The Myths and Legends of Ancient Greece and Rome (21 page)

The later poets represent Pegasus as being at the service of the Muses, and for this reason he is more celebrated in modern times than in antiquity. He would appear to represent that poetical inspiration, which tends to develop man's higher nature, and causes the mind to soar heavenwards. The only mention by the ancients of Pegasus in connection with the Muses, is the story of his having produced with his hoofs, the famous fountain Hippocrene.

It is said that during their contest with the Pierides, the Muses played and sang on the summit of Mount Helicon with such extraordinary power and sweetness, that heaven and earth stood still to listen, whilst the mountain raised itself in joyous ecstasy towards the abode of the celestial gods. Poseidon, seeing his special function thus interfered with, sent Pegasus to check the boldness of the mountain, in daring to move without his permission. When Pegasus reached the summit, he stamped the ground with his hoofs, and out gushed the waters of Hippocrene, afterwards so renowned as the sacred fount, whence the Muses quaffed their richest draughts of inspiration.

 

The Hesperides, the daughters of Atlas, dwelt in an island in the far west, whence they derived their name.

T
hey were appointed by Hera to act as guardians to a tree bearing golden apples, which had been presented to her by Gaea on the occasion of her marriage with Zeus.

It is said that the Hesperides, being unable to withstand the temptation of tasting the golden fruit confided to their care, were deprived of their office, which was henceforth delegated to the terrible dragon Ladon, who now became the ever-watchful sentinel of these precious treasures.

The names of the Hesperides were Aegle, Arethusa, and Hesperia.

 

 

 

All those gentler attributes which beautify and refine human existence were personified by the Greeks under the form of three lovely sisters, Euphrosyne, Aglaia, and Thalia, the daughters of Zeus and Eurynome (or, according to later writers, of Dionysus and Aphrodite).

They are represented as beautiful, sle
nder maidens in the full bloom of youth, with hands and arms lovingly intertwined, and are either undraped, or wear a fleecy, transparent garment of an ethereal fabric.

They portray every gentle emotion of the heart, which vents itself in friendship and benevolence, and were believed to preside over those qualities which constitute grace, modesty, unconscious beauty, gentleness, kindliness, innocent joy, purity of mind and body, and eternal youth.

They not only possessed the most perfect beauty themselves, but also conferred this gift upon others. All the enjoyments of life were enhanced by their presence, and were deemed incomplete without them; and wherever joy or pleasure, grace and gaiety reigned, there they were supposed to be present.

Temples and altars were everywhere erected in their honour, and people of all ages and of every rank in life entreated their favour. Incense was burnt daily upon their altars, and at every banquet they wer
e invoked, and a libation poured out to them, as they not only heightened all enjoyment, but also by their refining influence moderated the exciting effects of wine.

Music, eloquence, poetry, and art, though the direct work of the Muses, received at the hands of the Graces an additional touch of refinement and beauty; for which reason they are always regarded as the friends of the Muses, with whom they lived on Mount Olympus.

Their special function was to act, in conjunction with the Seasons, as attendants upon Aphrodite, whom they adorned with wreaths of flowers, and she emerges from their hands like the Queen of Spring, perfumed with the odour of roses and violets, and all sweet-scented blossoms.

The Graces are frequently seen in attendance on other divinities; thus they carry music for Apollo, myrtles for Aphrodite, etc., and frequently accompany the Muses, Eros, or Dionysus.

 

 

 

Closel
y allied to the Graces were the Horae, or Seasons, who were also represented as three beautiful maidens, daughters of Zeus and Themis. Their names were Eunomia, Dice, and Irene.

It may appear strange that these divinities, presiding over the seasons, should be but three in number, but this is quite in accordance with the notions of the ancient Greeks, who only recognized spring, summer, and autumn as seasons; nature being supposed to be wrapt in death or slumber, during that cheerless and unproductive portion of the year which we call winter. In some parts of Greece there were but two Horae, Thallo, goddess of the bloom, and Carpo, of the corn and fruit-bearing season.

The Horae are always regarded as friendly towards mankind, and totally devoid of guile or subtlety; they are represented as joyous, but gentle maidens, crowned with flowers, and holding each other by the h
and in a round dance. When they are depicted separately as personifications of the different seasons, the Hora representing spring appears laden with flowers, that of summer bears a sheaf of corn, whilst the personification of autumn has her hands filled with clusters of grapes and other fruits. They also appear in company with the Graces in the train of Aphrodite, and are seen with Apollo and the Muses.

They are inseparably connected with all that is good and beautiful in nature, and as the regular alternation of the seasons, like all her other operations, demands the most perfect order and regularity, the Horae, being the daughters of Themis, came to be regarded as the representatives of order, and the just administration of human affairs in civilized communities. Each of these graceful maidens took upon herself a separate function: Eunomia presided more especially over stat
e life, Dice guarded the interests of individuals, whilst Irene, the gayest and brightest of the three sisters, was the light-hearted companion of Dionysus.

The Horae were also the deities of the fast-fleeting hours, and thus presided over the smaller, as well as the larger divisions of time. In this capacity they assist every morning in yoking the celestial horses to the glorious chariot of the sun, which they again help to unyoke when he sinks to rest.

In their original conception they were personifications of the clouds, and are described as opening and closing the gates of heaven, and causing fruits and flowers to spring forth, when they pour down upon them their refreshing and life-giving streams.

 

 

 

The graceful beings called the Nymphs were the presiding deities of the woods, grottoes, streams, meadows, etc.

These divinities were supposed to be beautiful maidens of fairy-like form, and robed in more or less shadowy garments. They were held in the greatest veneration, though, being minor divinities, they had no temples dedicated to them, but were worshipped in caves or grottoes, with libations of milk, honey, oil, etc.

They may be divided into three distinct classes, viz., water, mountain, and tree or wood nymphs.

 

 

 

The worship of water-deities is common to most primitive nations. The streams, springs, and fountains of a country bear the same relation to it which the blood, coursing through the numberless arteries of a human being, bears to the body; both represent the living, moving, life-awakening element, without which existence would be impossible. Hence we find among most nations a deep feeling of attachment to the streams and waters of their native land, the remembrance of which, when absent in foreign climes, is always treasured with peculiar fondness. Thus
among the early Greeks, each tribe came to regard the rivers and springs of its individual state as beneficent powers, which brought blessing and prosperity to the country. It is probable also that the charm which ever accompanies the sound of running water exercised its power over their imagination. They heard with delight the gentle whisper of the fountain, lulling the senses with its low, rippling tones; the soft purling of the brook as it rushes over the pebbles, or the mighty voice of the waterfall as it dashes on in its headlong course; and the beings which they pictured to themselves as presiding over all these charming sights and sounds of nature, corresponded, in their graceful appearance, with the scenes with which they were associated.

 

 

 

The Oceanides, or Ocean Nymphs, were the daughters of Oceanus and Tethys, and, like most sea divinities, were endowed with
the gift of prophecy.

They are personifications of those delicate vapour-like exhalations, which, in warm climates, are emitted from the surface of the sea, more especially at sunset, and are impelled forwards by the evening breeze. They are accordingly represented as misty, shadowy beings, with graceful swaying forms, and robed in pale blue, gauze-like fabrics.

 

 

 

The Nereides were the daughters of Nereus and Doris, and were nymphs of the Mediterranean Sea.

They are similar in appearance to the Oceanides, but their beauty is of a less shadowy order, and is more like that of mortals. They wear a flowing, pale green robe; their liquid eyes resemble, in their clear depths, the lucid waters of the sea they inhabit; their hair floats carelessly over their
shoulders, and assumes the greenish tint of the water itself, which, far from deteriorating from their beauty, greatly adds to its effect. The Nereides either accompany the chariot of the mighty ruler of the sea, or follow in his train.

We are told by the poets that the lonely mariner watches the Nereides with silent awe and wondering delight, as they rise from their grotto-palaces in the deep, and dance, in joyful groups, over the sleeping waves. Some, with arms entwined, follow with their movements the melodies which seem to hover over the sea, whilst others scatter liquid gems around, these being emblematical of the phosphorescent light, so frequently observed at night by the traveller in southern waters.

The best known of the Nereides were Thetis, the wife of Peleus, Amphitrite, the spouse of Poseidon, and Galatea, the beloved of Acis.

 

 

 

The Naiades were the nymphs of fresh-water springs, lakes, brooks, rivers, etc.

As the trees, plants, and flowers owed their nourishment to their g
enial, fostering care, these divinities were regarded by the Greeks as special benefactors to mankind. Like all the nymphs, they possessed the gift of prophecy, for which reason many of the springs and fountains over which they presided were believed to inspire mortals who drank of their waters with the power of foretelling future events. The Naiades are intimately connected in idea with those flowers which are called after them Nymphae, or water-lilies, whose broad, green leaves and yellow cups float upon the surface of the water, as though proudly conscious of their own grace and beauty.

We often hear of the Naiades forming alliances with mortals, and also of their being wooed by the sylvan deities of the woods and dales.

 

 

 

The tree nymphs partook of the distinguishing characteristics of the particular tree to whose life they were wedded, and were known collectively by the name of the Dryades.

The Hamadryades, or oak nymphs, represent in their peculiar individuality the quiet, self-reliant power which app
ears to belong essentially to the grand and lordly king of the forest.

The Birch Nymph is a melancholy maiden with floating hair, resembling the branches of the pale and fragile-looking tree which she inhabits.

The Beech Nymph is strong and sturdy, full of life and joyousness, and appears to give promise of faithful love and undisturbed repose, whilst her rosy cheeks, deep brown eyes, and graceful form bespeak health, vigour, and vitality.

The nymph of the Linden Tree is represented as a little coy maiden, whose short silver-gray dress reaches a little below the knee, and displays to advantage her delicately formed limbs. The sweet face, which is partly averted, reveals a pair of large blue eyes, which appear to look at you with wondering surprise and shy mistrust; her pale, golden hair is bound by the faintest streak of rose-colour
ed ribbon.

The tree nymph, being wedded to the life of the tree she inhabited, ceased to exist when it was either felled, or so injured as to wither away and die.

 

 

 

 

 

The Napaeae were the kind and gentle nymphs of the valleys and glens who appear in the train of Artemis. They are represented as lovely maidens with short tunics, which, reaching only to the knee, do not impede their swift and graceful movements in the exercise of the chase. Their pale brown tresses are fastened in a knot at the back of the head, whence a few stray curls escape over their shoulders. The Napaeae are shy as the fawns, and quite as frolicsome.

 

 

 

The Oreades, or mountain nymphs, who are the principal and constant companions of Artemis, are tall, graceful maidens, attired as huntresses. They are ardent followers of the chase, and spare neither the gentle deer nor the timid hare, nor indeed any animal they meet with in their rapid course. Wherever their wild hunt goes the shy Napaeae are represented as hiding behind the leaves, whilst their favourites, the fawns, kneel tremblingly beside them, looking up beseechingly for protection from the wild huntresses; and even the bold Satyrs dart away at their approach, and seek safety in flight.

There is a myth connected with one of these mountain nymphs, the unfortunate Echo. She became enamoured of a beautiful youth named Narcissus, son of the river-god Cephissus, who, however, failed to return her love, which so grieved her that she gradually pined away, becoming a mere shadow of her former self, till, at length, nothing remained of her except her voice, which henceforth gave back, with unerring fidelity, every sound that was uttered in the hills and dales. Narcissus himself also met with an unhappy fate, for Aphrodite punished him by causing him to fall in love with his own image, which he beheld in a neighbouring fountain, whereupon, consumed with unrequited love, he wasted away, and was changed into the flower which bears his name.