The world-renowned classic that has enthralled and delighted millions of readers with its timeless tales of gods and heroes.
Edith Hamilton's mythology succeeds like no other book in bringing to life for the modern reader the Greek, Roman and Norse myths that are the keystone of Western culture-the stories of gods and heroes that have inspired human creativity from antiquity to the present.
We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works for art, literature and culture inquiry-from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra
Both a reference text for scholars of all ages and a book to simply enjoy, Mythology is a classic not to be missed.
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About the Author
Edith Hamilton (1868-1963) was born of American parents in Dresden, Germany, and grew up in Indiana. Through the first quarter of the twentieth century she was the headmistress of the Bryn Mawr School in Baltimore. Upon retiring, she began to write about the civilizations of the ancient world and soon gained world renown as a classicist. Her celebrated and bestselling books include Mythology, The Greek Way, The Roman Way, and The Echo of Greece. She regarded as the high point of her life a 1957 ceremony in which King Paul of Greece named her an honorary citizen of Athens.
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MythologyTimeless Tales of Gods and Heroes
By Hamilton, Edith
Grand Central PublishingCopyright © 2011 Hamilton, Edith
All right reserved.
The Gods, the Creation, and the Earliest Heroes
1 / The Gods
Strange clouded fragments of an ancient glory,
Late lingerers of the company divine,
They breathe of that far world wherefrom they come,
Lost halls of heaven and Olympian air.
The Greeks did not believe that the gods created the universe. It was the other way about: the universe created the gods. Before there were gods heaven and earth had been formed. They were the first parents. The Titans were their children, and the gods were their grandchildren.
THE TITANS AND THE TWELVE GREAT OLYMPIANS
The Titans, often called the Elder Gods, were for untold ages supreme in the universe. They were of enormous size and of incredible strength. There were many of them, but only a few appear in the stories of mythology. The most important was CRONUS, in Latin SATURN. He ruled over the other Titans until his son Zeus dethroned him and seized the power for himself. The Romans said that when Jupiter, their name for Zeus, ascended the throne, Saturn fled to Italy and brought in the Golden Age, a time of perfect peace and happiness, which lasted as long as he reigned.
The other notable Titans were OCEAN, the river that was supposed to encircle the earth; his wife TETHYS; HYPERION, the father of the sun, the moon and the dawn; MNEMOSYNE, which means Memory; THEMIS, usually translated by Justice; and IAPETUS, important because of his sons, ATLAS, who bore the world on his shoulders, and PROMETHEUS, who was the savior of mankind. These alone among the older gods were not banished with the coming of Zeus, but they took a lower place.
The twelve great Olympians were supreme among the gods who succeeded to the Titans. They were called the Olympians because Olympus was their home. What Olympus was, however, is not easy to say. There is no doubt that at first it was held to be a mountain top, and generally identified with Greece’s highest mountain, Mt. Olympus in Thessaly, in the northeast of Greece. But even in the earliest Greek poem, the Iliad, this idea is beginning to give way to the idea of an Olympus in some mysterious region far above all the mountains of the earth. In one passage of the Iliad Zeus talks to the gods from “the topmost peak of many-ridged Olympus,” clearly a mountain. But only a little further on he says that if he willed he could hang earth and sea from a pinnacle of Olympus, clearly no longer a mountain. Even so, it is not heaven. Homer makes Poseidon say that he rules the sea, Hades the dead, Zeus the heavens, but Olympus is common to all three.
Wherever it was, the entrance to it was a great gate of clouds kept by the Seasons. Within were the gods’ dwellings, where they lived and slept and feasted on ambrosia and nectar and listened to Apollo’s lyre. It was an abode of perfect blessedness. No wind, Homer says, ever shakes the untroubled peace of Olympus; no rain ever falls there or snow; but the cloudless firmament stretches around it on all sides and the white glory of sunshine is diffused upon its walls.
The twelve Olympians made up a divine family:—
(1) ZEUS (JUPITER), the chief; his two brothers next, (2) POSEIDON (NEPTUNE), and (3) HADES, also called PLUTO; (4) HESTIA (VESTA), their sister; (5) HERA (JUNO), Zeus’s wife, and (6) ARES (MARS), their son; Zeus’s children: (7) ATHENA (MINERVA), (8) APOLLO, (9) APHRODITE (VENUS), (10) HERMES (MERCURY), and (11) ARTEMIS (DIANA); and Hera’s son (12) HEPHAESTUS (VULCAN), sometimes said to be the son of Zeus too.
Zeus and his brothers drew lots for their share of the universe. The sea fell to Poseidon, and the underworld to Hades. Zeus became the supreme ruler. He was Lord of the Sky, the Rain-god and the Cloud-gatherer, who wielded the awful thunderbolt. His power was greater than that of all the other divinities together. In the Iliad he tells his family, “I am mightiest of all. Make trial that you may know. Fasten a rope of gold to heaven and lay hold, every god and goddess. You could not drag down Zeus. But if I wished to drag you down, then I would. The rope I would bind to a pinnacle of Olympus and all would hang in air, yes, the very earth and the sea too.”
Nevertheless he was not omnipotent or omniscient, either. He could be opposed and deceived. Poseidon dupes him in the Iliad and so does Hera. Sometimes, too, the mysterious power, Fate, is spoken of as stronger than he. Homer makes Hera ask him scornfully if he proposes to deliver from death a man Fate has doomed.
He is represented as falling in love with one woman after another and descending to all manner of tricks to hide his infidelity from his wife. The explanation why such actions were ascribed to the most majestic of the gods is, the scholars say, that the Zeus of song and story has been made by combining many gods. When his worship spread to a town where there was already a divine ruler the two were slowly fused into one. The wife of the early god was then transferred to Zeus. The result, however, was unfortunate and the later Greeks did not like these endless love affairs.
Still, even in the earliest record Zeus had grandeur. In the Iliad Agamemnon prays: “Zeus, most glorious, most great, God of the storm-cloud, thou that dwellest in the heavens.” He demanded, too, not only sacrifices from men, but right action. The Greek Army at Troy is told “Father Zeus never helps liars or those who break their oaths.” The two ideas of him, the low and the high, persisted side by side for a long time.
His breastplate was the aegis, awful to behold; his bird was the eagle, his tree the oak. His oracle was Dodona in the land of oak trees. The god’s will was revealed by the rustling of the oak leaves which the priests interpreted.
She was Zeus’s wife and sister. The Titans Ocean and Tethys brought her up. She was the protector of marriage, and married women were her peculiar care. There is very little that is attractive in the portrait the poets draw of her. She is called, indeed, in an early poem,
Golden-throned Hera, among immortals the queen,
Chief among them in beauty, the glorious lady
All the blessed in high Olympus revere,
Honor even as Zeus, the lord of the thunder.
But when any account of her gets down to details, it shows her chiefly engaged in punishing the many women Zeus fell in love with, even when they yielded only because he coerced or tricked them. It made no difference to Hera how reluctant any of them were or how innocent; the goddess treated them all alike. Her implacable anger followed them and their children too. She never forgot an injury. The Trojan War would have ended in an honorable peace, leaving both sides unconquered, if it had not been for her hatred of a Trojan who had judged another goddess lovelier than she. The wrong of her slighted beauty remained with her until Troy fell in ruins.
In one important story, the Quest of the Golden Fleece, she is the gracious protector of heroes and the inspirer of heroic deeds, but not in any other. Nevertheless she was venerated in every home. She was the goddess married women turned to for help. Ilithyia (or Eileithyia), who helped women in childbirth, was her daughter.
The cow and the peacock were sacred to her. Argos was her favorite city.
He was the ruler of the sea, Zeus’s brother and second only to him in eminence. The Greeks on both sides of the Aegean were seamen and the God of the Sea was all-important to them. His wife was Amphitrite, a granddaughter of the Titan, Ocean. Poseidon had a splendid palace beneath the sea, but he was oftener to be found in Olympus.
Besides being Lord of the Sea he gave the first horse to man, and he was honored as much for the one as for the other.
Lord Poseidon, from you this pride is ours,
The strong horses, the young horses, and also the rule of the deep.
Storm and calm were under his control:—
He commanded and the storm wind rose
And the surges of the sea.
But when he drove in his golden car over the waters, the thunder of the waves sank into stillness, and tranquil peace followed his smooth-rolling wheels.
He was commonly called “Earth-shaker” and was always shown carrying his trident, a three-pronged spear, with which he would shake and shatter whatever he pleased.
He had some connection with bulls as well as with horses, but the bull was connected with many other gods too.
He was the third brother among the Olympians, who drew for his share the underworld and the rule over the dead. He was also called Pluto, the God of Wealth, of the precious metals hidden in the earth. The Romans as well as the Greeks called him by this name, but often they translated it into Dis, the Latin word for rich. He had a far-famed cap or helmet which made whoever wore it invisible. It was rare that he left his dark realm to visit Olympus or the earth, nor was he urged to do so. He was not a welcome visitor. He was unpitying, inexorable, but just; a terrible, not an evil god.
His wife was Persephone (Proserpine) whom he carried away from the earth and made Queen of the Lower World.
He was King of the Dead—not Death himself, whom the Greeks called Thanatos and the Romans, Orcus.
PALLAS ATHENA (MINERVA)
She was the daughter of Zeus alone. No mother bore her. Full-grown and in full armor, she sprang from his head. In the earliest account of her, the Iliad, she is a fierce and ruthless battle-goddess, but elsewhere she is warlike only to defend the State and the home from outside enemies. She was pre-eminently the Goddess of the City, the protector of civilized life, of handicrafts and agriculture; the inventor of the bridle, who first tamed horses for men to use.
She was Zeus’s favorite child. He trusted her to carry the awful aegis, his buckler, and his devastating weapon, the thunderbolt.
The word oftenest used to describe her is “gray-eyed,” or, as it is sometimes translated, “flashing-eyed.” Of the three virgin goddesses she was the chief and was called the Maiden, Parthenos, and her temple the Parthenon. In later poetry she is the embodiment of wisdom, reason, purity.
Athens was her special city; the olive created by her was her tree; the owl her bird.
The son of Zeus and Leto (Latona), born in the little island of Delos. He has been called “the most Greek of all the gods.” He is a beautiful figure in Greek poetry, the master musician who delights Olympus as he plays on his golden lyre; the lord too of the silver bow, the Archer-god, far-shooting; the Healer, as well, who first taught men the healing art. Even more than of these good and lovely endowments, he is the God of Light, in whom is no darkness at all, and so he is the God of Truth. No false word ever falls from his lips.
O Phoebus, from your throne of truth,
From your dwelling-place at the heart of the world,
You speak to men.
By Zeus’s decree no lie comes there,
No shadow to darken the word of truth.
Zeus sealed by an everlasting right
Apollo’s honour, that all may trust
With unshaken faith when he speaks.
Delphi under towering Parnassus, where Apollo’s oracle was, plays an important part in mythology. Castalia was its sacred spring; Cephissus its river. It was held to be the center of the world, so many pilgrims came to it, from foreign countries as well as Greece. No other shrine rivaled it. The answers to the questions asked by the anxious seekers for Truth were delivered by a priestess who went into a trance before she spoke. The trance was supposed to be caused by a vapor rising from a deep cleft in the rock over which her seat was placed, a three-legged stool, the tripod.
Apollo was called Delian from Delos, the island of his birth, and Pythian from his killing of a serpent, Python, which once lived in the caves of Parnassus. It was a frightful monster and the contest was severe, but in the end the god’s unerring arrows won the victory. Another name often given him was “the Lycian,” variously explained as meaning Wolf-god, God of Light, and God of Lycia. In the Iliad he is called “the Sminthian,” the Mouse-god, but whether because he protected mice or destroyed them no one knows. Often he was the Sun-god too. His name Phoebus means “brilliant” or “shining.” Accurately, however, the Sun-god was Helios, child of the Titan Hyperion.
Apollo at Delphi was a purely beneficent power, a direct link between gods and men, guiding men to know the divine will, showing them how to make peace with the gods; the purifier, too, able to cleanse even those stained with the blood of their kindred. Nevertheless, there are a few tales told of him which show him pitiless and cruel. Two ideas were fighting in him as in all the gods; a primitive, crude idea and one that was beautiful and poetic. In him only a little of the primitive is left.
The laurel was his tree. Many creatures were sacred to him, chief among them the dolphin and the crow.
Also called Cynthia, from her birthplace,
Mount Cynthus in Delos.
Apollo’s twin sister, daughter of Zeus and Leto. She was one of the three maiden goddesses of Olympus:—
Golden Aphrodite who stirs with love all creation,
Cannot bend nor ensnare three hearts: the pure maiden Vesta,
Gray-eyed Athena who cares but for war and the arts of the craftsmen,
Artemis, lover of woods and the wild chase over the mountains.
She was the Lady of Wild Things, Huntsman-in-chief to the gods, an odd office for a woman. Like a good huntsman, she was careful to preserve the young; she was “the protectress of dewy youth” everywhere. Nevertheless, with one of those startling contradictions so common in mythology, she kept the Greek Fleet from sailing to Troy until they sacrificed a maiden to her. In many another story, too, she is fierce and revengeful. On the other hand, when women died a swift and painless death, they were held to have been slain by her silver arrows.
As Phoebus was the Sun, she was the Moon, called Phoebe and Selene (Luna in Latin). Neither name originally belonged to her. Phoebe was a Titan, one of the older gods. So too was Selene—a moon-goddess, indeed, but not connected with Apollo. She was the sister of Helios, the sun-god with whom Apollo was confused.
In the later poets, Artemis is identified with Hecate. She is “the goddess with three forms,” Selene in the sky, Artemis on earth, Hecate in the lower world and in the world above when it is wrapped in darkness. Hecate was the Goddess of the Dark of the Moon, the black nights when the moon is hidden. She was associated with deeds of darkness, the Goddess of the Crossways, which were held to be ghostly places of evil magic. An awful divinity,
Hecate of hell,
Mighty to shatter every stubborn thing.
Hark! Hark! her hounds are baying through the town.
Where three roads meet, there she is standing.
It is a strange transformation from the lovely Huntress flashing through the forest, from the Moon making all beautiful with her light, from the pure Maiden-Goddess for whom
Whoso is chaste of spirit utterly
May gather leaves and fruits and flowers.
The unchaste never.
In her is shown most vividly the uncertainty between good and evil which is apparent in every one of the divinities.
The cypress was sacred to her; and all wild animals, but especially the deer.
The Goddess of Love and Beauty, who beguiled all, gods and men alike; the laughter-loving goddess, who laughed sweetly or mockingly at those her wiles had conquered; the irresistible goddess who stole away even the wits of the wise.
She is the daughter of Zeus and Dione in the Iliad, but in the later poems she is said to have sprung from the foam of the sea, and her name was explained as meaning “the foam-risen.” Aphros is foam in Greek. This sea-birth took place near Cythera, from where she was wafted to Cyprus. Both islands were ever after sacred to her, and she was called Cytherea or the Cyprian as often as by her proper name.
One of the Homeric Hymns, calling her “Beautiful, golden goddess,” says of her:—
The breath of the west wind bore her
Over the sounding sea,
Up from the delicate foam,
To wave-ringed Cyprus, her isle.
And the Hours golden-wreathed
Welcomed her joyously.
They clad her in raiment immortal,
And brought her to the gods.
Wonder seized them all as they saw
The Romans wrote of her in the same way. With her, beauty comes. The winds flee before her and the storm clouds; sweet flowers embroider the earth; the waves of the sea laugh; she moves in radiant light. Without her there is no joy nor loveliness anywhere. This is the picture the poets like best to paint of her.
But she had another side too. It was natural that she should cut a poor figure in the Iliad, where the battle of heroes is the theme. She is a soft, weak creature there, whom a mortal need not fear to attack. In later poems she is usually shown as treacherous and malicious, exerting a deadly and destructive power over men.
In most of the stories she is the wife of Hephaestus (Vulcan), the lame and ugly god of the forge.
The myrtle was her tree; the dove her bird—sometimes, too, the sparrow and the swan.
Zeus was his father and Maia, daughter of Atlas, his mother. Because of a very popular statue his appearance is more familiar to us than that of any other god. He was graceful and swift of motion. On his feet were winged sandals; wings were on his low-crowned hat, too, and on his magic wand, the Caduceus. He was Zeus’s Messenger, who “flies as fleet as thought to do his bidding.”
Of all the gods he was the shrewdest and most cunning; in fact he was the Master Thief, who started upon his career before he was a day old.
The babe was born at the break of day,
And ere the night fell he had stolen away
Zeus made him give them back, and he won Apollo’s forgiveness by presenting him with the lyre which he had just invented, making it out of a tortoise’s shell. Perhaps there was some connection between that very early story of him and the fact that he was God of Commerce and the Market, protector of traders.
In odd contrast to this idea of him, he was also the solemn guide of the dead, the Divine Herald who led the souls down to their last home.
He appears oftener in the tales of mythology than any other god.
The God of War, son of Zeus and Hera, both of whom, Homer says, detested him. Indeed, he is hateful throughout the Iliad, poem of war though it is. Occasionally the heroes “rejoice in the delight of Ares’ battle,” but far oftener in having escaped “the fury of the ruthless god.” Homer calls him murderous, bloodstained, the incarnate curse of mortals; and, strangely, a coward, too, who bellows with pain and runs away when he is wounded. Yet he has a train of attendants on the battlefield which should inspire anyone with confidence. His sister is there, Eris, which means Discord, and Strife, her son. The Goddess of War, Enyo,—in Latin Bellona,—walks beside him, and with her are Terror and Trembling and Panic. As they move, the voice of groaning arises behind them and the earth streams with blood.
The Romans liked Mars better than the Greeks liked Ares. He never was to them the mean whining deity of the Iliad, but magnificent in shining armor, redoubtable, invincible. The warriors of the great Latin heroic poem, the Aeneid, far from rejoicing to escape from him, rejoice when they see that they are to fall “on Mars’ field of renown.” They “rush on glorious death” and find it “sweet to die in battle.”
Ares figures little in mythology. In one story he is the lover of Aphrodite and held up to the contempt of the Olympians by Aphrodite’s husband, Hephaestus; but for the most part he is little more than a symbol of war. He is not a distinct personality, like Hermes or Hera or Apollo.
He had no cities where he was worshiped. The Greeks said vaguely that he came from Thrace, home of a rude, fierce people in the northeast of Greece.
Appropriately, his bird was the vulture. The dog was wronged by being chosen as his animal.
HEPHAESTUS (VULCAN AND MULCIBER)
The God of Fire, sometimes said to be the son of Zeus and Hera, sometimes of Hera alone, who bore him in retaliation for Zeus’s having brought forth Athena. Among the perfectly beautiful immortals he only was ugly. He was lame as well. In one place in the Iliad he says that his shameless mother, when she saw that he was born deformed, cast him out of heaven; in another place he declares that Zeus did this, angry with him for trying to defend Hera. This second story is the better known, because of Milton’s familiar lines: Mulciber was
Thrown by angry Jove
Sheer o’er the crystal battlements; from morn
To noon he fell, from noon to dewy eve,
A summer’s day, and with the setting sun
Dropt from the zenith like a falling star,
On Lemnos, the Aegean isle.
These events, however, were supposed to have taken place in the far-distant past. In Homer he is in no danger of being driven from Olympus; he is highly honored there, the workman of the immortals, their armorer and smith, who makes their dwellings and their furnishings as well as their weapons. In his workshop he has handmaidens he has forged out of gold who can move and who help him in his work.
In the later poets his forge is often said to be under this or that volcano, and to cause eruptions.
His wife is one of the three Graces in the Iliad, called Aglaia in Hesiod; in the Odyssey she is Aphrodite.
He was a kindly, peace-loving god, popular on earth as in heaven. With Athena, he was important in the life of the city. The two were the patrons of handicrafts, the arts which along with agriculture are the support of civilization; he the protector of the smiths as she of the weavers. When children were formally admitted to the city organization, the god of the ceremony was Hephaestus.
She was Zeus’s sister, and like Athena and Artemis a virgin goddess. She has no distinct personality and she plays no part in the myths. She was the Goddess of the Hearth, the symbol of the home, around which the newborn child must be carried before it could be received into the family. Every meal began and ended with an offering to her.
Hestia, in all dwellings of men and immortals
Yours is the highest honor, the sweet wine offered
First and last at the feast, poured out to you duly.
Never without you can gods or mortals hold banquet.
Each city too had a public hearth sacred to Hestia, where the fire was never allowed to go out. If a colony was to be founded, the colonists carried with them coals from the hearth of the mother-city with which to kindle the fire on the new city’s hearth.
In Rome her fire was cared for by six virgin priestesses, called Vestals.
THE LESSER GODS OF OLYMPUS
There were other divinities in heaven besides the twelve great Olympians. The most important of them was the God of Love, EROS (Cupid in Latin). Homer knows nothing of him, but to Hesiod he is
Fairest of the deathless gods.
In the early stories, he is oftenest a beautiful serious youth who gives good gifts to men. This idea the Greeks had of him is best summed up not by a poet, but by a philosopher, Plato: “Love—Eros—makes his home in men’s hearts, but not in every heart, for where there is hardness he departs. His greatest glory is that he cannot do wrong nor allow it; force never comes near him. For all men serve him of their own free will. And he whom Love touches not walks in darkness.”
In the early accounts Eros was not Aphrodite’s son, but merely her occasional companion. In the later poets he was her son and almost invariably a mischievous, naughty boy, or worse.
Evil his heart, but honey-sweet his tongue,
No truth in him, the rogue. He is cruel in his play.
Small are his hands, yet his arrows fly far as death.
Tiny his shaft, but it carries heaven-high.
Touch not his treacherous gifts, they are dipped in fire.
He was often represented as blindfolded, because love is often blind. In attendance upon him was ANTEROS, said sometimes to be the avenger of slighted love, sometimes the one who opposes love; also HIMEROS or Longing, and HYMEN, the God of the Wedding Feast.
HEBE was the Goddess of Youth, the daughter of Zeus and Hera. Sometimes she appears as cupbearer to the gods; sometimes that office is held by Ganymede, a beautiful young Trojan prince who was seized and carried up to Olympus by Zeus’s eagle. There are no stories about Hebe except that of her marriage to Hercules.
IRIS was the Goddess of the Rainbow and a messenger of the gods, in the Iliad the only messenger. Hermes appears first in that capacity in the Odyssey, but he does not take Iris’ place. Now the one, now the other is called upon by the gods.
There were also in Olympus two bands of lovely sisters, the Muses and the Graces.
THE GRACES were three: Aglaia (Splendor), Euphrosyne (Mirth) and Thalia (Good Cheer). They were the daughters of Zeus and Eurynome, a child of the Titan, Ocean. Except in a story Homer and Hesiod tell, that Aglaia married Hephaestus, they are not treated as separate personalities, but always together, a triple incarnation of grace and beauty. The gods delighted in them when they danced enchantingly to Apollo’s lyre, and the man they visited was happy. They “give life its bloom.” Together with their companions, the Muses, they were “queens of song,” and no banquet without them could please.
THE MUSES were nine in number, the daughters of Zeus and Mnemosyne, Memory. At first, like the Graces, they were not distinguished from each other. “They are all,” Hesiod says, “of one mind, their hearts are set upon song and their spirit is free from care. He is happy whom the Muses love. For though a man has sorrow and grief in his soul, yet when the servant of the Muses sings, at once he forgets his dark thoughts and remembers not his troubles. Such is the holy gift of the Muses to men.”
In later times each had her own special field. Clio was Muse of history, Urania of astronomy, Melpomene of tragedy, Thalia of comedy, Terpsichore of the dance, Calliope of epic poetry, Erato of love-poetry, Polyhymnia of songs to the gods, Euterpe of lyric poetry.
Hesiod lived near Helicon, one of the Muses’ mountains—the others were Pierus in Pieria, where they were born, Parnassus and, of course, Olympus. One day the Nine appeared to him and they told him, “We know how to speak false things that seem true, but we know, when we will, to utter true things.” They were companions of Apollo, the God of Truth, as well as of the Graces. Pindar calls the lyre theirs as well as Apollo’s, “the golden lyre to which the step, the dancer’s step, listens, owned alike by Apollo and the violet-wreathed Muses.” The man they inspired was sacred far beyond any priest.
As the idea of Zeus became loftier, two august forms sat beside him in Olympus. THEMIS, which means the Right, or Divine Justice, and DIKE, which is Human Justice. But they never became real personalities. The same was true of two personified emotions esteemed highest of all feelings in Homer and Hesiod: NEMESIS, usually translated as Righteous Anger, and AIDOS, a difficult word to translate, but in common use among the Greeks. It means reverence and the shame that holds men back from wrongdoing, but it also means the feeling a prosperous man should have in the presence of the unfortunnate—not compassion, but a sense that the difference between him and those poor wretches is not deserved.
It does not seem, however, that either Nemesis or Aidos had their home with the gods. Hesiod says that only when men have finally become completely wicked will Nemesis and Aidos, their beautiful faces veiled in white raiment, leave the wide-wayed earth and depart to the company of the immortals.
From time to time a few mortals were translated to Olympus, but once they had been brought to heaven they vanished from literature. Their stories will be told later.
THE GODS OF THE WATERS
POSEIDON (Neptune), was the Lord and Ruler of the Sea (the Mediterranean) and the Friendly Sea (the Euxine, now the Black Sea). Underground rivers, too, were his.
OCEAN, a Titan, was Lord of the river Ocean, a great river encircling the earth. His wife, also a Titan, was Tethys. The Oceanids, the nymphs of this great river, were their daughters. The gods of all the rivers on earth were their sons.
PONTUS, which means the Deep Sea, was a son of Mother Earth and the father of NEREUS, a sea-god far more important than he himself was.
NEREUS was called the Old Man of the Sea (the Mediterranean)—“A trusty god and gentle,” Hesiod says, “who thinks just and kindly thoughts and never lies.” His wife was Doris, a daughter of Ocean. They had fifty lovely daughters, the nymphs of the Sea, called NEREIDS from their father’s name, one of whom, THETIS, was the mother of Achilles. Poseidon’s wife, AMPHITRITE, was another.
TRITON was the trumpeter of the Sea. His trumpet was a great shell. He was the son of Poseidon and Amphitrite.
PROTEUS was sometimes said to be Poseidon’s son, sometimes his attendant. He had the power both of foretelling the future and of changing his shape at will.
THE NAIADS were also water nymphs. They dwelt in brooks and springs and fountains.
LEUCOTHEA and her son PALAEMON, once mortals, became divinities of the sea, as did also GLAUCUS, but all three were unimportant.
The kingdom of the dead was ruled by one of the twelve great Olympians, Hades or Pluto, and his Queen, Persephone. It is often called by his name, Hades. It lies, the Iliad says, beneath the secret places of the earth. In the Odyssey, the way to it leads over the edge of the world across Ocean. In later poets there are various entrances to it from the earth through caverns and beside deep lakes.
Tartarus and Erebus are sometimes two divisions of the underworld, Tartarus the deeper of the two, the prison of the Sons of Earth; Erebus where the dead pass as soon as they die. Often, however, there is no distinction between the two, and either is used, especially Tartarus, as a name for the entire lower region.
In Homer the underworld is vague, a shadowy place inhabited by shadows. Nothing is real there. The ghosts’ existence, if it can be called that, is like a miserable dream. The later poets define the world of the dead more and more clearly as the place where the wicked are punished and the good rewarded. In the Roman poet Virgil this idea is presented in great detail as in no Greek poet. All the torments of the one class and the joys of the other are described at length. Virgil too is the only poet who gives clearly the geography of the underworld. The path down to it leads to where Acheron, the river of woe, pours into Cocytus, the river of lamentation. An aged boatman named Charon ferries the souls of the dead across the water to the farther bank, where stands the adamantine gate to Tartarus (the name Virgil prefers). Charon will receive into his boat only the souls of those upon whose lips the passage money was placed when they died and who were duly buried.
On guard before the gate sits CERBERUS, the three-headed, dragon-tailed dog, who permits all spirits to enter, but none to return. On his arrival each one is brought before three judges, Rhadamanthus, Minos, and Aeacus, who pass sentence and send the wicked to everlasting torment and the good to a place of blessedness called the Elysian Fields.
Three other rivers, besides Acheron and Cocytus, separate the underworld from the world above: Phlegethon, the river of fire; Styx, the river of the unbreakable oath by which the gods swear; and Lethe, the river of forgetfulness.
Somewhere in this vast region is Pluto’s palace, but beyond saying that it is many-gated and crowded with innumerable guests, no writer describes it. Around it are wide wastes, wan and cold, and meadows of asphodel, presumably strange, pallid, ghostly flowers. We do not know anything more about it. The poets did not care to linger in that gloom-hidden abode.
THE ERINYES (the FURIES) are placed by Virgil in the underworld, where they punish evildoers. The Greek poets thought of them chiefly as pursuing sinners on the earth. They were inexorable, but just. Heraclitus says, “Not even the sun will transgress his orbit but the Erinyes, the ministers of justice, overtake him.” They were usually represented as three: Tisiphone, Megaera and Alecto.
SLEEP, and DEATH, his brother, dwelt in the lower world. Dreams too ascended from there to men. They passed through two gates, one of horn through which true dreams went, one of ivory for false dreams.
THE LESSER GODS OF EARTH
Earth herself was called the All-Mother, but she was not really a divinity. She was never separated from the actual earth and personified. The Goddess of the Corn, DEMETER (CERES), a daughter of Cronus and Rhea, and the God of the Vine, DIONYSUS, also called BACCHUS, were the supreme deities of the earth and of great importance in Greek and Roman mythology. Their stories will be found in the next chapter. The other divinities who lived in the world were comparatively unimportant.
PAN was the chief. He was Hermes’ son; a noisy, merry god, the Homeric Hymn in his honor calls him; but he was part animal too, with a goat’s horns, and goat’s hoofs instead of feet. He was the goatherds’ god, and the shepherds’ god, and also the gay companion of the woodland nymphs when they danced. All wild places were his home, thickets and forests and mountains, but best of all he loved Arcady, where he was born. He was a wonderful musician. Upon his pipes of reed he played melodies as sweet as the nightingale’s song. He was always in love with one nymph or another, but always rejected because of his ugliness.
Sounds heard in a wilderness at night by the trembling traveler were supposed to be made by him, so that it is easy to see how the expression “panic” fear arose.
SILENUS was sometimes said to be Pan’s son; sometimes his brother, a son of Hermes. He was a jovial fat old man who usually rode an ass because he was too drunk to walk. He is associated with Bacchus as well as with Pan; he taught him when the Wine-god was young, and, as is shown by his perpetual drunkenness, after being his tutor he became his devoted follower.
Besides these gods of the earth there was a very famous and very popular pair of brothers, CASTOR and POLLUX (Polydeuces), who in most of the accounts were said to live half of their time on earth and half in heaven.
They were the sons of LEDA, and are usually represented as being gods, the special protectors of sailors,
Saviors of swift-going ships when the storm winds rage
Over the ruthless sea.
They were also powerful to save in battle. They were especially honored in Rome, where they were worshiped as
The great Twin Brethren to whom all Dorians pray.
But the accounts of them are contradictory. Sometimes Pollux alone is held to be divine, and Castor a mortal who won a kind of half-and-half immortality merely because of his brother’s love.
LEDA was the wife of King Tyndareus of Sparta, and the usual story is that she bore two mortal children to him, Castor and Clytemnestra, Agamemnon’s wife; and to Zeus, who visited her in the form of a swan, two others who were immortal, Pollux and Helen, the heroine of Troy. Nevertheless, both brothers, Castor and Pollux, were often called “sons of Zeus”; indeed, the Greek name they are best known by, the Dioscouri, means “the striplings of Zeus.” On the other hand, they were also called “sons of Tyndareus,” the Tyndaridae.
They are always represented as living just before the Trojan War, at the same time as Theseus and Jason and Atalanta. They took part in the Calydonian boar-hunt; they went on the Quest of the Golden Fleece; and they rescued Helen when Theseus carried her off. But in all the stories they play an unimportant part except in the account of Castor’s death, when Pollux proved his brotherly devotion.
The two went, we are not told why, to the land of some cattle owners, Idas and Lynceus. There, Pindar says, Idas, made angry in some way about his oxen, stabbed and killed Castor. Other writers say the cause of the dispute was the two daughters of the king of the country, Leucippus. Pollux stabbed Lynceus, and Zeus struck Idas with his thunderbolt. But Castor was dead and Pollux was inconsolable. He prayed to die also, and Zeus in pity allowed him to share his life with his brother, to live,
Half of thy time beneath the earth and half
Within the golden homes of heaven.
According to this version the two were never separated again. One day they dwelt in Hades, the next in Olympus, always together.
The late Greek writer Lucian gives another version, in which their dwelling places are heaven and earth; and when Pollux goes to one, Castor goes to the other, so that they are never with each other. In Lucian’s little satire, Apollo asks Hermes: “I say, why do we never see Castor and Pollux at the same time?”
“Well,” Hermes replies, “they are so fond of each other that when fate decreed one of them must die and only one be immortal, they decided to share immortality between them.”
“Not very wise, Hermes. What proper employment can they engage in, that way? I foretell the future; Aesculapius cures diseases; you are a good messenger—but these two—are they to idle away their whole time?”
“No, surely. They’re in Poseidon’s service. Their business is to save any ship in distress.”
“Ah, now you say something. I’m delighted they’re in such a good business.”
Two stars were supposed to be theirs: the Gemini, the Twins.
They were always represented as riding splendid snow-white horses, but Homer distinguishes Castor above Pollux for horsemanship. He calls the two
Castor, tamer of horses, Polydeuces, good as a boxer.
THE SILENI were creatures part man and part horse. They walked on two legs, not four, but they often had horses’ hoofs instead of feet, sometimes horses’ ears, and always horses’ tails. There are no stories about them, but they are often seen on Greek vases.
THE SATYRS, like Pan, were goat-men, and like him they had their home in the wild places of the earth.
In contrast to these unhuman, ugly gods the goddesses of the woodland were all lovely maiden forms, the OREADS, nymphs of the mountains, and the DRYADS, sometimes called HAMADRYADS, nymphs of trees, whose life was in each case bound up with that of her tree.
AEOLUS, King of the Winds, also lived on the earth. An island, Aeolia, was his home. Accurately he was only regent of the Winds, viceroy of the gods. The four chief Winds were BOREAS, the North Wind, in Latin AQUILO; ZEPHYR, the West Wind, which had a second Latin name, FAVONIUS; NOTUS, the South Wind, also called in Latin AUSTER; and the East Wind, EURUS, the same in both Greek and Latin.
There were some beings, neither human nor divine, who had their home on the earth. Prominent among them were:—
THE CENTAURS. They were half man, half horse, and for the most part they were savage creatures, more like beasts than men. One of them, however, CHIRON, was known everywhere for his goodness and his wisdom.
THE GORGONS were also earth-dwellers. There were three, and two of them were immortal. They were dragonlike creatures with wings, whose look turned men to stone. Phorcys, son of the Sea and the Earth, was their father.
THE GRAIAE were their sisters, three gray women who had but one eye between them. They lived on the farther bank of Ocean.
THE SIRENS lived on an island in the Sea. They had enchanting voices and their singing lured sailors to their death. It was not known what they looked like, for no one who saw them ever returned.
Very important but assigned to no abode whether in heaven or on the earth were THE FATES, Moirae in Greek, Parcae in Latin, who, Hesiod says, give to men at birth evil and good to have. They were three, Clotho, the Spinner, who spun the thread of life; Lachesis, the Disposer of Lots, who assigned to each man his destiny; Atropos, she who could not be turned, who carried “the abhorrèd shears” and cut the thread at death.
THE ROMAN GODS
The Twelve great Olympians mentioned earlier were turned into Roman gods also. The influence of Greek art and literature became so powerful in Rome that ancient Roman deities were changed to resemble the corresponding Greek gods, and were considered to be the same. Most of them, however, in Rome had Roman names. These were Jupiter (Zeus), Juno (Hera), Neptune (Poseidon), Vesta (Hestia), Mars (Ares), Minerva (Athena), Venus (Aphrodite), Mercury (Hermes), Diana (Artemis), Vulcan or Mulciber (Hephaestus), Ceres (Demeter).
Two kept their Greek names: Apollo and Pluto; but the latter was never called Hades, as was usual in Greece. Bacchus, never Dionysus, was the name of the wine-god, who had also a Latin name, Liber.
It was a simple matter to adopt the Greek gods because the Romans did not have definitely personified gods of their own. They were a people of deep religious feeling, but they had little imagination. They could never have created the Olympians, each a distinct, vivid personality. Their gods, before they took over from the Greeks, were vague, hardly more than a “those that are above.” They were THE NUMINA, which means the Powers or the Wills—the Will-Powers, perhaps.
Until Greek literature and art entered Italy the Romans felt no need for beautiful, poetic gods. They were a practical people and they did not care about “Violet-tressed Muses who inspire song,” or “Lyric Apollo making sweet melodies upon his golden lyre,” or anything of that sort. They wanted useful gods. An important Power, for example, was One who Guards the Cradle. Another was One Who Presides over Children’s Food. No stories were ever told about the Numina. For the most part they were not even distinguished as male or female. The simple acts of everyday life, however, were closely connected with them and gained dignity from them as was not the case with any of the Greek gods except Demeter and Dionysus.
The most prominent and revered of them all were the LARES and PENATES. Every Roman family had a Lar, who was the spirit of an ancestor, and several Penates, gods of the hearth and guardians of the storehouse. They were the family’s own gods, belonging only to it, really the most important part of it, the protectors and defenders of the entire household. They were never worshiped in temples, but only in the home, where some of the food at each meal was offered to them. There were also public Lares and Penates, who did for the city what the others did for the family.
There were also many Numina connected with the life of the household, such as TERMINUS, Guardian of Boundaries; PRIAPUS, Cause of Fertility; PALES, Strengthener of Cattle; SYLVANUS, Helper of Plowmen and Woodcutters. A long list could be made. Everything important to the farm was under the care of a beneficent power, never conceived of as having a definite shape.
SATURN was originally one of the Numina, the Protector of the Sowers and the Seed, as his wife OPS was a Harvest Helper. In later days, he was said to be the same as the Greek Cronus and the father of Jupiter, the Roman Zeus. In this way he became a personality and a number of stories were told about him. In memory of the Golden Age, when he reigned in Italy, the great feast of the Saturnalia was held every year during the winter. The idea of it was that the Golden Age returned to the earth during the days it lasted. No war could be then declared; slaves and masters ate at the same table; executions were postponed; it was a season for giving presents; it kept alive in men’s minds the idea of equality, of a time when all were on the same level.
JANUS, too, was originally one of the Numina, “the god of good beginnings,” which are sure to result in good endings. He became personified to a certain degree. His chief temple in Rome ran east and west, where the day begins and ends, and had two doors, between which stood his statue with two faces, one young and one old. These doors were closed only when Rome was at peace. In the first seven hundred years of the city’s life they were closed three times, in the reign of the good king, Numa; after the first Punic War when Carthage was defeated in 241 B.C.; and in the reign of Augustus when, Milton says,
No war or battle’s sound
Was heard the world around.
Naturally his month, January, began the new year.
FAUNUS was Saturn’s grandson. He was a sort of Roman Pan, a rustic god. He was a prophet too, and spoke to men in their dreams.
THE FAUNS were Roman satyrs.
QUIRINUS was the name of the deified Romulus, the founder of Rome.
THE MANES were the spirits of the good dead in Hades. Sometimes they were regarded as divine and worshiped.
THE LEMURES or LARVAE were the spirits of the wicked dead and were greatly feared.
THE CAMENAE began as useful and practical goddesses who cared for springs and wells and cured disease and foretold the future. But when the Greek gods came to Rome, the Camenae were identified with those impractical deities the Muses, who cared only for art and science. Egeria who taught King Numa was said to be a Camena.
LUCINA was sometimes regarded as a Roman EILEITHYIA, the goddess of childbirth, but usually the name is used as an epithet of both Juno and Diana.
POMONA AND VERTUMNUS began as Numina, as Powers Protecting Orchards and Gardens. But they were personified later and a story was told about how they fell in love with each other.
Excerpted from Mythology by Hamilton, Edith Copyright © 2011 by Hamilton, Edith. Excerpted by permission.
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Most Helpful Customer Reviews
I first read Edith Hamilton in 8th grade, because I needed a general overview of a lot of mythology. Though I didn't know it at the time, Hamilton's stories are rather general; they don't include a lot of important character names and events. In that sense she's a bit like Bulfinch. It's good for someone new to mythology but anyone looking for something more comprehensive should look into Robert Graves.
I'm in academic superbowl at school, our topic being Greek mythology. This book helps me to study, and I recommend it.
Reviewed by Martina Svyantek for Readers' Favorite If you are looking for a classic book to listen to while driving to work or across the country, look no further than “Mythology” by Edith Hamilton. This audio book enriches a car ride and lets its readers get lost in stories of heroes, kings, gods, and goddesses. The quality of the stories captured in this volume is excellent and the retelling by Hamilton engages the reader, or, in this case, the listener. One of the best features of this unabridged collection is the fact that Hamilton includes the source of the myth before it is told, helping to shape the background for the listener. It was quite pleasant to see the names that my classmates and I had struggled with during high school flow so effortlessly off the narrator’s tongue. The most disappointing feature of this audio book has to deal with a lack in the original text. There is an overabundance of Greek and Roman mythology, with relatively little to no Norse mythology. However, this is not to say that “Mythology” is a disappointing read. Although this selection does not pay as much attention to the Norse myths as might be hoped, given that they are “advertised” as an equal partner with the Greek and Roman myths, there is enough material there to satisfy an initial jump into the world of the Vikings’ gods and goddesses. I personally have always loved myths and fairy tales, and the fact that I can listen to these stories and give my eyes a break is wonderful.
How come everyone is giving it one star? I was in 6th grade when I bought/read this, and this told me all I wanted to know about mythologly. Sure, the names got me confused, but it was a good read.
One word...Amazing! Every story, every detail from cover to cover. Parables galore and I think all the characters were in it. Edith Hamilton really outdid herself. I'm a fan of Mythology and NOTHING that I have read relating to it tops this. One of the best reads ever! Two thumbs up! d(^u^)b
Had to read this for school it was okay
I read this book just for fun, because I've always loved Greek mythology and my friend told me that this book was really good. And so far, out of all of the mythology books I've read, this was my favorite. It includes all of the most popular myths and also some little-known myths. It even has a little about Norse mythology, which I also find interesting.
One of my favorite books thru my whole life. Edith Hamilton was a well-versed Greek scholar, and takes everything in her book from the originals. She also gives us constant tastes of those originals. Norse legends thrown in as well. A book filled with wonders, no child should grow up without it.
this book is absolutely perfect. i could not put this one down. it grabs you from the very introduction into a world that only the vast minds of the Greeks and Romans could have imagined. it goes into a lot of depth to get the gods, monsters, mortals, and warriors of all the Greek and Roman stories across to the reader. i highly recommend this book to anyone who wants to get a better look into the world of Greek and Roman mythology. the stories are very informative, telling why what happened, whether or not for this reason or that. this book was a completely and outstandingly well-written book.
I loved this book. It was awesome . I learned alot about greek and roman mythology.
I Loved it! great book it covers everything you need to know about mythology edith Hamilton is a great writer and her book is great too!
I love this book. I am already half way through it (I got it like a day ago). It is worth $7. Buy it!!
I love anything mythology related, especially greek myths. If you enjoy them as much as I do, than this is the book for you. Vm-
When i picked up the book, I thought "Hmm, I like mythology and I like to read". So, a perfect choice, right? Meh...it was okay, but not great. Don't get me wrong, Edith Hamilton is a good author, but she needs to put some life into her books. Most of the things I read was banal and lifeless. To be honest, the first part of the book is nothing but banter about how she found information and what we're about to read means. This book is intended for anyone wanting to learn more about mythology, but only if you have a lot of time on your hands and nothing to do.
I didn't completely read through this entirely, half the fun and education was skimming through and relearning much of what I retained a few years back. I enjoyed how it was structured and how it basically took you back in time to that mysterious place of the minds of humanity. It brings you into a state of mind in which you can imagine the artists who created these figures and makes you feel like an anthropologist in the meantime.
I first read this book in my highschool Latin class--long ago when I thought I might have made it through a 2nd year of Latin. The dumbed-down sheeple of my society don't put any value on myths, or much of anything but psychotropics and entertainment. Something priceless lays here. These stories are extremely important to understanding ourselves, our past, our planispheres, and the future. Without sounding too Sitchin-like, I will simply say that these are the rememberances of the b'nai Elohim, amongst other things. Ms. Hamilton provides us an excellent place to start to understand our (un)reality. Don't drink too much of the Eleusian blue potion, and enjoy the illustrations. The myths of other cultures, times, and places await you; all holding a golden thread of uniformity.
I have to talk about this book on two levels. On the first level is considering the book as a collection of paraphrases of Greek and Roman mythology. On this level, it's a perfectly adequate book and serves as a decent reference source for a reader that might run across allusions to Theseus, Ariadne, or Agamemnon in other readings. Hamilton covers a wide breadth of myths in relatively brief space and keeps the language at a level that makes comprehensible for a non-academic.The second level is about the tone Hamilton uses when she talks about myths, writers, and Norse mythology as a whole. It is not good. She comes across as condescending, pretentious, and superior, and for reasons that escape me, includes "the important parts" of Norse mythology in just 10 pages or so. In talking about one Greek writer, she describes him as "boring, but less boring in this tale." A lot of this is likely the product of this book being originally published in 1942 but the lack of cultural relativism drove me a little crazy. My view of the book is particularly tainted by this as the Norse mythology section is at the end and this approach of Hamilton's is in strongest evidence there. If you're looking for a decent reference source on Greek mythology, this isn't bad to get the gist of the myths, but don't look at it for criticism of the literature.
Classic mythology told as stories. Consider reading this as basic education to be able to recognize the infinite references to the ancient stories used in everyday life and modern story telling (including movies, tvs, plays, music, etc.) - though I am probably stating the obvious. This gives a solid grounding in the mythos of western civilizations.
In what is quite possibly one of the best, or at least, most renowned book on Greco-Roman mythology, Hamilton has presented here in an easy-to-digest format the high points of what happened on Mt. Olympus (and why it didn't stay on Mt. Olympus).It's by no means exhaustive, but is otherwise a very informative source to get your feet wet in the world of Greco-Roman mythology. Additionally, it's a place to get your feet ever-so-slightly damp in the world of Norse mythology, as the section covering such seems more an afterthought than an appendix than an actual resource on the complex system that is Norse mythology.If you're looking into the Greco-Roman, this is a great book to at least start, and at most, to complete that collection. If you're looking into the Norse, I'd recommend this book only if you can't manage to find any others about the topic.
After reading this book I feel that it is more advance then 'Heroes, Gods, and Monsters'. I feel that I learned a lot more about greek gods that I didn't know, and what I did know is a different variation of the story. Above all I really enoyed this book and it was very informative.
This is a standard reference of mythology and the Greek and Roman gods. It is great for younger people who are getting interested in the subject and covers everything well.
Hmm. Wasn't really thrilled with this book. I found it to be a bit dry and boring. Hamilton has a way of cramming so much plot into each story. Consequently, something is lost in translation...
For accuracy, deft comparisons, thoroughness of research, clarity of thought, and imaginative fluid writing, this is THE source for mythology. I have read and re-read this for years.
The companion volume to my 6th grade Latin grammar. If you have to read only one book to get up to speed on Greek & Roman mythology, this is the one.
I was planning to use this book to help study for my GRE in English test, but found it not terribly good for that purpose. The book is well-written and easy to read, and covers and summarizes most of the pertinent myths and legends of Greek and Roman literature--but it's too long to be a summary. If I didn't want to read the original to get a particular story, I would go here--but I think I'd much rather read Ovid or Homer, even if it is more challenging.