by E. M. Berens
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By degrees the conception of Eros became multiplied and we hear of little love-gods (Amors), who appear under the most charming and diversified forms. These love-gods, who afforded to artists inexhaustible subjects for the exercise of their imagination, are represented as being engaged in various occupations, such as hunting, fishing, rowing, driving chariots, and even busying themselves in mechanical labour.
Perhaps no myth is more charming and interesting than that of Eros and Psyche, which is as follows:—Psyche, the youngest of three princesses, was so transcendently beautiful that Aphrodite herself became jealous of her, and no mortal dared to aspire to the honour of her hand. As her sisters, who were by no means equal to her in attractions, were married, and Psyche still remained unwedded, her father consulted the oracle of Delphi, and, in obedience to the divine response, caused her to be dressed as though for the grave, and conducted to the edge of a yawning precipice. No sooner was she alone than she felt herself lifted up, and wafted away by the gentle west wind Zephyrus, who transported her to a verdant meadow, in the midst of which stood a stately palace, surrounded by groves and fountains.
Here dwelt Eros, the god of Love, in whose arms Zephyrus deposited his lovely burden. Eros, himself unseen, wooed her in the softest accents of affection; but warned her, as she valued his love, not to endeavour to behold his form. For some time Psyche was obedient to the injunction of her immortal spouse, and made no effort to gratify her natural curiosity; but, unfortunately, in the midst of her happiness she was seized with an unconquerable longing for the society of her [152]sisters, and, in accordance with her desire, they were conducted by Zephyrus to her fairy-like abode. Filled with envy at the sight of her felicity, they poisoned her mind against her husband, and telling her that her unseen lover was a frightful monster, they gave her a sharp dagger, which they persuaded her to use for the purpose of delivering herself from his power.
After the departure of her sisters, Psyche resolved to take the first opportunity of following their malicious counsel. She accordingly rose in the dead of night, and taking a lamp in one hand and a dagger in the other, stealthily approached the couch where Eros was reposing, when, instead of the frightful monster she had expected to see, the beauteous form of the god of Love greeted her view. Overcome with surprise and admiration, Psyche stooped down to gaze more closely on his lovely features, when, from the lamp which she held in her trembling hand, there fell a drop of burning oil upon the shoulder of the sleeping god, who instantly awoke, and seeing Psyche standing over him with the instrument of death in her hand, sorrowfully reproached her for her treacherous designs, and, spreading out his wings, flew away.
In despair at having lost her lover, the unhappy Psyche endeavoured to put an end to her existence by throwing herself into the nearest river; but instead of closing over her, the waters bore her gently to the opposite bank, where Pan (the god of shepherds) received her, and consoled her with the hope of becoming eventually reconciled to her husband.
Meanwhile her wicked sisters, in expectation of meeting with the same good fortune which had befallen Psyche, placed themselves on the edge of the rock, but were both precipitated into the chasm below.
Psyche herself, filled with a restless yearning for her lost love, wandered all over the world in search of him. At length she appealed to Aphrodite to take compassion on her; but the goddess of Beauty, still jealous of her charms, imposed upon her the hardest tasks, the accomplishment of which often appeared impossible. In these [153]she was always assisted by invisible, beneficent beings, sent to her by Eros, who still loved her, and continued to watch over her welfare.
Psyche had to undergo a long and severe penance before she became worthy to regain the happiness, which she had so foolishly trifled away. At last Aphrodite commanded her to descend into the under world, and obtain from Persephone a box containing all the charms of beauty. Psyche's courage now failed her, for she concluded that death must of necessity precede her entrance into the realm of shades. About to abandon herself to despair, she heard a voice which warned her of every danger to be avoided on her perilous journey, and instructed her with regard to certain precautions to be observed. These were as follows:—not to omit to provide herself with the ferryman's toll for Charon, and the cake to pacify Cerberus, also to refrain from taking any part in the banquets of A?des and Persephone, and, above all things, to bring the box of beauty charms unopened to Aphrodite. In conclusion, the voice assured her, that compliance with the above conditions would insure for her a safe return to the realms of light. But, alas, Psyche, who had implicitly followed all injunctions, could not withstand the temptation of the last condition; and, hardly had she quitted the lower world, when, unable to resist the curiosity which devoured her, she raised the lid of the box with eager expectation. But, instead of the wondrous charms of beauty which she expected to behold, there issued from the casket a dense black vapour, which had the effect of throwing her into a death-like sleep, out of which Eros, who had long hovered round her unseen, at length awoke her with the point of one of his golden arrows. He gently reproached her with this second proof of her curiosity and folly, and then, having persuaded Aphrodite to be reconciled to his beloved, he induced Zeus to admit her among the immortal gods.
Their reunion was celebrated amidst the rejoicings of all the Olympian deities. The Graces shed perfume on
[154]their path, the Hours sprinkled roses over the sky, Apollo added the music of his lyre, and the Muses united their voices in a glad chorus of delight.
This myth would appear to be an allegory, which signifies that the soul, before it can be reunited to its original divine essence, must be purified by the chastening sorrows and sufferings of its earthly career.[51]
Eros is represented as a lovely boy, with rounded limbs, and a merry, roguish expression. He has golden wings, and a quiver slung over his shoulder, which contained his magical and unerring arrows; in one hand he bears his golden bow, and in the other a torch.
He is also frequently depicted riding on a lion, dolphin, or eagle, or seated in a chariot drawn by stags or wild boars, undoubtedly emblematical of the power of love as the subduer of all nature, even of the wild animals.
In Rome, Eros was worshipped under the name of Amor or Cupid.
HYMEN.
Hymen or Hymen?us, the son of Apollo and the muse Urania, was the god who presided over marriage and nuptial solemnities, and was hence invoked at all marriage festivities.
There is a myth concerning this divinity, which tells us that Hymen was a beautiful youth of very poor parents, who fell in love with a wealthy maiden, so far above him in rank, that he dared not cherish the hope of ever becoming united to her. Still he missed no opportunity of seeing her, and, upon one occasion, disguised himself as
[155]a girl, and joined a troop of maidens, who, in company with his beloved, were proceeding from Athens to Eleusis, in order to attend a festival of Demeter. On their way thither they were surprised by pirates, who carried them off to a desert island, where the ruffians, after drinking deeply, fell into a heavy sleep. Hymen, seizing the opportunity, slew them all, and then set sail for Athens, where he found the parents of the maidens in the greatest distress at their unaccountable disappearance. He comforted them with the assurance that their children should be restored to them, provided they would promise to give him in marriage the maiden he loved. The condition being gladly complied with, he at once returned to the island, and brought back the maidens in safety to Athens, whereupon he became united to the object of his love; and their union proved so remarkably happy, that henceforth the name of Hymen became synonymous with conjugal felicity.
IRIS (The Rainbow).
Iris, the daughter of Thaumas and Electra, personified the rainbow, and was the special attendant and messenger of the queen of heaven, whose commands she executed with singular tact, intelligence, and swiftness.
Most primitive nations have regarded the rainbow as a bridge of communication between heav
en and earth, and this is doubtless the reason why Iris, who represented that beautiful phenomenon of nature, should have been invested by the Greeks with the office of communicating between gods and men.
Iris is usually represented seated behind the chariot of Hera, ready to do the bidding of her royal mistress. She appears under the form of a slender maiden of great beauty, robed in an airy fabric of variegated hues, resembling mother-of-pearl; her sandals are bright as burnished silver, she has golden wings, and wherever she appears, a radiance of light, and a sweet odour, as of delicate spring flowers, pervades the air.
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HEBE (Juventas).
Hebe was the personification of eternal youth under its most attractive and joyous aspect.
She was the daughter of Zeus and Hera, and though of such distinguished rank, is nevertheless represented as cup-bearer to the gods; a forcible exemplification of the old patriarchal custom, in accordance with which the daughters of the house, even when of the highest lineage, personally assisted in serving the guests.
Hebe is represented as a comely, modest maiden, small, of a beautifully rounded contour, with nut-brown tresses and sparkling eyes. She is often depicted pouring out nectar from an upraised vessel, or bearing in her hand a shallow dish, supposed to contain ambrosia, the ever youth-renewing food of the immortals.
In consequence of an act of awkwardness, which caused her to slip while serving the gods, Hebe was deprived of her office, which was henceforth delegated to Ganymedes, son of Tros.
Hebe afterwards became the bride of Heracles, when, after his apotheosis, he was received among the immortals.
JUVENTAS.
Juventas was the Roman divinity identified with Hebe, whose attributes, however, were regarded by the Romans as applying more particularly to the imperishable vigour and immortal glory of the state.
In Rome, several temples were erected in honour of this goddess.
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GANYMEDES.
Ganymedes, the youngest son of Tros, king of Troy, was one day drawing water from a well on Mount Ida, when he was observed by Zeus, who, struck with his wonderful beauty, sent his eagle to transport him to Olympus, where he was endowed with immortality, and appointed cup-bearer to the gods.
Ganymedes is represented as a youth of exquisite beauty, with short golden locks, delicately chiselled features, beaming blue eyes, and pouting lips.
THE MUSES.
Of all the Olympic deities, none occupy a more distinguished position than the Muses, the nine beautiful daughters of Zeus and Mnemosyne.
In their original signification, they presided merely over music, song, and dance; but with the progress of civilization the arts and sciences claimed their special presiding divinities, and we see these graceful creations, in later times, sharing among them various functions, such as poetry, astronomy, &c.
The Muses were honoured alike by mortals and immortals. In Olympus, where Apollo acted as their leader, no banquet or festivity was considered complete without their joy-inspiring presence, and on earth no social gathering was celebrated without libations being poured out to them; nor was any task involving intellectual effort ever undertaken, without earnestly supplicating their assistance. They endowed their chosen favourites with knowledge, wisdom, and understanding; they bestowed upon the orator the gift of eloquence, inspired the poet with his noblest thoughts, and the musician with his sweetest harmonies.
Like so many of the Greek divinities, however, the refined conception of the Muses is somewhat marred by the acerbity with which they punished any effort on the part [158]of mortals to rival them in their divine powers. An instance of this is seen in the case of Thamyris, a Thracian bard, who presumed to invite them to a trial of skill in music. Having vanquished him, they not only afflicted him with blindness, but deprived him also of the power of song.
Another example of the manner in which the gods punished presumption and vanity is seen in the story of the daughters of King Pierus. Proud of the perfection to which they had brought their skill in music, they presumed to challenge the Muses themselves in the art over which they specially presided. The contest took place on Mount Helicon, and it is said that when the mortal maidens commenced their song, the sky became dark and misty, whereas when the Muses raised their heavenly voices, all nature seemed to rejoice, and Mount Helicon itself moved with exultation. The Pierides were signally defeated, and were transformed by the Muses into singing birds, as a punishment for having dared to challenge comparison with the immortals.
Undeterred by the above example, the Sirens also entered into a similar contest. The songs of the Muses were loyal and true, whilst those of the Sirens were the false and deceptive strains with which so many unfortunate mariners had been lured to their death. The Sirens were defeated by the Muses, and as a mark of humiliation, were deprived of the feathers with which their bodies were adorned.
The oldest seat of the worship of the Muses was Pieria in Thrace, where they were supposed to have first seen the light of day. Pieria is a district on one of the sloping declivities of Mount Olympus, whence a number of rivulets, as they flow towards the plains beneath, produce those sweet, soothing sounds, which may possibly have suggested this spot as a fitting home for the presiding divinities of song.
They dwelt on the summits of Mounts Helicon, Parnassus, and Pindus, and loved to haunt the springs and fountains which gushed forth amidst these rocky [159]heights, all of which were sacred to them and to poetic inspiration. Aganippe and Hippocrene on Mount Helicon, and the Castalian spring on Mount Parnassus, were sacred to the Muses. The latter flowed between two lofty rocks above the city of Delphi, and in ancient times its waters were introduced into a square stone basin, where they were retained for the use of the Pythia and the priests of Apollo.
Calliope.
The libations to these divinities consisted of water, milk, and honey, but never of wine.
Their names and functions are as follows:—
CALLIOPE, the most honoured of the Muses, presided over heroic song and epic poetry, and is represented with a pencil in her hand, and a slate upon her knee.
CLIO, the muse of History, holds in her hand a roll of parchment, and wears a wreath of laurel.
MELPOMENE, the muse of Tragedy, bears a tragic mask.
THALIA, the muse of Comedy, carries in her right hand a shepherd's crook, and has a comic mask beside her.
POLYHYMNIA, the muse of Sacred Hymns, is crowned with a wreath of laurel. She is always represented in a thoughtful attitude, and entirely enveloped in rich folds of drapery.
TERPSICHORE, the muse of Dance and Roundelay, is represented in the act of playing on a seven-stringed lyre.
URANIA, the muse of Astronomy, stands erect, and bears in her left hand a celestial globe.
EUTERPE, the muse of Harmony, is represented bearing a musical instrument, usually a flute.
ERATO, the muse of Love and hymeneal songs, wears a wreath of laurel, and is striking the chords of a lyre. [160]
Erato.
Euterpe.
Terpsichore.
Clio.
With regard to the origin of the Muses, it is said that they were created by Zeus in answer to a request on the part of the victorious deities, after the war with the [161]Titans, that some special divinities should be called into existence, in order to commemorate in song the glorious deeds of the Olympian gods.
Polyhymnia.
Thalia.
Melpomene.
Urania.
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PEGASUS.
Pegasus was a beautiful winged horse who sprang from the body of Medusa when she was slain by the hero Perseus, the son of Zeus and Dana?. Spreading out his wings he immediately flew to the top of Mount Olympus, where he was received with delight and admiration by all the immortals. A place in his palace was assigned to him by Zeus, who employed him to carry his thunder and lightning. Pegasus permitted none but the gods to mount him, except in the case of Bellerophon, whom, at the command of A
thene, he carried aloft, in order that he might slay the Chim?ra with his arrows.
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.