"For the drift of te Maker is dark, an Isis hid by the veil."
ORACLES
Oracle was the name used to denote the place where answers were supposed to be given by any of the divinities to those who consulted them respecting the future. The word was also used to signify the response which was given.
The most ancient Grecian oracle was that of Jupiter at Dodona. According to one account it was established in the following manner. Two black doves took their flight from Thebes in Egypt. One flew to Dodona in Epirus and alighting in a grove of oaks, it proclaimed in human language to the inhabitants of the district that they must establish there an oracle of Jupiter. The other dove flew to the temple of Jupiter Ammon in the Libyan oasis, and delivered a similar command there. Another account is, that they were not doves, but priestesses, who were carried off from Thebes in Egypt by the Phoenicians, and set up oracles at Oasis and Dodona. The responses of the oracle were given from the trees, by the branches rustling in the wind, the sounds being interpreted by the priests.
But the most celebrated of the Grecian oracles was that of Apollo at Delphi, a city built on the slopes of Parnassus in Phocis.
It had been observed at a very early period that the goats feeding on Parnassus were thrown into convulsions when they approached a certain long deep cleft in the side of the mountain. This was owing to a peculiar vapor arising out of the cavern, and one of the goatherds was induced to try its effects upon himself. Inhaling the intoxicating air he was affected in the same manner as the cattle had been, and the inhabitants of the surrounding country, unable to explain the circumstance, imputed the convulsive ravings to which he gave utterance while under the power of the exhalations, to a divine inspiration. The fact was speedily circulated widely, and a temple was erected on the spot. The prophetic influence was at first variously attributed to the goddess Earth, to Neptune, Themis, and others, but it was at length assigned to Apollo, and to him alone. A priestess was appointed whose office it was to inhale the hallowed air, and who was named the Pythia. She was prepared for this duty by previous ablution at the fountain of Castalia, and being crowned with laurel was seated upon a tripod similarly adorned, which was placed over the chasm whence the divine afflatus proceeded. Her inspired words while thus situated were interpreted by the priests.
ORACLE OF TROPHONIUS
Besides the oracles of Jupiter and Apollo, at Dodona and Delphi, that of Trophonius in Boeotia was held in high estimation. Trophonius and Agamedes were brothers. They were distinguished architechts, and built the temple of Apollo at Delphi, and a treasury for King Hyrieus. In the wall of the treasury they placed a stone, in such a manner that it could be taken out; and by this means from time to time purloined the treasure. This amazed Hyrieus, for his locks and seals were untouched, and yet his wealth, continually diminished. At length he set a trap for the thief and Agamedes was caught. Trophonius unable to extricate him, and fearing that when found he would be compelled by torture to discover his accomplice, cut off his head. Trophonius himself is said to have been shortly afterwards swallowed up by the earth.
The oracle of Trophonius was at Lebadea in Boeotia. During a great drought the Boeotians, it is said, were directed by the god at Delphi to seek aid of Trophonius at Lebadea. They came thither, but could find no oracle. One of them, however, happening to see a swarm of bees, followed them to a chasm in the earth, which proved to be the place sought.
Peculiar ceremonies were to be performed by the person who came to consult the oracle. After these preliminaries, he descended into the cave by a narrow passage. This place could be entered only in the night. The person returned from the cave by the same narrow passage, but walking backwards. He appeared melancholy and dejected; and hence the proverb which was applied to a person low-spirited and gloomy, "He has been consulting the oracle of Trophonius."
ORACLE OF AESCULAPIUS
There were numerous oracles of Aesculapius, but the most celebrated one was at Epidaurus. Here the sick sought responses and the recovry of their health by sleeping in the temple. It has been inferred from the accounts that have come down to us, that the treatment of the sick resembled what is now called Animal Magnetism or Mesmerism.
Serpents were sacred to Aesculapius, probably because of a superstition that those animals have a faculty of renewing their youth by a change of skin. The worship of Aesculapius was introduced into Rome in a time of great sickness, and an embassy sent to the temple of Epidaurus to entreat the aid of the god. Aesculapius was propitious, and on the return of the ship accompanied it in the form of a serpent. Arriving in the river Tiber, the serpent glided from the vessel and took possession of an island in the river, and a temple was there erected to his honor.
ORACLE OF APIS
At Memphis the sacred bull Apis gave answer to those who consulted him, by the manner in which he received or rejected what was presented to him. If the bull refused food from the hand of the inquirer it was considered an unfavorable sign, and the contrary when he received it.
It has been a question whether oracular responses ought to be ascribed to mere human contrivance or to the agency of evil spirits. The latter opinion has been most general in past ages. A third theory has been advanced since the phenomena of Mesmerism have attracted attention, that something like the mesmeric trance was induced in the Pythoness, and the faculty of clairvoyance really called into action.
Another question is as to the time when the Pagan oracles ceased to give responses. Ancient Christian writers assert that they became silent at the birth of Christ, and were heard no more after that date. Milton adopts this view in his Hymn of the Nativity, and in lines of solemn and elevated beauty pictures the consternation of the heathen idols at the advent of the Saviour.
"The oracles are dumb;
No voice or hideous hum
Rings through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,
With hollow shriek the steep of Delphos leaving.
No nightly trance or breathed spell
Inspires the pale-eyed priest from the prophetic cell."
In Cowper's poem of Yardley Oak there are some beautiful mythological allusions. The former of the two following is to the fable of Castor and Pollux; the latter is more appropriate to our present subject. Addressing the acorn he says,
"Thou fell'st mature; and in the loamy clod,
Swelling with vegetative force instinct,
Didst burst thine egg, as theirs the fabled Twins
Now stars; two lobes protruding, paired exact;
A leaf succeeded and another leaf,
And, all the elements thy puny growth
Fostering propitious, thou becam'st a twig.
Who lived when thou was such? Oh, couldst thou speak
As in Dodona once thy kindred trees
Oracular, I would not curious ask
The future, best unknown, but at thy mouth
Inquisitive, the less ambiguous past."
Tennyson in his Talking Oak alludes to the oaks of Dodona in these lines:
"And I will work in prose and rhyme,
And praise thee more in both
Than bard has honored beech or lime,
Or that Thessalian growth
In which the swarthy ring-dove sat
And mystic sentence spoke."
Byron alludes to the oracle of Delphi where, speaking of
Rousseau, whose writings he conceives did much to bring on the
French revolution, he says,
"For then he was inspired, and from him came,
As from the Pythian's mystic cave of yore,
Those oracles which set the world in flame,
Nor ceased to burn till kingdoms were no more."
Chapter XXVIII Origin of Mythology Statues of Gods and Goddesses Poets of Mythology
Having reached the close of our series of stories of Pagan mythology, an inquiry suggests itself. "Whence came these stories? Have they a
foundation in truth, or are they simply dreams of the imagination?" Philosophers have suggested various theories on the subject of which we shall give three or four.
1. The Scriptural theory; according to which all mythological legends are derived from the narratives of Scripture, though the real facts have been disguised and altered. Thus Deucalion is only another name for Noah, Hercules for Samson, Arion for Jonah, etc. Sir Walter Raleigh, in his History of the World, says, "Jubal, Tubal, and Tubal-Cain were Mercury, Vulcan, and Apollo, inventors of Pasturage, Smithing, and Music. The Dragon which kept the golden apples was the serpent that beguiled Eve. Nimrod's tower was the attempt of the Giants against Heaven. There are doubtless many curious coincidences like these, but the theory cannot without extravagance be pushed so far as to account for any great proportion of the stories.
2. The Historical theory; according to which all the persons mentioned in mythology were once real human beings, and the legends and fabulous traditions relating to them are merely the additions and embellishments of later times. Thus the story of AEolus, the king and god of the winds, is supposed to have risen from the fact that AEolus was the ruler of some islands in the Tyrrhenian Sea, where he reigned as a just and pious king, and taught the natives the use of sails for ships, and how to tell from the signs of the atmosphere the changes of the weather and the winds. Cadmus, who, the legend says, sowed the earth with dragon's teeth, from which sprang a crop of armed men, was in fact an emigrant from Phoenicia, and brought with him into Greece the knowledge of the letters of the alphabet, which he taught to the natives. From these rudiments of learning sprung civilization, which the poets have always been prone to describe as a deterioration of man's first estate, the Golden Age of innocence and simplicity.
3. The Allegorical theory supposes that all the myths of the ancients were allegorical and symbolical, and contained some moral, religious, or philosophical truth or historical fact, under the form of an allegory, but came in process of time to be understood literally. Thus Saturn, who devours his own children, is the same power whom the Greeks called Kronos (Time), which may truly be said to destroy whatever it has brought into existence. The story of Io is interpreted in a similar manner. Io is the moon, and Argus the starry sky, which, as it were, keeps sleepless watch over her. The fabulous wanderings of Io represent the continual revolutions of the moon, which also suggested to Milton the same idea.
"To behold the wandering moon
Riding near her highest noon,
Like one that had been led astray
In the heaven's wide, pathless way."
Il Penseroso
4. The Astronomical theory supposes that the different stories are corrupted versions of astronomical statements, of which the true meaning was forgotten. This theory is pushed to its extreme by Dupuis, in his treatise "Sur tous les cultes."
5. The Physical theory, according to which the elements of air, fire, and water, were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature. The transition was easy from a personification of the elements to the notion of supernatural beings presiding over and governing the different objects of nature. The Greeks, whose imagination was lively, peopled all nature with invisible beings, and supposed that every object, from the sun and sea to the smallest fountain and rivulet, was under the care of some particular divinity. Wordsworth, in his Excursion, has beautifully developed this view of Grecian mythology.
"In that fair clime the lonely herdsman, stretched
On the soft grass through half a summer's day,
With music lulled his indolent repose;
And, in some fit of weariness, if he,
When his own breath was silent, chanced to hear
A distant strain far sweeter than the sounds
Which his poor skill could make, his fancy fetched
Even from the blazing chariot of the sun
A beardless youth who touched a golden lute,
And filled the illumined groves with ravishment.
The mighty hunter, lifting up his eyes
Toward the crescent Moon, with grateful heart
Called on the lovely Wanderer who bestowed
That timely light to share his joyous sport;
And hence a beaming goddess with her nymphs
Across the lawn and through the darksome grove
(Not unaccompanied with tuneful notes
By echo multiplied from rock or cave)
Swept in the storm of chase, as moon and stars
Glance rapidly along the clouded heaven
When winds are blowing strong. The traveller slaked
His thirst from rill or gushing fount, and thanked
The Naiad. Sunbeams upon distant hills
Gliding apace with shadows in their train,
Might with small help from fancy, be transformed
Into fleet Oreads sporting visibly.
The Zephyrs, fanning, as they passed, their wings,
Lacked not for love fair objects whom they wooed
With gentle whisper. Withered boughs grotesque,
Stripped of their leaves and twigs by hoary age,
>From depth of shaggy covert peeping forth
In the low vale, or on steep mountain side;
And sometimes intermixed with stirring horns
Of the live deer, or goat's depending beard;
These were the lurking Satyrs, a wild brood
Of gamesome deities; or Pan himself,
The simple shepherd's awe-inspiring god."
All the theories which have bene mentioned are true to a certain extent. It would therefore be more correct to say that the mythology of a nation has sprung from all these sources combined than from any one in particular. We may add also that there are many myths which have risen from the desire of man to account for those natural phenomena which he cannot understand; and not a few have had their rise from a similar desire of giving a reason for the names of places and persons.
STATUES OF THE GODS
Adequately to represent to the eye the ideas intended to be conveyed to the mind under the several names of deities, was a task which called into exercise the highest powers of genius and art. Of the many attempts FOUR have been most celebrated, the first two known to us only by the descriptions of the ancients, and by copies on gems, which are still preserved; the other two still extant and the acknowledged masterpieces of the sculptor's art.
THE OLYMPIAN JUPITER
The statue of the Olympian Jupiter by Phidias was considered the highest achievement of this department of Grecian art. It was of colossal dimensions, and was what the ancients called "chryselephantine;" that is, composed of ivory and gold; the parts representing flesh being of ivory laid on a core of wood or stone, while the drapery and other ornaments were of gold. The height of the figure was forty feet, on a pedestal twelve feet high. The god was represented seated on this throne. His brows were crowned with a wreath of olive, and he held in his right hand a sceptre, and in his left a statue of Victory. The throne was of cedar, adorned with gold and precious stones.
The idea which the artist essayed to embody was that of the supreme deity of the Hellenic (Grecian) nation, enthroned as a conqueror, in perfect majesty and repose, and ruling with a nod the subject world. Phidias avowed that he took his idea from the representation which Homer gives in the first book of the Iliad, in the passage thus translated by Pope:
"He spoke and awful bends his sable brows,
Shakes his ambrosial curls and gives the nod,
The stamp of fate and sanction of the god.
High heaven with reverence the dread signal took,
And all Olympus to the centre shook."
(Cowper's version is less elegant, but truer to the original.
"He ceased, and under his dark brows the nod
Vouchsafed of confirmation. All around
The sovereign's everlasting head his curls
Ambrosial shook, and the huge moun
tain reeled."
It may interest our readers to see how this passage appears in another famous version, that which was issued under the name of Tickell, contemporaneously with Pope's, and which, being by many attributed to Addison, led to the quarrel which ensued between Addison and Pope.
"This said, his kingly brow the sire inclined;
The large black curls fell awful from behind,
Thick shadowing the stern forehead of the god;
Olympus trembled at the almighty nod.")
THE MINERVA OF THE PARTHENON
This was also the work of Phidias. It stood in the Parthenon, or temple of Minera at Athens. The goddess was represented standing. In one hand she held a spear, in the other a statue of Victory. Her helmet, highly decorated, was surmounted by a Sphinx. The statue was forty feet in height, and, like the Jupiter, composed of ivory and gold. The eyes were of marble, and probably painted to represent the iris and pupil. The Parthenon in which this statue stood was also constructed under the direction and superintendence of Phidias. Its exterior was enriched with sculptures, many of them from the hand of Phidias. The Elgin marbles now in the British Museum are a part of them.
Both the Jupiter and Minerva of Phidias are lost, but there is good ground to believe that we have, in several extant statues and busts, the artist's conceptions of the countenances of both. They are characterized by grave and dignified beauty, and freedom from any transient expression, which in the language of art is called REPOSE.
THE VENUS DE' MEDICI
The Venus of the Medici is so called from its having been in the possession of the princes of that name in Rome when it first attracted attention, about two hundred years ago. An inscription on the base records it to be the work of Cleomenes, an Athenian sculptor of 200 B.C., but the authenticity of the inscription is doubtful. There is a story that the artist was employed by public authority to make a statue exhibiting the perfection of female beauty, and to aid him in his task, the most perfect forms the city could supply were furnished him for models. It is this which Thomson alludes to in his Summer.
Bulfinch's Mythology: the Age of Fable Page 36
