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In Art.-Græco-Roman sculpture: Orestes and Pylades find Iphigenia among the Taurians; Pompeian Fresco; Orestes and Electra (Villa Ludovisi, Rome); Orestes and Electra (National Museum, Naples). Vase paintings: Orestes slaying Ægisthus; Orestes at Delphi; Purification of Orestes. Modern painting: Electra, by Teschendorff, by Siefert.

Clytemnestra, The Death of, by W. S. Landor; Clytemnestra, by L. Morris, in the Epic of Hades.

Troy: Byron, in his Bride of Abydos, thus describes the appearance of the deserted scene where once stood Troy : —

"The winds are high, and Helle's tide

Rolls darkly heaving to the main;

And night's descending shadows hide
That field with blood bedewed in vain,

The desert of old Priam's pride,

The tombs, sole relics of his reign,

All-save immortal dreams that could beguile
The blind old man of Scio's rocky isle."

On Troy the following references will be valuable: Acland, H. W., The Plains of Troy, 2 v. Lond.: 1839; Schliemann, H., Troy and its Remains, Lond. 1875; Ilios, Lond.: 1881; Troja, results of latest researches on the site of Homer's Troy, Lond.: 1882; Armstrong, W. J., Atlantic Mo. v. 33: 173 (1874), Over Ilium and Ida; Jebb, R. C., Jour. Hellenic Studies v. 2:7, Homeric and Hellenic Ilium; Fortn. Rev., N. S. 35: 4331 (1884), Homeric Troy.

§ 171. The Odyssey: Lang, Sonnet, "As one that for a weary space has lain," prefixed to Butcher and Lang's Odyssey. Translations by W. Morris, G. H. Palmer, Chapman, Bryant, Pope. Ulysses: Tennyson; Landor, The Last of Ulysses. See also Shakespeare, Troil. and Cressida; 3 Hen. VI. 3:2; Coricl. 1:3; Milton, P. L. 2: 1019; Comus 637; R. Buchanan, Cloudland; Pope, Rape of Lock 4:182.

In Art. Ulysses giving Wine to Polyphemus, Escaping from the Cave, Summoning Tiresias, With the Sirens, in Monuments Inédits (Rome and Paris, 1839-1878); Meeting with Nausicaa (Gerhard's vase pictures); outline drawings of Ulysses weeping at the song of Demodocus, boring out the eye of Polyphemus, Ulysses killing the suitors, Mercury conducting the souls of the suitors, Ulysses and his dog, etc., by Flaxman.

Penelope Poems by R. Buchanan, E. C. Stedman, and W. S. Landor. In ancient sculpture, the Penelope in the Vatican. Modern painting by C. F. Marchal. In crayons by D. G. Rossetti.

Circe: M. Arnold, The Strayed Reveller; Hood, Lycus, the Centaur; D. G. Rossetti, The Wine of Circe; Saxe, The Spell of Circe. See Shake

speare, Com. Errors 5:1; 1 Hen. VI. 5:3; Milton, Comus 50, 153, 253, 522; Pope, Satire 8: 166; Cowper, Progress of Error; O. W. Holmes, Metrical Essay; Keats, Endymion, “I sue not for my happy crown again,” etc.

On Sirens and Scylla see §§ 52-54 C; S. Daniel, Ulysses and the Siren; Lowell, The Sirens. Scylla and Charybdis have become proverbial to denote opposite dangers besetting one's course.

Calypso: Pope, Moral Essays 2: 45; poem by Edgar Fawcett (Putnam's Mag. 14, 1869). Fénelon, in his romance of Telemachus, has given us the adventures of the son of Ulysses in search of his father. Among other places which he visited, following on his father's footsteps, was Calypso's isle; as in the former case, the goddess tried every art to keep the youth with her, and offered to share her immortality with him. But Minerva, who, in the shape of Mentor, accompanied him and governed all his movements, made him repel her allurements. Finally when no other means of escape could be found, the two friends leaped from a cliff into the sea, and swam to a vessel which lay becalmed off shore. Byron alludes to this leap of Telemachus and Mentor in the stanza of Childe Harold beginning, "But not in silence pass Calypso's isles," 2:29. Calypso's isle is said to be Goza.

In Art. Circe and the Companions of Ulysses, a painting by Briton Rivière. Circe, in crayons; Siren, in crayons; Sea-Spell, in oil, D. G. Rossetti.

§ 172. Homer's description of the ships of the Phæacians has been thought to look like an anticipation of the wonders of modern steam navigation. See the address of Alcinoüs to Ulysses, promising "wondrous ships, self-moved, instinct with mind," etc., Od. Bk. 8.

Lord Carlisle, in his Diary in the Turkish and Greek Waters, thus speaks of Corfu, which he considers to be the ancient Phæacian island: —

"The sites explain the Odyssey. The temple of the sea-god could not have been more fitly placed, upon a grassy platform of the most elastic turf, on the brow of a crag commanding harbor, and channel, and ocean. Just at the entrance of the inner harbor there is a picturesque rock with a small convent perched upon it, which by one legend is the transformed pinnace of Ulysses. "Almost the only river in the island is just at the proper distance from the probable site of the city and palace of the king, to justify the princess Nausicaa having had resort to her chariot and to luncheon when she went with the maidens of the court to wash their garments."

"Roman Vergil, thou that singest Eneas and Anchises: Chauce

§ 174. Poem, Tennyson, To Vergil, Ilion's lofty temples, robed in fire," etc. H. of F. 165; 140-470 (Pictures of Troy); Shakespeare, Troil. and Cressida; Tempest, 2:1; 2 Hen. VI. 5:2; Jul. Cæs. 1:2; Ant. and Cleo. 4:2; Hamlet 2:2; Waller, Panegyric to the Lord Protector (The Stilling of Neptune's Storm).

In Art. — The Vergil of Raphael (drawing in the Museum, Venice); the Æneas of the Ægina Marbles (Glyptothek, Munich).

Dido: Chaucer, L. of G. W. 923; Sir Thomas Wyatt, The Song of Iopas (unfinished); Marlowe, Tragedy of Dido, Queen of Carthage; Shakespeare, Ant. and Cleo. 4: 12; Titus Andron. 2:3; Hamlet 2: 2. Palinurus: see Scott's Marmion, Introd. to Canto I. (with reference to the death of William Pitt).

In Art.-P. Guérin's painting, Æneas at the Court of Dido; Raphael, Dido; Turner, Dido building Carthage.

The Sibyl. The following legend of the Sibyl is fixed at a later date. In the reign of one of the Tarquins there appeared before the king a woman who offered him nine books for sale. The king refused to purchase them, whereupon the woman went away and burned three of the books, and returning offered the remaining books for the same price she had asked for the nine. The king again rejected them; but when the woman, after burning three books more, returned and asked for the three remaining the same price which she had before asked for the nine, his curiosity was excited, and he purchased the books. They were found to contain the destinies of the Roman state. They were kept in the temple of Jupiter Capitolinus, preserved in a stone chest, and allowed to be inspected only by especial officers appointed for that duty, who on great occasions consulted them and interpreted their oracles to the people.

There were various Sibyls; but the Cumaan Sibyl, of whom Ovid and Vergil write, is the most celebrated of them. Ovid's story of her life protracted to one thousand years may be intended to represent the various Sibyls as being only reappearances of one and the same individual.

Illustrative. -Young, in the Night Thoughts, alludes to the Sibyl. See also Shakespeare, 1 Hen. VI. 1:2; Othello 3:4.

In Art. — The Sibyls in Michael Angelo's frescos in the Sistine Chapel, Rome; the Cumæan Sibyl of Domenichino; Elihu Vedder's Cumæan Sibyl.

§ 175. Rhadamanthus: E. W. Gosse, The Island of the Blest. Tantalus: Cowper, The Progress of Error; L. Morris, Epic of Hades; W. W. Story, Tantalus. See § 107 C. Ixion: (§ 107 C) poem by Browning in Jocoseria. See Pope, St. Cecilia's Day 67; Rape of Lock 2:133. Sisyphus : (§ 107 C) Lord Lytton, Death and Sisyphus; L. Morris in Epic of Hades.

The teachings of Anchises to Eneas, respecting the nature of the human soul, were in conformity with the doctrines of the Pythagoreans. Pythagoras (born about 540 B.C.) was a native of the island of Samos, but passed the chief portion of his life at Crotona in Italy. He is therefore sometimes called "the Samian," and sometimes "the philosopher of Crotona." When young he travelled extensively, and is said to have visited Egypt, where he was

instructed by the priests, and to have afterwards journeyed to the East, where he visited the Persian and Chaldean Magi, and the Brahmins of India. He established himself at Crotona; enjoined sobriety, temperance, simplicity, and silence upon his throngs of disciples. Ipse Dixit (Pythagoras said so) was to be held by them as sufficient proof of anything. Only advanced pupils might question. Pythagoras considered numbers as the essence and principle of all things, and attributed to them a real and distinct existence; so that, in his view, they were the elements out of which the universe was constructed.

As the numbers proceed from the monad or unit, so he regarded the pure and simple essence of the Deity as the source of all the forms of nature. Gods, demons, and heroes are emanations of the Supreme, and there is a fourth emanation, the human soul. This is immortal, and when freed from the fetters of the body, passes to the habitation of the dead, where it remains till it returns to the world, to dwell in some other human or animal body; at last, when sufficiently purified, it returns to the source from which it proceeded. This doctrine of the transmigration of souls (metempsychosis), which was originally Egyptian and connected with the doctrine of reward and punishment of human actions, was the chief reason why the Pythagoreans killed no animals. Ovid represents Pythagoras saying that in the time of the Trojan War he was Euphorbus, the son of Panthus, and fell by the spear of Menelaüs. Lately, he said, he had recognized his shield hanging among the trophies in the Temple of Juno at Argos.

On Metempsychosis, see the essay in the Spectator (No. 343) on the Transmigration of Souls; Shakespeare, M. of Venice (Gratiano to Shylock).

Harmony of the Spheres.-The relation of the notes of the musical scale to numbers, whereby harmony results from proportional vibrations of sound, and discord from the reverse, led Pythagoras to apply the word “harmony" to the visible creation, meaning by it the just adaptation of parts to each other. This is the idea which Dryden expresses in the beginning of his song for St. Cecilia's Day, "From harmony, from heavenly harmony, This everlasting frame began."

In the centre of the universe (as Pythagoras taught) there was a central fire, the principle of life. The central fire was surrounded by the earth, the moon, the sun, and the five planets. The distances of the various heavenly bodies from one another were conceived to correspond to the proportions of the musical scale. See M. of Venice, Act V. (Lorenzo and Jessica), for the Music of the Spheres; also Milton, Hymn to the Nativity. See Longfellow's Verses to a Child, and Occultation of Orion, for Pythagoras as inventor of the lyre.

§ 176. Camilla. - Pope, illustrating the rule that "the sound should be an echo to the sense," says,

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"When Ajax strives some rock's vast weight to throw,
The line, too, labors and the words move slow.
Not so when swift Camilla scours the plain,

Flies o'er th' unbending corn or skims along the main."

-Essay on Criticism.

§§ 177-184. On Norse mythology, see R. B. Anderson's Norse Mythology, or the Religion of our Forefathers, Chicago: 1875; Anderson's Horn's Scandinavian Literature (S. C. Griggs & Co.), Chicago: 1884; Dasent's Popular Tales from the Norse (transl. from P. C. Asbjörnsen), N. Y.: 1859; Thorpe's translation of Sæmund's Edda, 2 v., Lond.: 1866; Icelandic Poetry or Edda of Sæmund transl. into English verse, A. S. Cottle, Bristol: 1797; Augusta Larned's Tales from the Norse Grandmother, N. Y.: 1881; H. W. Mabie's Norse Stories, Boston: 1882. A critical edition of the Elder Edda is Sophus Bugge's, Christiania: 1867. The Younger Edda: Edda Snorra Sturlasonar, 2 v. Hefniae, 1848-52, by Thorleif Jonsson, Copenhagen: 1875; Translation: Anderson's Younger Edda (S. C. Griggs & Co.), Chicago: 1880 (see references at foot of pp. 30-33 and in § 185 C). Illustrative poems: Gray, Ode on the Descent of Odin, Ode on the Fatal Sisters; Matthew Arnold's Balder Dead; Longfellow's Tegner's Drapa, on Balder's Death; The Funeral of Balder, by William Morris, in The Lovers of Gudrun (Earthly Paradise); Robert Buchanan's Balder the Beautiful; W. M. W. Call, Balder, and Thor. Sydney Dobell's Balder does not rehearse the Norse myth. It is a poem dealing with the spiritual maladies of the time, of wonderful excellence in parts, but confused and uneven. Longfellow's Saga of King Olaf (the Musician's Tale, Wayside Inn) is from the Heimskringla or Book of Stories of the Kings, edited by Snorri Sturlason. Many of the cantos of the Saga throw light on Norse mythology. See also the Hon. Roden Noel's Ragnarok (in the Modern Faust), for an ethical modification of the ancient theme.

Anses (the Asa-folk, Æsir, etc.). — The word probably means ghost, ancestral spirit, of such kind as the Manes of the Romans. The derivation may be from the root AN, to breathe, whence animus (Vigfusson and Powell, Corp. Poet. 1: 515). According to Jordanes, the Anses were demigods, ancestors of royal races. The main cult of the older religion was ancestorworship, Thor and Woden being worshipped by a tribe, but each family having its own anses, or deified ancestors (Corp. Poet. 2:413). Elf was another name used of spirits of the dead. Later it sinks to the significance of “fairy." Indeed, say Vigfusson and Powell, half our ideas about fairies are derived from the heathen beliefs as to the spirits of the dead, their purity, kindliness, homes in hillocks (cf. the Irish "folk of the hills," Banshees, etc.) (Corp. Poet. 2: 418). The Norse Religion consists evidently of two distinct strata: the lower, of gods, that are personifications of natural forces, or deified heroes, with regu

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