Myths and Legends of Ancient Greece and Rome, E. M. Berens [best ebook reader android TXT] 📗

called Eumenides, which signifies the "well-meaning" or "soothed goddesses;" This appellation was given to them because they were so feared and dreaded that people dared not call them by their proper title, and hoped by this means to propitiate their wrath.

In later times the Furies came to be regarded as salutary agencies, who, by severely punishing sin, upheld the cause of morality and social order, and thus contributed to the welfare of mankind. They now lose their awe-inspiring aspect, and are represented, more especially in Athens, as earnest maidens, dressed, like Artemis, in short tunics suitable for the chase, but still retaining, in their hands, the wand of office in the form of a snake.

Their sacrifices consisted of black sheep and a libation composed of a mixture of honey and water, called Nephalia. A celebrated temple was erected to the Eumenides at Athens, near the Areopagus.

MOIRÆ or FATES (Parcæ).

The ancients believed that the duration of human existence and the destinies of mortals were regulated by three sister-goddesses, called Clotho, Lachesis, and Atropos, who were the daughters of Zeus and Themis.

The power which they wielded over the fate of man was significantly indicated under the figure of a thread, which they spun out for the life of each human being from his birth to the grave. This occupation they divided between them. Clotho wound the flax round the distaff, ready for her sister Lachesis, who span out the thread of life, which Atropos, with her scissors, relentlessly snapt asunder, when the career of an individual was about to terminate.

Homer speaks of one Moira only, the daughter of Night, who represents the moral force by which the universe is governed, and to whom both mortals and immortals were forced to submit, Zeus himself being powerless to avert her decrees; but in later times this conception of one inexorable, all-conquering fate became amplified by the poets into that above described, and the Moiræ are henceforth the special presiding deities over the life and death of mortals.

The Moiræ are represented by the poets as stern, inexorable female divinities, aged, hideous, and also lame, which is evidently meant to indicate the slow and halting march of destiny, which they controlled. Painters and sculptors, on the other hand, depicted them as beautiful maidens of a grave but kindly aspect.

There is a charming representation of Lachesis, which depicts her in all the grace of youth and beauty. She is sitting spinning, and at her feet lie two masks, one comic, the other tragic, as though to convey the idea, that, to a divinity of fate, the brightest and saddest scenes of earthly existence are alike indifferent, and that she quietly and steadily pursues her occupation, regardless of human weal or woe.

When represented at the feet of Aïdes in the lower world they are clad in dark robes; but when they appear in Olympus they wear bright garments, bespangled with stars, and are seated on radiant thrones, with crowns on their heads.

It was considered the function of the Moiræ to indicate to the Furies the precise torture which the wicked should undergo for their crimes.

They were regarded as prophetic divinities, and had sanctuaries in many parts of Greece.

The Moiræ are mentioned as assisting the Charites to conduct Persephone to the upper world at her periodical reunion with her mother Demeter. They also appear in company with Eileithyia, goddess of birth.

NEMESIS.

Nemesis, the daughter of Nyx, represents that power which adjusts the balance of human affairs, by awarding to each individual the fate which his actions deserve. She rewards, humble, unacknowledged merit, punishes crime, deprives the worthless of undeserved good fortune, humiliates the proud and overbearing, and visits all evil on the wrong-doer; thus maintaining that proper balance of things, which the Greeks recognized as a necessary condition of all civilized life. But though Nemesis, in her original character, was the distributor of rewards as well as punishments, the world was so full of sin, that she found but little occupation in her first capacity, and hence became finally regarded as the avenging goddess only.

We have seen a striking instance of the manner in which this divinity punishes the proud and arrogant in the history of Niobe. Apollo and Artemis were merely the instruments for avenging the insult offered to their mother; but it was Nemesis who prompted the deed, and presided over its execution.

Homer makes no mention of Nemesis; it is therefore evident that she was a conception of later times, when higher views of morality had obtained among the Greek nation.

Nemesis is represented as a beautiful woman of thoughtful and benign aspect and regal bearing; a diadem crowns her majestic brow, and she bears in her hand a rudder, balance, and cubit;—fitting emblems of the manner in which she guides, weighs, and measures all human events. She is also sometimes seen with a wheel, to symbolize the rapidity with which she executes justice. As the avenger of evil she appears winged, bearing in her hand either a scourge or a sword, and seated in a chariot drawn by griffins.

Nemesis is frequently called Adrastia, and also Rhamnusia, from Rhamnus in Attica, the chief seat of her worship, which contained a celebrated statue of the goddess.

Nemesis was worshipped by the Romans, (who invoked her on the Capitol), as a divinity who possessed the power of averting the pernicious consequences of envy.

NIGHT AND HER CHILDREN.
DEATH, SLEEP, AND DREAMS. NYX (Nox).

Nyx, the daughter of Chaos, being the personification of Night, was, according to the poetic ideas of the Greeks, considered to be the mother of everything mysterious and inexplicable, such as death, sleep, dreams, &c. She became united to Erebus, and their children were Aether and Hemera (Air and Daylight), evidently a simile of the poets, to indicate that darkness always precedes light.

Nyx inhabited a palace in the dark regions of the lower world, and is represented as a beautiful woman, seated in a chariot, drawn by two black horses. She is clothed in dark robes, wears a long veil, and is accompanied by the stars, which follow in her train.

THANATOS (Mors) AND HYPNUS (Somnus).

Thanatos (Death) and his twin-brother Hypnus (Sleep) were the children of Nyx.

Their dwelling was in the realm of shades, and when they appear among mortals, Thanatos is feared and hated as the enemy of mankind, whose hard heart knows no pity, whilst his brother Hypnus is universally loved and welcomed as their kindest and most beneficent friend.

But though the ancients regarded Thanatos as a gloomy and mournful divinity, they did not represent him with any exterior repulsiveness. On the contrary, he appears as a beautiful youth, who holds in his hand an inverted torch, emblematical of the light of life being extinguished, whilst his disengaged arm is thrown lovingly round the shoulder of his brother Hypnus.

Hypnus is sometimes depicted standing erect with closed eyes; at others he is in a recumbent position beside his brother Thanatos, and usually bears a poppy-stalk in his hand.

A most interesting description of the abode of Hypnus is given by Ovid in his Metamorphoses. He tells us how the god of Sleep dwelt in a mountain-cave near the realm of the Cimmerians, which the sun never pierced with his rays. No sound disturbed the stillness, no song of birds, not a branch moved, and no human voice broke the profound silence which reigned everywhere. From the lowermost rocks of the cave issued the river Lethe, and one might almost have supposed that its course was arrested, were it not for the low, monotonous hum of the water, which invited slumber. The entrance was partially hidden by numberless white and red poppies, which Mother Night had gathered and planted there, and from the juice of which she extracts drowsiness, which she scatters in liquid drops all over the earth, as soon as the sun-god has sunk to rest. In the centre of the cave stands a couch of blackest ebony, with a bed of down, over which is laid a coverlet of sable hue. Here the god himself reposes, surrounded by innumerable forms. These are idle dreams, more numerous than the sands of the sea. Chief among them is Morpheus, that changeful god, who may assume any shape or form he pleases. Nor can the god of Sleep resist his own power; for though he may rouse himself for a while, he soon succumbs to the drowsy influences which surround him.

MORPHEUS.

Morpheus, the son of Hypnus, was the god of Dreams.

He is always represented winged, and appears sometimes as a youth, sometimes as an old man. In his hand he bears a cluster of poppies, and as he steps with noiseless footsteps over the earth, he gently scatters the seeds of this sleep-producing plant over the eyes of weary mortals.

Homer describes the House of Dreams as having two gates: one, whence issue all deceptive and flattering visions, being formed of ivory; the other, through which proceed those dreams which are fulfilled, of horn.

THE GORGONS.

The Gorgons, Stheno, Euryale, and Medusa, were the three daughters of Phorcys and Ceto, and were the personification of those benumbing, and, as it were, petrifying sensations, which result from sudden and extreme fear.

They were frightful winged monsters, whose bodies were covered with scales; hissing, wriggling snakes clustered round their heads instead of hair; their hands were of brass; their teeth resembled the tusks of a wild boar; and their whole aspect was so appalling, that they are said to have turned into stone all who beheld them.

These terrible sisters were supposed to dwell in that remote and mysterious region in the far West, beyond the sacred stream of Oceanus.

The Gorgons were the servants of Aïdes, who made use of them to terrify and overawe those shades, doomed to be kept in a constant state of unrest as a punishment for their misdeeds, whilst the Furies, on their part, scourged them with their whips and tortured them incessantly.

The most celebrated of the three sisters was Medusa, who alone was mortal. She was originally a golden-haired and very beautiful maiden, who, as a priestess of Athene, was devoted to a life of celibacy; but, being wooed by Poseidon, whom she loved in return, she forgot her vows, and became united to him in marriage. For this offence she was punished by the goddess in a most terrible manner. Each wavy lock of the beautiful hair which had so charmed her husband, was changed into a venomous snake; her once gentle, love-inspiring eyes now became blood-shot, furious orbs, which excited fear and disgust in the mind of the beholder; whilst her former roseate hue and milk-white skin assumed a loathsome greenish tinge. Seeing herself thus transformed into so repulsive an object, Medusa fled from her home, never to return. Wandering about, abhorred, dreaded, and shunned by all the world, she now developed into a character, worthy of her outward appearance. In her despair she fled to Africa, where, as she passed restlessly from place to place, infant snakes dropped from her hair, and thus, according to the belief of the ancients, that country became the hotbed of these venomous reptiles. With the curse of Athene upon her, she turned into stone whomsoever she gazed upon, till at last, after a life of nameless misery, deliverance came to her in the shape of death, at the hands of Perseus.

It is well to observe that when the Gorgons are spoken of in the singular, it is Medusa who is alluded to.

Medusa was the mother of Pegasus and Chrysaor, father of the three-headed, winged giant Geryones, who was slain by Heracles.

GRÆÆ.

The Grææ, who acted as servants to their sisters the Gorgons, were also three in number; their names were Pephredo, Enyo, and Dino.

In their original conception they