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 abounds5 in similar allusions7. 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 scattered8 profusely9. This is one reason why we often hear persons by no means illiterate10 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 lute11.” Our citations12, 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 marvels13 and obsolete14 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 treatises15 on a science of mere16 fancy.
But may not the requisite17 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 intelligible18. Let any one who doubts it read the first page of the “?neid,” and see what he can make of “the hatred19 of Juno,” the “decree of the Parc?,” the “judgment of Paris,” and the “honors of Ganymede,” without this knowledge.
Shall we be told that answers to such queries20 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 allusion6 pass unapprehended rather than submit to it. Moreover, such sources give us only the dry facts without any of the charm of the original narrative21; and what is a poetical22 myth when stripped of its poetry? The story of Ceyx 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 work 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 relaxation23 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 parlor24.
Most of the classical legends in “Stories of Gods and Heroes” are derived26 from Ovid and Virgil. They are not literally27 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 embarrassments28 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 mythological29 stories are copied with some abridgment30 from Mallet’s “Northern Antiquities31.” 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 fables32.
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 attainment33 of a correct pronunciation of the proper names, and they will enrich the memory with many gems34 of poetry, some of them such as are most frequently quoted or alluded35 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 mortification36 in confessing his ignorance of them.
Our work 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.
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In the “Stories of Gods and Heroes” the compiler has endeavored to impart the pleasures of classical learning to the English reader, by presenting the stories of Pagan mythology in a form adapted to modern taste. In “King Arthur and His Knights” and “The Mabinogeon” the attempt has been made to treat in the same way the stories of the second “age of fable,” the age which witnessed the dawn of the several states of Modern Europe.
It is believed that this presentation of a literature which held unrivalled sway over the imaginations of our ancestors, for many centuries, will not be without benefit to the reader, in addition to the amusement it may afford. The tales, though not to be trusted for their facts, are worthy37 of all credit as pictures of manners; and it is beginning to be held that the manners and modes of thinking of an age are a more important part of its history than the conflicts of its peoples, generally leading to no result. Besides this, the literature of romance is a treasure-house of poetical material, to which modern poets frequently resort. The Italian poets, Dante and Ariosto, the English, Spenser, Scott, and Tennyson, and our own Longfellow and Lowell, are examples of this.
These legends are so connected with each other, so consistently adapted to a group of characters strongly individualized in Arthur, Launcelot, and their compeers, and so lighted up by the fires of imagination and invention, that they seem as well adapted to the poet’s purpose as the legends of the Greek and Roman mythology. And if every well-educated young person is expected to know the story of the Golden Fleece, why is the quest of the Sangreal less worthy of his acquaintance? Or if an allusion to the shield of Achilles ought not to pass unapprehended, why should one to Excalibar, the famous sword of Arthur?—
“Of Arthur, who, to upper light restored,
With that terrific sword,
Which yet he brandishes38 for future war,
Shall lift his country’s fame above the polar star.”[1]
It is an additional recommendation of our subject, that it tends to cherish in our minds the idea of the source from which we sprung. We are entitled to our full share in the glories and recollections of the land of our forefathers39, down to the time of colonization40 thence. The associations which spring from this source must be fruitful of good influences; among which not the least valuable is the increased enjoyment41 which such associations afford to the American traveller when he visits England, and sets his foot upon any of her renowned42 localities.
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The legends of Charlemagne and his peers are necessary to complete the subject.
In an age when intellectual darkness enveloped43 Western Europe, a constellation44 of brilliant writers arose in Italy. Of these, Pulci (born in 1432), Boiardo (1434), and Ariosto (1474) took for their subjects the romantic fables which had for many ages been transmitted in the lays of bards45 and the legends of monkish46 chroniclers. These fables they arranged in order, adorned47 with the embellishments of fancy, amplified48 from their own invention, and stamped with immortality49. It may safely be asserted that as long as civilization shall endure these productions will retain their place among the most cherished creations of human genius.
In “Stories of Gods and Heroes,” “King Arthur and His Knights” and “The Mabinogeon” the aim has been to supply to the modern reader such knowledge of the fables of classical and medi?val literature as is needed to render intelligible the allusions which occur in reading and conversation. The “Legends of Charlemagne” is intended to carry out the same design. Like the earlier portions of the work, it aspires50 to a higher character than that of a piece of mere amusement. It claims to be useful, in acquainting its readers with the subjects of the productions of the great poets of Italy. Some knowledge of these is expected of every well-educated young person.
In reading these romances, we cannot fail to observe how the primitive51 inventions have been used, again and again, by successive generations of fabulists. The Siren of Ulysses is the prototype of the Siren of Orlando, and the character of Circe reappears in Alcina. The fountains of Love and Hatred may be traced to the story of Cupid and Psyche52; and similar effects produced by a magic draught53 appear in the tale of Tristram and Isoude, and, substituting a flower for the draught, in Shakspeare’s “Midsummer Night’s Dream.” There are many other instances of the same kind which the reader will recognize without our assistance.
The sources whence we derive25 these stories are, first, the Italian poets named above; next, the “Romans de Chevalerie” of the Comte de Tressan; lastly, certain German collections of popular tales. Some chapters have been borrowed from Leigh Hunt’s Translations from the Italian Poets. It seemed unnecessary to do over again what he had already done so well; yet, on the other hand, those stories could not be omitted from the series without leaving it incomplete.
Thomas Bulfinch.
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1
mythology
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| n.神话，神话学，神话集 | |
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appellation
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| n.名称，称呼 | |
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epithet
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| n.（用于褒贬人物等的）表述形容词，修饰语 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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abounds
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| v.大量存在，充满，富于( abound的第三人称单数 ) | |
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allusion
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| n.暗示，间接提示 | |
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allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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profusely
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| ad.abundantly | |
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illiterate
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| adj.文盲的；无知的；n.文盲 | |
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lute
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| n.琵琶，鲁特琴 | |
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citations
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| n.引用( citation的名词复数 )；引证；引文；表扬 | |
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marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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obsolete
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| adj.已废弃的，过时的 | |
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treatises
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| n.专题著作，专题论文，专著( treatise的名词复数 ) | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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requisite
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| adj.需要的，必不可少的；n.必需品 | |
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intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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hatred
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| n.憎恶，憎恨，仇恨 | |
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queries
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| n.问题( query的名词复数 )；疑问；询问；问号v.质疑，对…表示疑问( query的第三人称单数 )；询问 | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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relaxation
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| n.松弛，放松；休息；消遣；娱乐 | |
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parlor
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| n.店铺，营业室；会客室，客厅 | |
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derive
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| v.取得；导出；引申；来自；源自；出自 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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embarrassments
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| n.尴尬( embarrassment的名词复数 )；难堪；局促不安；令人难堪或耻辱的事 | |
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mythological
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| adj.神话的 | |
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abridgment
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| n.删节，节本 | |
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antiquities
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| n.古老( antiquity的名词复数 )；古迹；古人们；古代的风俗习惯 | |
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fables
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| n.寓言( fable的名词复数 )；神话，传说 | |
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attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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mortification
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| n.耻辱，屈辱 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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brandishes
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| v.挥舞( brandish的第三人称单数 )；炫耀 | |
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forefathers
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| n.祖先，先人；祖先，祖宗( forefather的名词复数 )；列祖列宗；前人 | |
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colonization
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| 殖民地的开拓，殖民，殖民地化； 移殖 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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enveloped
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| v.包围，笼罩，包住( envelop的过去式和过去分词 ) | |
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constellation
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| n.星座n.灿烂的一群 | |
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bards
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| n.诗人( bard的名词复数 ) | |
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monkish
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| adj.僧侣的，修道士的，禁欲的 | |
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adorned
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| [计]被修饰的 | |
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amplified
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| 放大，扩大( amplify的过去式和过去分词 )； 增强； 详述 | |
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immortality
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| n.不死，不朽 | |
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aspires
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| v.渴望，追求( aspire的第三人称单数 ) | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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psyche
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| n.精神；灵魂 | |
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draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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