Farewell. Phædra and Hippolytus: The Hippolytus of Euripides; Swinburne, Phædra; Browning, Artemis Prologizes; M. P. Fitzgerald, The Crowned Hippolytus; A. Mary F. Robinson, The Crowned Hippolytus; L. Morris (Epic of Hades), Phædra. On Cecrops: J. S. Blackie, The Naming of Athens. Erechtheus, by A. C. Swinburne.

In Art. - The Battle with the Amazons frequently recurs in ancient sculpture; The Sleeping Ariadne, of the Vatican. Modern Sculpture: the Theseus of Canova (Volksgarten, Vienna); the Ariadne of Dannecker. Paintings: Tintoretto's Ariadne and Bacchus; Teschendorff's Ariadne; Titian's Bacchus and Ariadne.

§§ 158-164. The Royal Family of Thebes.

Illustrative. —Œdipus: Plumptre's translation of Edipus the King, ŒEdipus Coloneus, and Antigone; Shelley, Swellfoot the Tyrant; E. Fitzgerald, The Downfall and Death of King (Edipus; Sir F. H. Doyle, Edipus Tyrannus; Aubrey de Vere, Antigone; Emerson, The Sphinx; W. B. Scott, The Sphinx; M. Arnold, Fragment of an Antigone. Tiresias: By Swinburne, Tennyson, and Thomas Woolner.

In Art. — Ancient: Edipus and the Sphinx, in Monuments Inédits (Rome, Paris, 1839-1878). Modern paintings: Teschendorff's ŒŒdipus and Antigone, Antigone and Ismene, and Antigone; Edipus and the Sphinx, by J. D. A. Ingres; The Sphinx, by D. G. Rossetti.

§§ 158-176. Of the stories told in these sections no systematic, allegorical, or physical interpretations are here given, because (1) the general method followed by the unravellers of myth has already been sufficiently illustrated; (2) the attempt to force symbolic conceptions into the longer folk-stories, or into the artistic myths and epics of any country, is historically unwarranted and,

in practice, is only too often capricious; (3) the effort to interpret such stories as the Iliad and the Odyssey must result in destroying those elements of unconscious simplicity and romantic vigor that characterize the products of early creative imagination.

§ 165. Houses Concerned in the Trojan War.

(3) Family of Tyndareus and its connections:

Castor and Pollux are called sometimes Dioscuri (sons of Jove), sometimes Tyndarida (sons of Tyndareus). Helen is frequently called Tyndaris, daughter of Tyndareus.

(4) Descent of Ulysses and Penelope :

§ 166. C. S. Calverley's The Sons of Leda, from Theocritus. Leda:
Spenser, Prothalamion; Landor, Loss of Memory.

§ 167. On the Iliad and on Troy: Keats, Sonnet on Chapman's Homer;
Milton, P. L. 1: 578; 9:16; Il Pens. 100; Hartley Coleridge, Sonnet on
Homer; T. B. Aldrich, Pillared Arch and Sculptured Tower; the Sonnets of
Lang and Myers prefixed to Lang, Myers, and Leaf's translation of the Iliad.

On the Judgment of Paris: George Peele, Arraignment of Paris; James Beattie, Judgment of Paris; Tennyson, Dream of Fair women; J. S. Blackie, Judgment of Paris. See, for allusions, Shakespeare, All's Well 1:2; 1:3; Hen. V. 2:4; Troil and Cressida 1:1; 2:2; 3: 1; Rom. and Jul. 1:2; 2:4; 4:1; 5:3- On Helen: A. Lang, Helen of Troy, and his translation of Theocritus XVIII.; Landor, Menelaus and Helen; G. P. Lathrop, Helen at the Loom (Atlantic Monthly, Vol. 32, 1873). See Shakespeare, M. N. Dream 1:1; 3:2; 4: 1; All's Well 1:1; 1:3; 2:2; Rom. and Jul. 2:4; Troil. and Cressida 2: 2; Marlowe, Faustus (Helen appears before Faust).

In Art. - Homer: the sketch by Raphael (in the Museum, Venice). Paintings: Sir Frederick Leighton, Helen of Troy; Paris and Helen, by David; The Judgment of Paris, by Rubens; by Watteau. Sculpture: Canova's Paris. Crayons: D. G. Rossetti's Helen.

Iphigenia and Agamemnon: On pp. 288 and 311, in accordance with Goethe's practice, the name Tauris is given to the land of the Tauri. To be correct one should say, “Iphigenia among the Tauri,” or “Taurians." (See Index.) Iphigenia and Agamemnon by W. S. Landor; also his Shades of Agamemnon and Iphigenia; Dryden, Cymon and Iphigenia; Richard Garnett, Iphigenia in Delphi; Sir Edwin Arnold, Iphigenia; W. B. Scott, Iphigenia at Aulis. Any translations of Goethe's Iphigenia in Tauris, and of Euripides' Iphigenia in Aulis and Among the Tauri; also of Æschylus' Agamemnon: - such as those by Milman, Anna Swanwick, Plumptre, E. A. Morshead, J. S. Blackie, E. Fitzgerald, and Robert Browning. For Agamemnon, see Shakespeare, Troil, and Cressida 1:3; 2:1; 2:3; 3:3; 4:5; 5:1; and James Thomson, Agamemnon (a drama). The Troilus and Cressida story is not found in Greek and Latin classics. Shakespeare follows Chaucer's Troilus and Creseide, which is based upon the Filostrato of Boccaccio. On Menelaüs, see notes to Helen and Agamemnon.

In Art. Iphigenia (paintings): E. Hübner; William Kaulbach; E. Teschendorff.

§ 168. Achilles. - Chaucer, H. of F. 398; Dethe of Blaunche 329; Landor, Peleus and Thetis; Sir Theodore Martin, translation of Catullus LXIV.; Translation by C. M. Gayley as quoted in text, § 165 a. See also Shakespeare, Troil. and Cressida; 2 Hen. VI. 5: 1; Love's L. L. 5:2; Milton, P. L. 9: 15. In Art. Flaxman, Fight for the Body of Patroclus; Wiertz (Wiertz Museum, Brussels), Fight for the Body of Achilles. Pompeian wall-paintings: Chiron and Achilles, Achilles carried from Scyros, Achilles bereft of Briseïs; the Feast of Peleus, by Burne-Jones (picture).

Ajax. Plumptre, Ajax of Sophocles. Shakespeare, Troil. and Cressida; Love's L. L. 4:3; 5: 2; Taming of Shrew 3: 1; Ant. and Cleo. 4:2; Lear 2:2; Cymbel. 4: 2; George Crabbe, The Village.

In Art. The ancient sculpture, Ajax (or Menelaus) of the Vatican. Modern sculpture, The Ajax of Canova. Flaxman's outline drawings for the Iliad.

Hector and Andromache.—Mrs. Browning, Hector and Andromache, a paraphrase of Homer; C. T. Brooks, Schiller's Parting of Hector and Andromache. See also Shakespeare, Troil. and Cressida; Love's L. L. 5:2; 2 Hen. IV. 2:4; Ant. and Cleo. 4: 8.

In Art. Hector, Ajax, Paris, Æneas, Patroclus, Teucer, etc., among the Ægina Marbles (Glyptothek, Munich); Flaxman's outline sketches of Hector dragged by Achilles, Priam supplicating Achilles, Hector's Funeral, Andromache fainting on the walls of Troy; Canova's (sculpture) Hector; Thorwaldsen's (relief) Hector and Andromache.

Priam and Hecuba. - The translations of Euripides' Hecuba and Troades; Shakespeare, Troil. and Cres.; Coriol. 1:3; Cymbel. 4:2; Hamlet 2:2; 2 Hen. IV. 1: 1.

§ 169. Polyxena.-W. S. Landor, The Espousals of Polyxena. Philoctetes: translation of Sophocles by Plumptre; Sonnet by Wordsworth; Drama by Lord de Tabley. Enone, see A. Lang's Helen of Troy; W. Morris, Death of Paris (Earthly Paradise); Landor, Corythos (son of Enone); the Death of Paris and Enone; Tennyson, Enone; also the Death of Enone, which is not so good.

The story of the death of Corythus, the son of Enone and Paris, at the hands of his father, who was jealous of Helen's tenderness toward the youth, is a later myth, but exquisitely pathetic.

Sinon.

5:3.

Shakespeare, 3 Hen. VI. 3:2; Cymbel. 3:4; Titus Andron.

Laocoön. - L. Morris, in the Epic of Hades. See Frothingham's translation of Lessing's Laocoön (a most important discussion of the Laocoön group and of principles of æsthetics). See also Swift's Description of a City Shower.

In Art. The original of the celebrated group (statuary) of Laocoön and his children in the embrace of the serpents is in the Vatican in Rome.

§ 170. Cassandra. — Chaucer, Troilus and Creseide; Dethe of Blaunche, 1246. Poems by W. M. Praed and D. G. Rossetti. See Troil. and Cressida 1:1; 2:2; 5: 3; Lord Lytton's translation of Schiller's Cassandra.

In Art. The Cassandra of Dante Gabriel Rossetti (in ink).

Orestes and Electra. - Translations of the Electra of Sophocles, the Libation-pourers and the Eumenides of Eschylus, by Plumptre; and of the Orestes and Electra of Euripides, by Wodhull. Lord de Tabley, Orestes (a drama); Byron, Childe Harold 4; Milton, sonnet, "The repeated air of sad Electra's poet," etc.