is there, Eris, which means Discord, and Strife, her son. The Goddess of War, Enyo,—in Latin Bellona,—walks beside him, and with her are Terror and Trembling and Panic. As they move, the voice of groaning arises behind them and the earth streams with blood.

  The Romans liked Mars better than the Greeks liked Ares. He never was to them the mean whining deity of the Iliad, but magnificent in shining armor, redoubtable, invincible. The warriors of the great Latin heroic poem, the Aeneid, far from rejoicing to escape from him, rejoice when they see that they are to fall “on Mars’ field of renown.” They “rush on glorious death” and find it “sweet to die in battle.”

  Ares figures little in mythology. In one story he is the lover of Aphrodite and held up to the contempt of the Olympians by Aphrodite’s husband, Hephaestus; but for the most part he is little more than a symbol of war. He is not a distinct personality, like Hermes or Hera or Apollo.

  He had no cities where he was worshiped. The Greeks said vaguely that he came from Thrace, home of a rude, fierce people in the northeast of Greece.

  Appropriately, his bird was the vulture. The dog was wronged by being chosen as his animal.

  HEPHAESTUS (VULCAN AND MULCIBER)

  The God of Fire, sometimes said to be the son of Zeus and Hera, sometimes of Hera alone, who bore him in retaliation for Zeus’s having brought forth Athena. Among the perfectly beautiful immortals he only was ugly. He was lame as well. In one place in the Iliad he says that his shameless mother, when she saw that he was born deformed, cast him out of heaven; in another place he declares that Zeus did this, angry with him for trying to defend Hera. This second story is the better known, because of Milton’s familiar lines: Mulciber was

  Thrown by angry Jove

  Sheer o’er the crystal battlements; from morn

  To noon he fell, from noon to dewy eve,

  A summer’s day, and with the setting sun

  Dropt from the zenith like a falling star,

  On Lemnos, the Aegean isle.

  These events, however, were supposed to have taken place in the far-distant past. In Homer he is in no danger of being driven from Olympus; he is highly honored there, the workman of the immortals, their armorer and smith, who makes their dwellings and their furnishings as well as their weapons. In his workshop he has handmaidens he has forged out of gold who can move and who help him in his work.

  In the later poets his forge is often said to be under this or that volcano, and to cause eruptions.

  His wife is one of the three Graces in the Iliad, called Aglaia in Hesiod; in the Odyssey she is Aphrodite.

  He was a kindly, peace-loving god, popular on earth as in heaven. With Athena, he was important in the life of the city. The two were the patrons of handicrafts, the arts which along with agriculture are the support of civilization; he the protector of the smiths as she of the weavers. When children were formally admitted to the city organization, the god of the ceremony was Hephaestus.

  HESTIA (VESTA)

  She was Zeus’s sister, and like Athena and Artemis a virgin goddess. She has no distinct personality and she plays no part in the myths. She was the Goddess of the Hearth, the symbol of the home, around which the newborn child must be carried before it could be received into the family. Every meal began and ended with an offering to her.

  Hestia, in all dwellings of men and immortals

  Yours is the highest honor, the sweet wine offered

  First and last at the feast, poured out to you duly.

  Never without you can gods or mortals hold banquet.

  Each city too had a public hearth sacred to Hestia, where the fire was never allowed to go out. If a colony was to be founded, the colonists carried with them coals from the hearth of the mother-city with which to kindle the fire on the new city’s hearth.

  In Rome her fire was cared for by six virgin priestesses, called Vestals.

  THE LESSER GODS OF OLYMPUS

  There were other divinities in heaven besides the twelve great Olympians. The most important of them was the God of Love, EROS (Cupid in Latin). Homer knows nothing of him, but to Hesiod he is

  Fairest of the deathless gods.

  In the early stories, he is oftenest a beautiful serious youth who gives good gifts to men. This idea the Greeks had of him is best summed up not by a poet, but by a philosopher, Plato: “Love—Eros—makes his home in men’s hearts, but not in every heart, for where there is hardness he departs. His greatest glory is that he cannot do wrong nor allow it; force never comes near him. For all men serve him of their own free will. And he whom Love touches not walks in darkness.”

  In the early accounts Eros was not Aphrodite’s son, but merely her occasional companion. In the later poets he was her son and almost invariably a mischievous, naughty boy, or worse.

  Evil his heart, but honey-sweet his tongue,

  No truth in him, the rogue. He is cruel in his play.

  Small are his hands, yet his arrows fly far as death.

  Tiny his shaft, but it carries heaven-high.

  Touch not his treacherous gifts, they are dipped in fire.

  He was often represented as blindfolded, because love is often blind. In attendance upon him was ANTEROS, said sometimes to be the avenger of slighted love, sometimes the one who opposes love; also HIMEROS or Longing, and HYMEN, the God of the Wedding Feast.

  HEBE was the Goddess of Youth, the daughter of Zeus and Hera. Sometimes she appears as cupbearer to the gods; sometimes that office is held by Ganymede, a beautiful young Trojan prince who was seized and carried up to Olympus by Zeus’s eagle. There are no stories about Hebe except that of her marriage to Hercules.

  IRIS was the Goddess of the Rainbow and a messenger of the gods, in the Iliad the only messenger. Hermes appears first in that capacity in the Odyssey, but he does not take Iris’ place. Now the one, now the other is called upon by the gods.

  There were also in Olympus two bands of lovely sisters, the Muses and the Graces.

  THE GRACES were three: Aglaia (Splendor), Euphrosyne (Mirth), and Thalia (Good Cheer). They were the daughters of Zeus and Eurynome, a child of the Titan, Ocean. Except in a story Homer and Hesiod tell, that Aglaia married Hephaestus, they are not treated as separate personalities, but always together, a triple incarnation of grace and beauty. The gods delighted in them when they danced enchantingly to Apollo’s lyre, and the man they visited was happy. They “give life its bloom.” Together with their companions, the Muses, they were “queens of song,” and no banquet without them could please.

  THE MUSES were nine in number, the daughters of Zeus and Mnemosyne, Memory. At first, like the Graces, they were not distinguished from each other. “They are all,” Hesiod says, “of one mind, their hearts are set upon song and their spirit is free from care. He is happy whom the Muses love. For though a man has sorrow and grief in his soul, yet when the servant of the Muses sings, at once he forgets his dark thoughts and remembers not his troubles. Such is the holy gift of the Muses to men.”

  In later times each had her own special field. Clio was Muse of history, Urania of astronomy, Melpomene of tragedy, Thalia of comedy, Terpsichore of the dance, Calliope of epic poetry, Erato of love-poetry, Polyhymnia of songs to the gods, Euterpe of lyric poetry.

  Hesiod lived near Helicon, one of the Muses’ mountains—the others were Pierus in Pieria, where they were born, Parnassus, and, of course, Olympus. One day the Nine appeared to him and they told him, “We know how to speak false things that seem true, but we know, when we will, to utter true things.” They were companions of Apollo, the God of Truth, as well as of the Graces. Pindar calls the lyre theirs as well as Apollo’s, “the golden lyre to which the step, the dancer’s step, listens, owned alike by
Apollo and the violet-wreathed Muses.” The man they inspired was sacred far beyond any priest.

  As the idea of Zeus became loftier, two august forms sat beside him in Olympus. THEMIS, which means the Right, or Divine Justice, and DIKE, which is Human Justice. But they never became real personalities. The same was true of two personified emotions esteemed highest of all feelings in Homer and Hesiod: NEMESIS, usually translated as Righteous Anger, and AIDOS, a difficult word to translate, but in common use among the Greeks. It means reverence and the shame that holds men back from wrongdoing, but it also means the feeling a prosperous man should have in the presence of the unfortunnate—not compassion, but a sense that the difference between him and those poor wretches is not deserved.

  It does not seem, however, that either Nemesis or Aidos had their home with the gods. Hesiod says that only when men have finally become completely wicked will Nemesis and Aidos, their beautiful faces veiled in white raiment, leave the wide-wayed earth and depart to the company of the immortals.

  From time to time a few mortals were translated to Olympus, but once they had been brought to heaven they vanished from literature. Their stories will be told later.

  THE GODS OF THE WATERS

  POSEIDON (Neptune) was the Lord and Ruler of the Sea (the Mediterranean) and the Friendly Sea (the Euxine, now the Black Sea). Underground rivers, too, were his.