Thomas Bulfinch - Greek and Roman Mythology
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PiiM iNcirs AG EOF FablecmiBf-autie^ of
WELLES LEY COLLEGE
PURCHASED FROM LIBRARY FUNDS
t''*on.t It piece
THE AGE OF FABLEOR
THOMAS BULFINCHA NEW, REVISED AND ENLARGED EDITION
'O, ye delicious fables
where the wave
And woods wereSolovelyI
peopled, and the air, with things why has science grave!
Scattered afar your sweet imaginings?"
WITH A CLASSICAL INDEX AND DICTIONARY AND NEARLY TIYO HUNDRED ILLUSTRATIONS
DAVID McKAY, PUBLISHER,604-8
SOUTH WASHINGTON SQUARE.
Copyright, 1898, by
HENRY WADSWORTH LONGFELLOW,THE POET ALIKE OF THE MANY AND OF THE FEW,THIS ATTEMPT TO POPULARIZE
MYTHOLOGY,AND EXTEND THE ENJOYMENT OF ELEGANT LITERATURE,IS
To E. L.
Bo''na Dc'a, Clym-'e-ne,Ni''ke, Psy'che, Graces three.
AUTHOR'S PREFACE.If no other knowledge deserves to be called useful but that
which helpssociety, thenif that
to enlarge our possessions or to raise our station in
Mythology has no claimto
to the appellation.
better can be called;
that epithet for our subjectliterature,
one of the best
of virtue and promoters of happiness.litera-
Without a knowledge of mythology much of the elegantture of our
own language cannot be understood andcalls
the Niobe of nations, or says, of Venice,
she looks a sea-Cybele fresh from ocean, he calls up to the
of one familiar with our subject illustrations more vivid andstriking than the pencil could furnish, but
lost to the
reader ignorant of mythology.sions.
Milton abounds in similar
The short poem Comus contains more than
and the ode
Morning of the Nativity halfare scattered profusely.
Through Paradise Lost theyreason
often hear persons
by no means
they cannot enjoy Milton,
But were these persons to add
A UTEORS PREFACE,moresolid acquirements
the easy learning of this
of the poetry of Milton which has appeared toasis
them harsh and crabbed would be found musicallute.
from more than twenty-five poets,
from Spenser to Longfellow, will show
general has been the
practice of borrowing illustrations from mythology.
prose writers also avail themselves of the same source of
elegant and suggestive illustration.
be taught to one who does not learn
through the medium of the languages of Greece and
devote study to a species of learning which relates wholly tomarvels and obsolete faithsis
not to be expected of thethis.
general reader in a practical age likethe youngis
The time even ofand things
claimed by so
sciences of facts
that little can
be spared for
on a science of mere
But may not the requisite knowledge of the subject be acquired
by reading the ancient poetsis
reply, the fieldtransla-
too extensive for a preparatory course,
and these very
some previous knowledge of the subjectan attempt to solvein such a
Our bookstories of
make them a
have endeavored to
cording to the ancient authorities, so that when the reader finds
them referred to he may not beence.
at a loss to recognize the refer-
Thus we hope
mythology not as a study, but as
a relaxation from study
to give ourto impart
work the charm of a
book, yet by means of
a knowledge of an important
branch of education.
Most of the Ovid and
legends in this book are derived fromare not literally translated, for, in theis
author's opinion, poetry translated into literal proseattractive reading.
Neither are they in verse, as well for other
AUTHORS PREFACE.reasons as from a conviction that to translate faithfully underthe embarrassments of
rhyme and measure
attempt has been
to tell the stories in prose, preserving sois
of the poetry as resides in the thoughts and
from the language
and omitting those amplifications which
are not suited to the altered form.
poetical citations so freely introduced are expected to
answer several valuable purposes.
will tend to fix in
ory the leading fact of each story, they will help to the attainmentof a correct pronunciation of the proper names, and they willenrich the
memory with many gems of
some of them
such as are most frequently quoted or alluded to in reading andconversation.
Having chosen mythologyprovince,
literature for our
we have endeavoredis
to omit nothing
which the readerSuchstories
of elegant literature
likely to find occasion for.
parts of stories as are offensive to pure taste
and good moralsto,
are not given.
not often referred
they occasionally should be, the English reader needmortification in confessing his ignorance of them.
Our bookeither sex,
not for the learned, nor for the theologian, nor
for the philosopher, but for the reader
wishes to comprehend the allusions so frequently
public speakers, lecturers, essayists, and poets, and
those which occur in polite conversation.
our young readers will find
a source of entertainin their reading;
more advanced, a useful companionandvisit
galleries of art,
interpreter of paintings
cultivated society, a key to allusions
who mingle in occasionally made;
those in advanced
pleasure in retracing a
path of literature which leads them back to the days of theirchildhood, and revives at every step the associations of the morning oflife.
A UTHOB S PREFA CE.those associations:
The permanency ofin the
lines of Coleridge
forms of ancient poets,
humanities of old religion,the Beauty, and the Majesty
The Power,That had
their haunts in dale or piny mountain.
by slow stream, or pebbly;
Or chasms and watery depthsTheyButlive
these have vanished;
in the faith of reason;
the heart doth need a language
the old instinct bring back the old names.
gods that used to shareas with their friend;
who brings whate'er is great And Venus who brings every thing that's'Tis Jupiter
EDITOR'S PREFACE.Mythology effort to knowseeks to relate.is
the dust of former beliefs.
story of that effort this
There has always been a fascination about theIt
of Fable" unequalled by any similar work.
given to the public some forty years ago, but time has failed tothe
undergone marked changes, especially oncomparative sides;
the essential story remains unsurpassed.
simplicity of style
and purpose has contributed
By connecting mythology withfact.
of fable became the one of
Other mythologists were content;
to introduce the gods to each other
Mr. Bulfinch sought to
make them acquainted with men.abandoned the conventional manualas a story.
In this he succeeded, and an
intimacy was formed which had not hitherto existed.idea,
between a manual and consecutive
the difference between a series of stagnant pools and
a running stream.
In the latter instance one
the force of the current.
which we have referrededition.
The marked changes, however, to demand a newer and more completereceived nois
The Pantheons of Greece and Rome have
important accessions, but the eastern skystars.
There has been a resurrection throughout Egypt andThis we have sought to recognize by introducing anSection on Babylon, Assyria and Phoenicia.
Babylon which has entirely transformed the mythologies of thosecountries. entirely