The Age of Fable [NOOK Book]

Overview

If no other knowledge deserves to be called useful but that which helps to enlarge our possessions or to raise our station in society, then Mythology has no claim to the appellation. But if that which tends to make us happier and better can be called useful, then we claim that epithet for our subject. For Mythology is the handmaid of literature; and literature is one of the best allies of virtue and promoters of happiness.

Without a knowledge ...
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The Age of Fable

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Overview

If no other knowledge deserves to be called useful but that which helps to enlarge our possessions or to raise our station in society, then Mythology has no claim to the appellation. But if that which tends to make us happier and better can be called useful, then we claim that epithet for our subject. For Mythology is the handmaid of literature; and literature is one of the best allies of virtue and promoters of happiness.

Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. When Byron calls Rome "the Niobe of nations," or says of Venice, "She looks a Sea-Cybele fresh from ocean," he calls up to the mind of one familiar with our subject, illustrations more vivid and striking than the pencil could furnish, but which are lost to the reader ignorant of mythology. Milton abounds in similar allusions. The short poem "Comus" contains more than thirty such, and the ode "On the Morning of the Nativity" half as many. Through "Paradise Lost" they are scattered profusely. This is one reason why we often hear persons by no means illiterate say that they cannot enjoy Milton. But were these persons to add to their more solid acquirements the easy learning of this little volume, much of the poetry of Milton which has appeared to them "harsh and crabbed" would be found "musical as is Apollo's lute." Our citations, taken from more than twenty-five poets, from Spenser to Longfellow, will show how general has been the practice of borrowing illustrations from mythology.

The prose writers also avail themselves of the same source of elegant and suggestive illustration. One can hardly take up a number of the "Edinburgh" or "Quarterly Review" without meeting with instances. In Macaulay's article on Milton there are twenty such.

But how is mythology to be taught to one who does not learn it through the medium of the languages of Greece and Rome? To devote study to a species of learning which relates wholly to false marvels and obsolete faiths is not to be expected of the general reader in a practical age like this. The time even of the young is claimed by so many sciences of facts and things that little can be spared for set treatises on a science of mere fancy.

But may not the requisite knowledge of the subject be acquired by reading the ancient poets in translations? We reply, the field is too extensive for a preparatory course; and these very translations require some previous knowledge of the subject to make them intelligible. Let any one who doubts it read the first page of the "Aeneid," and see what he can make of "the hatred of Juno," the "decree of the Parcae," the "judgment of Paris," and the "honors of Ganymede," without this knowledge.

Shall we be told that answers to such queries may be found in notes, or by a reference to the Classical Dictionary? We reply, the interruption of one's reading by either process is so annoying that most readers prefer to let an allusion pass unapprehended rather than submit to it. Moreover, such sources give us only the dry facts without any of the charm of the original narrative; and what is a poetical myth when stripped of its poetry? The story of Ceyx and Halcyone, which fills a chapter in our book, occupies but eight lines in the best (Smith's) Classical Dictionary; and so of others.

Our work is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement. We have endeavored to tell them correctly, according to the ancient authorities, so that when the reader finds them referred to he may not be at a loss to recognize the reference. Thus we hope to teach mythology not as a study, but as a relaxation from study; to give our work the charm of a story-book, yet by means of it to impart a knowledge of an important branch of education. The index at the end will adapt it to the purposes of reference, and make it a Classical Dictionary for the parlor.

Most of the classical legends in "Stories of Gods and Heroes" are derived from Ovid and Virgil. They are not literally translated, for, in the author's opinion, poetry translated into literal prose is very unattractive reading. Neither are they in verse, as well for other reasons as from a conviction that to translate faithfully under all the embarrassments of rhyme and measure is impossible. The attempt has been made to tell the stories in prose, preserving so much of the poetry as resides in the thoughts and is separable from the language itself, and omitting those amplifications which are not suited to the altered form.

The Northern mythological stories are copied with some abridgment from Mallet's "Northern Antiquities." These chapters, with those on Oriental and Egyptian mythology, seemed necessary to complete the subject, though it is believed these topics have not usually been presented in the same volume with the classical fables.
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Product Details

  • BN ID: 2940149307494
  • Publisher: Lost Leaf Publications
  • Publication date: 3/17/2014
  • Sold by: Barnes & Noble
  • Format: eBook
  • Sales rank: 1,151,061
  • File size: 502 KB

Customer Reviews

Average Rating 2.5
( 9 )
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Sort by: Showing 1 – 10 of 9 Customer Reviews
  • Anonymous

    Posted October 30, 2013

    Okay...but

    At the time this book was supposed to make mythology easier to digest and I think it failed. Another issue I have is with the order in which certain information was grouped. From a literary standpoint it was okay: Anyone currently doing a research paper on the influence of Greek Mythology on English literature might find this helpful. However it must be noted that according to some, Bulfinch's relaying of certain events might not be entirely accurate. Several authors I have come across have stated quite clearly that whilst writing fiction books with mythological storylines or themes, they refrained from using this book as a reference because some of it's "facts" were questionable or downright wrong. Just something one may want to consider before using this book for anything other than the literary research I stated before.

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  • Anonymous

    Posted March 5, 2012

    recommend as a good reference

    A handy reference to have around. Footnotes are in body of the text in most places.

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  • Anonymous

    Posted February 8, 2007

    Not the high culture you might be looking for

    The stories in this book, first published in 1855, are wonderful. All of the famous Olympian heroes and gods are here in well-told stories, written in fine prose at a level simple enough for small children. The back cover says that the book contains, 'Evocative myths of Greece and Rome Action-packed tales of the Norse gods Original text, untouched and unabridged First full-color illustrated edition of a timeless classic.' All true. However, the back cover also says the book contains, 'Specially created illustrations and maps by a world-renowned artist.' Very misleading. Don't let the 'world-renowned artist' phrase fool you. Treat it like the throw-away phrase, 'critics rave' applied to movies in the daily newspaper. My first issue is with the artist's drawing ability. His is on the same level as those who draw the cheap superhero cartoons on Nickoleon on Saturday morning. Not really a problem in itself, it's just disappointing that such well-crafted stories should be coupled with such bad 'art.' The other, much bigger, problem is the way the people are posed and the way their features are presented. I do not object to nudity per se. I am very familiar with Greek, Roman, and Christian high art. But Giovanni Caselli's drawings are not the tastefully done nudes of antiquity. They are more like the drawings seen in men's magazines. They are not classically beautiful, not even romantically seductive. They are just cheaply sexual. There are dozens of these inappropriate drawings, spread liberally throughout the book. They will be very distracting to your child and -- if you have any culture at all -- distressing to you. Just because something is childish does not mean it is fit for children. Unless you are looking to introduce your children to poor art and soft porn, I would recommend you skip this book. The good Christian, Jewish, Heathen, Asatru, etc., parent who wants to raise a classically educated child should get the original stories without these illustrations.

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  • Anonymous

    Posted March 21, 2010

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    Posted March 19, 2011

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    Posted March 8, 2012

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    Posted August 11, 2011

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    Posted August 8, 2011

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  • Anonymous

    Posted January 25, 2010

    No text was provided for this review.

  • Anonymous

    Posted February 17, 2012

    No text was provided for this review.

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