THE SOURCES 
 
 OF 
 
 SPENSER'S 
 CLASSICAL MYTHOLOGY 
 
 ALICE ELIZABETH SAWTELLE, PH.D. (YALE) 
 
 SILVER, BURDETT AND COMPANY 
 NEW YORK . . . BOSTON . . . CHICAGO 
 1896 
 
COPYBIGHT, 1896, 
 BY SILVER, BURDETT AND COMPANY. 
 
 TTPOGRAPHT BY C. J. PETERS <fc SON, BOSTON. 
 PBESSWORK BY BERWICK & SMITH. 
 
TO 
 
 Professor Wwt &. (oofc. 
 
 333475 
 
PREFATORY NOTE. 
 
 Miss SAWTELLE'S book was undertaken as a doctoral thesis 
 in the English department of Yale University. It has been 
 wrought out with singular care, and very little has been taken at 
 second hand, so that it may fairly be depended upon as accurate 
 in scholarship. 
 
 There ought, I should think, to be a modest place in col- 
 leges and schools for a work of this nature ; certainly where 
 Spenser is studied, and perhaps where attention is paid to any of 
 the poetic Elizabethans. Spenser's mythology is by no means 
 peculiar to himself, and much of it may be used for the illustra- 
 tion of poetry in its whole range from the times of great Eliza- 
 beth to the present. 
 
 Mr. Churton Collins, as well as Matthew Arnold, has made 
 himself the spokesman of the doctrine that English literature 
 should be studied in the light of the ancient classics; and perhaps 
 this opuscule will be accepted by those who are of the same mind 
 with these writers, as an illustration of their theory. 
 
 The author has necessarily traveled much in the realms of 
 gold, while in quest of the materials for freighting her little craft ; 
 and I trust that her venture will do something to convince those 
 who have doubted whether scholarship was quite compatible with 
 literary appreciation, that the two need not perforce be disjoined. 
 
 A. s. C. 
 NEW HA VEX, July, 1896. 
 
INTRODUCTION. 
 
 To the serious student no great author is an isolated fact, 
 but rather the product of numerous influences, more or less 
 direct. To see each author in his proper setting, not in relation 
 to his own age only, but also to "those divine men of old time," 
 is the aim of all worthy literary study ; for then, and then only, 
 can he be fully understood. 
 
 The unity of the great world-literature cannot be too early 
 or too often insisted upon ; and proud as we may be of the indi- 
 vidual traits in our own English literature, it is, after all, strongly 
 marked by foreign influences, ancient and modern. A thorough 
 study of any one of its departments but confirms this view : the 
 model of Milton's epic is to be found in Virgil's ^Eneid, and the 
 Iliad and Odyssey of Homer ; our lyrics are in many ways 
 but the echoes of those sung many centuries ago by the shores 
 of the ^Egean Sea ; and independent as was the growth of our 
 drama on its romantic side, it has yet other, classical qualities, 
 which find their source in the plays of Sophocles and Euripides. 
 
 After the Renaissance, which flooded England with originals 
 and translations of ancient masterpieces, the classical note be- 
 came a dominant one in our literature, and particularly did the 
 richly imaginative mythology of Greece and Rome appeal to our 
 poets. 
 
 No more conspicuous example of this fact can be cited than 
 Edmund Spenser : the gods and heroes of antiquity glide over his 
 pages as naturally as over those of Homer and Pindar, Virgil and 
 Ovid. Mingled with the poet's own conceptions is a great mass 
 of classical mythology ; and it is the sources of this which are 
 considered in this volume. 
 
 So far as is known, this is the first attempt that has been 
 7 
 
8 < . . INTRODUCTION. 
 
 made to furnish anything like a full treatment of Spenser's 
 classical mythology, although fragmentary considerations of the 
 subject have appeared from time to time. Such are those in Jor- 
 tin's and Warton's Remarks on Spenser ; but these essays most 
 excellent and suggestive as far as they go are confessedly in- 
 complete, for both scholars realized the extent of the subject 
 touched upon. Furthermore, the sources of Spenser's mythology 
 are treated in the notes of various editions of his works notably 
 those of Todd and Upton ; but here, too, the treatment does not 
 assume to be more than fragmentary, and there is certainly little 
 attempt at grouping the various passages and comparing Spenser 
 with himself. 
 
 An investigation conducted along these lines reveals some 
 interesting facts in regard to Spenser's treatment of the classical 
 myths, most conspicuous of which is his complete mastery of 
 them. Never does he give us the impression that he is subserv- 
 ient to them, but always that they are at his bidding to help in 
 carrying out the purposes of his poems. This sense of mastery 
 leads him occasionally to rise superior to the strict letter of the 
 Original, and, while always preserving its spirit, he at times de- 
 liberately perverts a myth in order that it may better accord with 
 his immediate purpose (see Coronis) ; or, again, he seizes upon 
 some hint from the classics, and constructs a myth of his own, 
 \but so imbued with the spirit of its antique models that an 
 expert might find it hard to detect the difference (see Asteria) 
 Even when Spenser paraphrases long extracts from the classics, 
 he embellishes them with beauties from his own imagination, 
 so that he does not seem under limitations, even here (see 
 Arachne). 
 
 Occasionally, however, our poet nods ; and, either from care- 
 lessness or ignorance, makes mistakes in certain minor details 
 (see Palici); but when we contemplate the vast extent of his 
 borrowings from the classics, we can only wonder that these 
 errors are not more numerous. 
 
 It is true that Spenser may be studied upon many sides ; but 
 no other view of him could impress one more deeply with the 
 thoroughness of his scholarship. Although in certain minor de- 
 tails he may have been indebted to intermediate authorities, like 
 
INTRODUCTION. 9 
 
 Natalis Comes (Noel Conti) a popular mythographer of the 
 sixteenth century or to other poets of the Middle Ages, yet 
 there is every evidence, from the paraphrasing of the Greek and 
 Latin, and from the vital, original spirit breathing through the 
 mythological passages, that he drew his inspiration directly from 
 the fountain-heads. The numerous classical authorities cited by 
 E. K. in support of the Shepheard's Calender would alone indicate 
 this. Then, too, the catholicity of his knowledge must impress 
 one. Although fascinated by Ovid, and under the spell of Virgil, 
 he is inspired none the less by the Greek authors, from Homer 
 and Hesiod down to Theocritus and Bion. 
 
 As Aubrey de Vere so aptly expresses it, " In one respect, 
 however, it must be admitted that the Renaissance had assisted 
 Spenser : it had imparted to him an acquaintance with classical, 
 and especially with mythological lore, such as no mediaeval writer 
 possessed. His own profound sense of beauty made him fully 
 appreciate what was thus presented to him ; and whereas medi- 
 aeval writers had often dealt with antiquity as mediaeval painters 
 had done, placing the head of a saint on the neck of a Hebe or 
 a Mars, he entered into the spirit in an ampler manner than any 
 of his predecessors, or than any southern poet." (Characteristics 
 of Spenser's Poetry, Grosart Edition of Spenser.) 
 
 Occasional quotations have been made in the pages following 
 from English translations of the classics : from the Iliad, trans- 
 lated by Lang, Leaf, and Myers ; Butcher and Lang's Odyssey ; 
 the Homeric Hymns, translated by Parnell, Chapman, Shelley, Con- 
 greve, and Hole ; Cooke's Hesiod ; Myers' Pindar ; Lawton's and 
 Potter's Euripides; Taylor's Greece of Pausanias ; Fawkes' Apol- 
 lonius Rhodius ; Apuleius (Bohn Library) ; Lonsdale and Lee's 
 JEneid ; Riley's Ovid ; De Vere's Horace. 
 
 Acknowledgment is due also to Jortin's and Warton's Re- 
 marks on Spenser and Upton's and Todd's editions of Spenser, for 
 ultimate help in the case of several difficulties already wrestled 
 with, while it has been a pleasure to discover their confirmation 
 of various particulars independently treated. 
 
 The Globe Edition of the Complete Works of Edmund 
 Spenser has been used as the basis of this investigation ; and its 
 order and numbering have been followed, except in the case of 
 
10 INTRODUCTION. 
 
 Virgil's Gnat, the references to -which are to stanzas rather than 
 to single verses. 
 
 The spelling of the proper names in the headings has been 
 normalized to correspond to the usual Latin forms; and only 
 when Spenser's spelling is so widely at variance with this as to 
 cause possible confusion, has it been taken into account. 
 
 A. E. s. 
 YALE UNIVERSITY, June, 1896. 
 
INDEX OF ABBREVIATIONS. 
 
 A. A. ATS Amatoria. 
 
 .ffin. .ffineid. 
 
 Am. Amoretti. 
 
 Amor. Amores. 
 
 Anac. Anacreon. 
 
 Anth. Lat. Anthologia Latina. 
 
 Apoll. Apollodorus. 
 
 Ap. Rh. Apollonius Rhodius. 
 
 Argonaut. Argonautica. 
 
 Aristoph. Aristophanes. 
 
 Ast. Astrophel. 
 
 Call. Callimacbus. 
 
 Carm. Carmina. 
 
 Cic. Cicero. 
 
 Claud. Claudian. 
 
 Co. Cl. Colin Clout's Come Home 
 
 Again. 
 Com. Commentarius ex Cicerone in 
 
 Somnium Scipionis. 
 
 Daph. Daphnaida. 
 
 De Benef . De Beneflciis. 
 
 De Nat. Deor. De Natura Deorum. 
 
 De Fluv. De Fluviis. 
 
 Dial. Deor. Dialogi Deorum. 
 
 Dial. Mort. Dialogi Mortuorum. 
 
 Diod. Sic. Diodorus Siculus. 
 
 Eel. Eclogues. 
 Elec. Electra. 
 Ep. Epithalamion. 
 Eurip. Euripides. 
 
 Fab. Fables. 
 Fast. Fasti. 
 F. Q. Faerie Queene. 
 
 Georg. Georgics. 
 Gigant. Gigantomachia. 
 
 H. B. Hymne in Honour of Beautie. 
 Her. Heroides. 
 
 H. H. B. Hymne of Heavenly Beau- 
 tie. 
 
 Hip. Hippolytus. 
 H. L. Hymne in Honour of Love. 
 Horn. Hymn. Homeric Hymn. 
 Hor. Horace. 
 Hyg. Hyginus. 
 
 H. Iliad. 
 Imag. Imagines. 
 Int. Introduction. 
 
 Lucret. Lucretius. 
 Lye. Lycophron. 
 Lys. Lysistrata. 
 
 Mart. Martial. 
 
 Met. Metamorphoses. 
 
 M. H. T. Mother Hubberds Tale. 
 
 TVrin, Minos. 
 
 Mui. Muiopotmos. 
 
 Nupt.Pel.etThet. Nuptials of Pe- 
 leus and Thetis. 
 
 Od. Odyssey. 
 Olymp. Olympic. 
 Orest. Orestes. 
 Orph. Orpheus. 
 Ov. Ovid. 
 
 Paus. Pausanias. 
 
 Phsed. Phsedrus. 
 
 Plat. Plato. 
 
 Plut. Plutarch. 
 
 Poet. Astron. Poeticon Astronomi- 
 
 con. 
 
 Pont. Ep. Pontic Epistles. 
 Pref. Preface. 
 
 11 
 
12 
 
 INDEX OF ABBREVIATIONS. 
 
 Pro. Prothalamion. 
 Prol. Prologue. 
 Pyth. Pythian. 
 
 B.R. 
 R.T. 
 
 Ruines of Rome. 
 Ruines of Time. 
 
 Sat. Saturnalia. 
 
 S. C. Shepheards Calender. 
 
 Schol. Scholiast. 
 
 Serv. Servius. 
 
 Silv. Silvse. 
 
 Soph. Sophocles. 
 
 Stat. Statius. 
 
 Strab. Strabo. 
 
 Sup. Supplices. 
 
 Theb. Thebaid. 
 
 Theoc. Theocritus. 
 
 Theog. Theogony. 
 
 T. M. Teares of the Muses. 
 
 Trist. Tristia. 
 
 Tzet. Tzetzes. 
 
 V. B. Visions of Bellay. 
 Ver. Verses. 
 V. G. Virgils Gnat. 
 Virg. Virgil. 
 
 V. W. V. Visions of the "Worlds 
 Vanitie. 
 
 W. and D. Works and Days. 
 
THE SOURCES 
 
 OF 
 
 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 ACHERON. -F. Q. 1. 5. 33. 
 
 One of the rivers in the Lower World, mentioned by Virgil 
 (Mn. 6. 295). 
 
 ACHILLES. P. Q. 3. 2. 26; V. G. 66; H. L. 233. 
 
 F, Q. 3. 2. 25 contains a reference to the famous armor of 
 Achilles, which, according to //. 18. 468 ff., Vulcan made for 
 Achilles at the request of Thetis. 
 
 In V. G. 66 the oft-repeated story of the triumph of Achilles 
 (.ZEacides) over Hector is referred to. With this compare II. 22, 
 where a lengthy description of the combat between the two heroes 
 is related. Spenser (upon his own authority, since the statement 
 does not occur in the original of Virgil's Gnat) says that Achilles 
 dragged the body of Hector three times around Troy. The au- 
 thority for this is not found in the Iliad, which says that Achilles 
 bound the body of Hector to his chariot and dragged him to the 
 Greek camp; but in JEn. 1. 483: "Thrice round Ilium's walls 
 had Achilles dragged Hector, and now he was selling his lifeless 
 body for gold." For the death of Achilles at the hands of Paris 
 (V. G. 67), see//. 22. 359. 
 
 The power of love over Achilles is mentioned in //. L. 233 : 
 
 Achilles preassing through the Phrygian glaives. 
 
 This is a reference to Achilles' love for Patroclus, whose death 
 spurred him on to the battle with the Trojans, which is described 
 in II. 19. 20, ff. The immediate source of the allusion is shown 
 from the grouping to be the Symposium of Plato. 
 
 13 " 
 
14 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 ACONTIUS. F. Q. 2. 7. 55. 
 
 The romantic story of the love of Acontius for Cydippe and 
 of the means by which he won her love is here cited. As in 
 several other myths, it was an apple which played the important 
 part. This fair youth, Acontius, saw the beautiful Cydippe wor- 
 shiping in the temple of Diana. He succumbed to her charms at 
 once, and wished to make her his wife. In order to accomplish 
 this, he threw an apple at her feet. On it was inscribed the solemn 
 vow, " I swear by Diana to marry Acontius." Cydippe, receiving 
 the apple, read the words aloud. She threw the apple away, but 
 all too late. Her vow had been heard and registered, and after 
 various delays she was wedded tp Acontius. 
 
 The myth forms the groundwork of Her. 20, 21, which are 
 attributed to Ovid ; it is the subject also of one of the epistles 
 of Aristsenetus. 
 
 F. Q. 4. 11. 50. See Nereids. 
 ADMETTJS. F. Q. 3. 11. 39. See Apollo. 
 
 ADONIS. 
 
 No passage in the works of Spenser more plainly reveals 
 that teeming imagination which has given him the name of " the 
 poet's poet," than that which describes the gardens of Adonis 
 (F. Q. 3. 6. 29 ff.). Underlying the poetry of it there is also 
 a deep philosophy, the discussion of which does not concern us 
 here. The myth upon which this and other passages rest is vari- 
 ously related : 
 
 Apollodorus (3. 14. 4) says that Adonis was the son of a cer- 
 tain Myrrha, who had neglected the worship of Venus, and had 
 been, in punishment, cursed with an unnatural love for her own 
 father. The Gods took pity upon Myrrha, and changed her into 
 a tree (comp. Met. 10. 299 ff.). When Myrrha's child Adonis 
 was born, Venus was charmed by his beauty, and intrusted him 
 to the keeping of Proserpina ; but Proserpina, also captivated by 
 the boy, refused to give him up. The case was submitted to 
 Jove, who decided that two-thirds of each year Adonis should 
 divide between Venus in this world and Proserpina in the lower 
 regions ; the remaining third he should have to himself. Ado- 
 nis, however, preferred to spend the time allotted to himself in 
 
SPENSER'S CLASSICAL MYTHOLOGY. 15 
 
 the company of Venus. It was some time after this that Adonis 
 was killed, while hunting, by a wild boar. 
 
 The same story, with variations, is related by other authors, 
 such as Hyginus, Ovid, Theocritus, and Bion. Ovid (Met. 10. 
 731 ff.) adds that, after his death, Adonis was changed by Venus 
 into a flower ; and others say that after that event Venus enjoyed 
 the society of her beloved Adonis for only a half of each year. 
 Spenser, in imagination, transferred the story of the love of 
 Venus and Adonis to a piece of tapestry 
 
 A worke of rare device and wondrous wit. 
 
 F. Q. 3. 1. 34 ff. 
 
 The unlawful love of Myrrha is referred to in F. Q. 3. 2. 41. 
 
 But all this story was originally something more than a mere 
 poetic fiction : there was in it the basis of the worship of Adonis, 
 which was brought from Syria, through Asia Minor, into Greece. 
 The alternating death and revival of Adonis seem to typify the 
 decay and revival of vegetation. This idea was prominently 
 brought out in the Adonia, or annual festivals of Adonis. We 
 learn from the ancients that they lasted two days : the first com- 
 memorated the disappearance of Adonis ; the second, his return 
 to life. On this occasion earthen vessels, called the " gardens of 
 Adonis," were placed as symbols before the temples of Adonis. 
 In them were planted herbs, which were forced to quick growth 
 only to decay as rapidly (Aristoph. Lys. 362 ; Pax, 410 ; Theoc. 
 Adon.). Thus the term " garden of Adonis " became synonymous 
 with " hot-box," as in the Phcedrus of Plato, where Socrates asks 
 if a wise man would be likely to plant his seed in a garden of 
 Adonis, and not rather in soil where it would grow to life in a 
 natural way. It is on this term that Spenser has seized ; and we 
 have the amplification of the idea back of it in the famous de- 
 scription of the Gardens of Adonis " the first seminary Of all 
 things that are borne to live and dye According to their kinds " 
 (F. Q. 3. 6. 21 ff.). The idea which pervades the passage the 
 indestructibility of life, which appears again and again under 
 new forms is familiar to us from the Pythagorean doctrine of 
 metempsychosis. 
 
 Moreover, Pliny (19. 9) says that the gardens of the Hesper- 
 ides and of Kings Adonis and Alcinous were famous among the 
 
16 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 ancients; and Homer (Od. 7. 112 ff.) describes that of Alcinous 
 a description which it is evident Spenser had in mind. 
 
 There are further references to the Gardens of Adonis in 
 F. Q. 2. 10. 71 and Co. Cl. 804. 
 
 . F. Q. 6. 10. 22. See Peleus. 
 ^EJACIDES (Ajax and Achilles). V. 6.66. 
 
 Ajax and Achilles are each appropriately referred to under 
 this patronymic, since they were the descendants of ^Eacus. In 
 this stanza and the preceding, where Ajax is called the son of 
 Telamon, the single combat of Hector and Ajax, and the bravery 
 of the latter in defending the Greek ships against the fire which, 
 under the instigation of Hector, the Trojans were bringing 
 against them, are referred to. For the first incident see //. 7. 1 
 ff. ; for the second see 11 15. 718 ff. -Compare V. G. 62. 
 
 With V. G. 67, which states that Ulysses killed Ajax, com- 
 pare Hyg. Fab. 107, according to which, Ajax killed himself 
 when the arms of Achilles were awarded to Ulysses. For 
 JEacides as name of Achilles, see Achilles. 
 
 JEACUS. - V. 6. 61. 
 
 .ZEacus is here mentioned as the father of Peleus and Tela- 
 mon, and as the judge of the Lower World. Compare 11. 16. 15 ; 
 Met. 13. 25 ff. 
 
 (shield). Mui. 821. 
 
 This is the -3Egis, or shield of Jove, which was an attribute 
 of his daughter Pallas also. It is described in //. 5. "738 ff., as 
 " the tasselled aegis terrible, whereon is Panic as a crown all round 
 about; and Strife is therein and Valour and horrible Onslaught 
 withal ; and therein is the dreadful monster's Gorgon head, dread- 
 ful and grim, portent of aegis-bearing Zeus." It is to be noticed 
 that, at this point, Pallas appropriates this shield, with the other 
 armor of her father. 
 
 In JEn. 8. 435 ff., the aegis is described as " the armour 
 of angry Pallas, with serpent-scales and gold, and the twine of 
 snakes, and on the breast of the goddess the Gorgon's self, with 
 eyes still rolling in her severed head." Compare F. Q. 3. 9. 22. 
 See also Met. 6. 79. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 17 
 
 .S3GLNA. F. Q. 3. 11. 35. 
 
 When Spenser makes the statement that Jove won ^Egina in 
 the form of fire, he is supported by Met. 6. 113. Both Apollo- 
 dorus (3. 12. 6) and Hyginus (Fab. 52) mention the union of 
 jEgina 5nd Jove. Though neither speaks of the metamorphosis, 
 Apollodorus says that when Asopus, the father of JEgina, at- 
 tempted to pursue Jove when he was escaping with JDgina, the 
 Thunderer struck him with lightning. 
 
 . F. Q. 2. 10. 42. 
 
 jEgeria is here mentioned as a fay who taught Kuma. With 
 this compare Ov. Fast. 3. 263 and 275. 
 
 J3NEAS. F. Q. 3. 9. 40; H. L. 232. 
 
 The first of these passages is an outline of the story of the 
 JEneid. The sacking of Troy ; the escape of ^Eneas with his band 
 of followers ; his subsequent wanderings ; the arrival in Latium, 
 followed by wars ; the founding of Alba Longa by lulus, and that 
 of Rome by Romulus, all these points are touched upon. 
 
 2EOLUS.-F. Q. 1. 7. 9; 8. 6. 44 ; 3. 11. 42; 4. 9. 23; Mui. 420. 
 
 Our poet, as he wrote these passages, must have had in mind 
 those lines from the Odyssey (10. 1 ff.) where ^olus is described 
 as the heaven-appointed lord of the winds, or that more familiar 
 passage in the JEneid (1. 52 ff.) in which the winds are de- 
 scribed as shut up in caves and restrained by the weight of 
 mountains. They chafe under their confinement ; but only at the 
 bidding- of .<Eolus, their ruler, may they go forth over land and 
 sea. 
 
 In keeping with these accounts is the " blustring .ZEolus " of 
 the first passage from Spenser, and the " sharp blast " of .(Eolus 
 mentioned in the second, as is also the " gate " of ^Eolus in Mui. 
 420. 
 
 In making JEolus the father of Arne (F. Q. 3. 11. 42 ; 4. 9. 
 23), Spenser follows Met. 6. 115 and Diod. Sic. 4. 67. The 
 picture of ./Eolus as an irate father, raving over the elopement 
 of his daughter, is, in the fact of the rage, quite in keeping with 
 life itself, while the manner in which the rage is exhibited is 
 consistent with classical mythology. 
 
18 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 -AESCULAPIUS. F. Q. 1. 5. 86; 1. 5. 39; 1. 6. 41. See Apollo and 
 Hippolytus. 
 
 JESON. B. B. 10. See Argonautic Expedition. 
 AGAMEMNON. T. G. 69. 
 
 Since Agamemnon was the chief commander of the Greek 
 forces in the Trojan War, even though not their hero, he is appro- 
 priately referred to here. 'See Iliad, passim. 
 
 For his relation to Tantalus, see Tantalus. 
 
 AGAVE. F. Q. 4. 11. 49. See Nereids. 
 
 AGAVE V. G. 22. See Bacchus. 
 
 AGENOR. F. Q. 4. 11. 15. See Founders of Nations. 
 
 AGLAIA. F. Q. 6. 10. 22. See Graces. 
 
 ALBION. F. Q. 2. 10. 11; 4. 11. 16. See Founders of Nations. 
 
 ALCESTIS. T. G. 64. 
 
 Compare Eurip. Alcestis, where the incident here referred to 
 is enlarged upon. 
 
 ALCZDES. F. Q. 1. 7. 17; 2. 5. 31; 3. 12. 7; 4. 1. 23 ; 6. 8. 31; 6. 
 12. 32; Mui. 71. See Hercules. 
 
 ALCMENA. F. Q. 3. 11. 33; B. T. 380; M. H. T. 1299; Ep. 328. 
 
 Spenser follows Met. 6. 112 when he mentions the affair with 
 Alcmena among the amours of Jove ; but when he says that Jove 
 put three nights in one for her sake, he differs from Ovid, who 
 says it was two nights (Amor. 1. 13. 45). Hyginus, also, says two 
 nights (Fab. 29). Orpheus, on the other hand, says that on the 
 occasion of this amour the sun did not shine for three days (Ar- 
 gonaut. 118). Apollodorus (2. 3. 8) also says the same. Spenser, 
 then, may have been indebted to one of these for his statement, 
 or to Lucian (Dial. Deor. 10). 
 
 Spenser further states that Mercury, with his caduceus, 
 brought about this lengthened night. See Mercury. 
 
 ALEBIUS. F. Q. 4. 11. 14. See Sea-Gods. 
 ALIMEDA. F. Q. 4. 11. 51. See Nereids. 
 AMAZON. F. Q. 2. 3. 31. 
 
 This is a reference to the queen of the Amazons, Penthesilea, 
 who came to the assistance of Priam in the Trojan War. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 19 
 
 In JEn. 1. 491 if., we have a graphic picture of Penthesilea 
 at the head of her troops of Amazons. Servius, commenting 
 upon this passage, says that she was killed by Achilles, and this 
 was the commonly accepted account of her death. Spenser, 
 however, says she was slain by Pyrrhus, thus following Dares 
 Phrygius, 36. 
 
 In the numerous passages of the fifth book of the Faerie 
 Queene where the name " Amazon " occurs, it is freely used to 
 designate a character of the poem whose warlike nature and 
 deeds are patterned after the classical conception of the warlike 
 Amazons. 
 
 F. Q. 4, 11. 21 derives the name of the River Amazon from 
 a race of maiden warriors who possess it. This is in keeping 
 with the story that the discoverer of that river named it Amazon 
 because he saw some armed women on its banks. 
 
 AMMON. F. Q. 1. 6. 48. See Jove. 
 AMPHION. -B. B. 25. 
 
 Amphion's instrument, here mentioned, is the golden shell 
 whose music raised the walls of Thebes. See Apoll. 3. 5. 5, also 
 Ap. Rh. 1. 740: 
 
 Behind, Amphion tuned his golden shell, 
 Amphion, deem'd in music to excel: 
 Rocks still pursued him as he moved along, 
 Charm'd by the music of his magic song. 
 
 AMPHTTRITE. 
 
 Fair Amphitrite, most divinely faire, 
 Whose yvorie shoulders weren covered all 
 As with a robe, with her owne silver haire, 
 And deckt with pearles which th' Indian seas for her prepaire. 
 
 F. Q. 4. 11. 11. 
 
 In Theog. 930 she is mentioned as the wife of Neptune, and 
 in the Horn. Hymn to Apollo (Deliari) she is enumerated among 
 the supreme goddesses of heaven who were present at the birth 
 of Apollo. 
 
 In F. Q. 4. 11. 49 she appears simply as one of the Nereids. 
 See Nereids. 
 
 She was a favorite subject with ancient artists, who delighted 
 to linger over her beauties, as our poet does in the lines above 
 quoted. 
 
20 SPENSKR'S CLASSICAL MYTHOLOGY. 
 
 AMPHITRYONIDES F. Q. 7. 7. 36. See Hercules. 
 ANCHISES. F. Q. 3. 9. 41. See Venus. 
 ANDROMEDA. B. T. 649. 
 
 The peril from which Perseus freed Andromeda forms the 
 subject of one of the favorite myths of antiquity. Apollodorus 
 (2. 3. 3) relates that Cassiopea, the mother of Andromeda, boasted 
 that her beauty surpassed that of the Nereids. In return for this 
 presumption, Neptune caused the land to be flooded, and sent a 
 sea-monster which terrified the people. According to an oracle, 
 there was no escape from these calamities unless Andromeda 
 should be exposed to the monster. Her father, Cepheus, was 
 obliged to conform to the demands of his people ; and, accord- 
 ingly, Andromeda was chained to a rock. It is at this point that 
 Perseus came to her release. 
 
 This story is related by Ovid (Met. 4. 663 ff.) and by Hy- 
 ginus (Fab. 64). It is worth noting that Hyginus says that it 
 was the beauty of Andromeda of which her mother boasted. 
 This would make the punishment of the innocent girl somewhat 
 more reasonable. 
 
 For the statement that Perseus, when he freed Andromeda, 
 was mounted on the winged steed Pegasus, there is no classical 
 authority. Since, however, he was equipped with wings on this 
 occasion, and released Andromeda just after killing Medusa, the 
 confusion is quite explicable. 
 
 ANTIOPE. F. Q. 3. 11. 35. 
 
 In Satyres shape Antiopa he snatcht. 
 
 Compare this statement with Met. 6. 110 ; also with Apoll. 3. 5. 5. 
 AON. F. Q. 4. 11. 15. See Founders of Nations. 
 APOUOO. 
 
 There is a reference to the parentage of Apollo in V. G. 2. 
 He is there spoken of as 
 
 The golden offspring of Latona pure, 
 And ornament of Jove's great progenie. 
 
 F. Q. 6. 2. 25 also refers to him as the son of Latona. Such was 
 the commonly accepted belief among the ancients, in support of 
 which may be cited Theog. 918. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 21 
 
 The well-known story which relates the anger of Juno and 
 the escape of Latona to the Isle of Delos, where she gave birth to 
 Apollo and his twin sister Artemis, is outlined in F. Q. 2. 12. 13. 
 This may be founded upon the Horn. Hymn to Apollo (Delian), or 
 upon later versions of the same story, such as Apoll. 1. 4. 1 and 
 Hyg. Fab. 140. 
 
 Apollo is mentioned as the father of various children : of 
 ^Eseulapius (F. Q. 1. 5. 43) ; of Phaeton (F. Q. 1. 4. 9 ; T. M. 7) ; 
 of Pason, by Liagore (F. Q. 3. 4. 41) ; of the Muses, by Memory 
 (F. Q. 1. 11. 5; 3. 3. 4); of the Muses without reference to 
 Memory (T. M. 2; Ep. 121). 
 
 Many ancient writers agree in making Apollo the father of 
 vEsculapius by Coronis, as, for instance, Pindar (Pyth. 3) ; Eurip- 
 ides (Alcestis, Prol.) ; Hyginus (Fab. 202) ; Ovid (Met. 2. 9). 
 
 There does not seem to be the same agreement among the 
 ancients in regard to Apollo's relation to Phaeton ; but, in mak- 
 ing him his father, Spenser is amply supported by such writers as 
 Ovid (Met. 2. 1 ff.) and Hyginus (Fab. 152). 
 
 In Spenser's reference to Apollo as the father of Paeon by 
 Liagore, we have an instance of the liberty which Spenser some- 
 times takes with classical mythology. The passage in question is 
 as follows : 
 
 This Liagore whilome had learned skill 
 In leaches craft, by great Apolloes lore, 
 Sith her whilorne upon high Pindus hill 
 He loved, and at last her wombe did fill 
 With hevenly seed, whereof wise Paeon sprong. 
 
 F. Q. 3. 4. 41. 
 
 Now, Liagore is nowhere mentioned by ancient writers, ex- 
 cept by Hesiod in the Theogony, where she is cited as one of the 
 Nereids; and Spenser also mentions her in his list (F. Q. 4. 11. 
 51). It is evident that our poet is thinking of (Enone, the wife 
 of Paris, whom Apollo loved, and to whom he taught the art of 
 healing (see Her. 5. 139). It is a question whether Spenser 
 here regarded Paeon as a son distinct from JEsculapius, or 
 whether he used the name for .ZEsculapius. Homer speaks of 
 Paeon as physician of the gods (77. 5. 401, 899) and as distinct 
 from JEsculapius, but does not refer to him as the son of Apollo. 
 
22 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 With many of the ancients, Pason is simply a surname for ,32s- 
 culapius or Apollo, indicating possession of the power to heal ; 
 but, as said before, they, for the most part, agree in making 
 .ZEsculapius the son of Apollo by Coronis. Thus it is clear that, 
 whichever view Spenser has in mind, he deviates from classical 
 mythology. 
 
 For Apollo's relation to the Muses see Muses. 
 
 For Apollo's relation to the water divinities (F. Q. 4. 11. 52) 
 see Nereids. 
 
 Apollo's love for various women is mentioned : for Climene 
 (F. Q. 3. 11. 38); for Coronis (F. Q. 3. 11. 37); for Daphne 
 (F. Q. 2. 12. 52 ; 3. 11. 30) ; for Issa (F. Q. 3. 11. 39). His affec- 
 tion for Hyacinthus also is cited in F. Q. 3. 11. 37. For all these 
 see the several headings. 
 
 In F. Q. 3. 11. 39, after mentioning the above names of those 
 who won the love of Phoebus, Spenser makes a general statement 
 in regard to the transformations of Phoebus into a lion, a stag, 
 and a falcon. This, with a slight difference, is copied from Met. 
 6. 122 ff. : " There was Phoebus, under the form of a rustic ; and 
 how, besides, he was wearing the wings of a hawk at one time, 
 at another the skin of a lion." 
 
 Phoebus was primarily the god of the sun. Homer and other 
 of the early Greek writers represent Phoebus and Helios as per- 
 fectly distinct, but in later times the two became identical. That 
 Phoebus was the god of the sun the giver of light and warmth 
 and life to the earth accounts for his numerous other attributes. 
 He figures as the god of intellectual light, delighting in poetry 
 and art, and in the foundation of cities and civil institutions ; as 
 the protector of flocks ; as the god of prophecy, bringing hidden 
 things to light ; as the god of the healing art ; and, again, as the 
 hurler of death-dealing darts. 
 
 Again and again throughout his poems Spenser refers to 
 Phoebus as the god of the sun. Sometimes he uses the name for 
 the sun itself ; sometimes he speaks of the " lamp " of Phoebus, 
 or the " car " of Phoebus ; and again, of his " golden face " or 
 golden head." See F. Q. 1. Int. 4 ; 1. 1. 23 ; 1.2.1; 1. 2. 29 ; 
 1. 5. 2 ; 1. 5. 20 ; 1. 5. 44 ; 1. 6. 6 ; 1. 7. 29 ; 1. 7. 34 ; 1. 11. 31 ; 
 1. 12. 2 ; 2. 8. 5 ; 2. 9. 10 ; 3. 2. 24 ; 3. 5. 27 ; 3. 6. 44 ; 3. 10. 1 ; 
 
SPENSER'S CLASSICAL MYTHOLOGY. 23 
 
 3. 10. 45; 5. 3. 19; 5. 11. 62; 6. 3. 29; 7. 6. 39; 7. 7. 51; S. C. 
 Jan. 73 ; Apr. 73 ; Aug. 83 ; Oct. 3 ; Nov. 14 ; V. G. 21 ; 78 ; F. 
 W. F. 2 ; Ep. 77. 
 
 As god of poets, Apollo appears at the wedding of Peleus 
 and Thetis, singing the marriage hymn to the delight of the 
 other gods (F. Q. 7. 7. 12). In mentioning this Spenser says, 
 " They say." The they " may be Homer (II. 24. 62). There 
 Juno says to Apollo : - 
 
 . . . and thou among them wert feasting with thy lyre. 
 
 Again this god of song essays a mightier theme the tri- 
 umphs of Phlegrsean Jove (F. Q. 2. 10. 3). Statius (Theb. 6. 
 336) pictures Apollo upon the heights of heaven, charming the 
 Muses with his song, the oft-repeated theme of which is Jove and 
 Phlegra. 
 
 T. M. 330 likewise refers to Apollo's famous " quill." 
 
 The musical contest between Apollo and Pan is cited in 
 S. C. June 68. Ovid (Met. 11. 146 ff.) relates the familiar 
 story of the boastful challenge to Apollo on the part of Pan, and 
 the rash preference of Midas for the rustic music of the latter. 
 Such stupidity called down the anger of Apollo, and Midas bore 
 henceforth the ears of the ass. 
 
 Apollo is not only the author of song, but the inspirer of it 
 as well (F. G. 2, 7). From Homeric times down the bard was 
 supposed to derive his inspiration from the Muses or from their 
 leader, Apollo. Certain haunts of Apollo are mentioned in con- 
 nection with the first of these references : Xanthus, the woods of 
 Astery, Mt. Parnassus, Castalia, and the Pierian streams. The 
 last three are especially distinguished as the haunts of the Muses, 
 and, therefore, of Apollo. Horace (Carm. 4. 6.) bids Phoebus 
 
 Leave Lycian Xanthus who caresses 
 "With his soft wave thy golden tresses. 
 
 Asteria was, according to Apoll. 1. 4. 1, the original name of 
 Delos, the birthplace of Apollo. 
 
 "VVe have in this reference a hint of another one of Apollo's 
 offices : Pales, the Roman god of shepherds, is called upon to 
 attend Apollo. The belief that Apollo watched over flocks and 
 
24 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 cattle is a very early one. Homer (//. 2. 766) says that Apollo 
 fed the steeds of Eumelus in Pieria. It will be remembered also 
 that it was the oxen of Apollo that the infant Mercury stole 
 (Horn. Hymn to Hermes). But this idea is most familiarly embod- 
 ied in the story of Apollo's caring for the flocks of Admetus, re- 
 ferred to by Spenser in F. Q. 3. 11. 39. According to Apoll. 3. 
 10. 4, Apollo was condemned to this service because he had killed 
 the Cyclops, on account of their having furnished the thunder- 
 bolts with which Zeus destroyed JEsculapius. Euripides thus 
 makes Apollo himself explain his position : 
 
 Home of Admetos, wherein I have borne 
 
 To accept a menial's fare, although a god! 
 
 Zeus was the cause, who slew Asclepios, 
 
 My son, with lightnings hurled against his breast. 
 
 Thereat of course enraged, I slew the Cyclops 
 
 Who forged the holy flame; for this my sire 
 
 In penance made me serve a mortal man. 
 
 Alcestis, Prol. 
 
 F. Q. 2. 9. 48 contains a reference to Apollo as the god of 
 prophecy, whose utterances were accepted as final : 
 
 Not he, whom Greece, the Nourse of all good arts, 
 By PhcBbus doome the wisest thought alive, 
 Might be compar'd to these by many parts. 
 
 This surpassingly wise man is Socrates. In Plato's Apologia we 
 read that Chaerepho, an intimate associate of Socrates, went to 
 the oracle at Delphi, and asked if there was any one more wise 
 than Socrates ; and the Pythian priestess replied that there was 
 not. 
 
 There are several references to Apollo as physician (F. Q. 3. 
 4. 41 ; 4. 6. 1 ; 4. 12. 25). For this conception there is ample 
 authority in classical mythology. As god of the sun, who sees 
 all things, and as the god of prophecy, Apollo was looked upon as 
 the divinity who averted evil. From this conception it was but a 
 step to that of Apollo as physician, already alluded to in connec- 
 tion with Liagore above ; and as such he was regarded as the 
 father of ^Esculapius, and as identical with Paeon. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 25 
 
 But Apollo is not only the averter of evil, but also the god 
 who punished evil-doers. As such lie is possessed of deadly and 
 unerring arrows. Spenser but follows Homer (//. 1. 44 ff.) and 
 numerous others among the ancients when he says : 
 
 But such as could both Phoebus arrowes ward 
 And th' hayling darts of heaven beating hard. 
 
 Alui. 79 ff. 
 
 In F. Q. 3. 6. 2 these " hayling darts " are viewed as " faire 
 beams," and with them Phrebus adorned Venus, when, upon pro- 
 ceeding to Olympus, she delighted him and the other gods with 
 her beauty (see Horn. Minor Hymn to Aphrodite). 
 
 In V. G. 84 we read that the laurel is "the ornament of 
 Phoebus toil." How this tree came to be sacred to Apollo is re- 
 lated by Ovid (Met. 1. 12). 
 
 The fierce Spumador, borne of heavenly seed 
 Such as Laomedon of Phoebus race did breed. 
 
 F. Q. 2. 11. 19. 
 
 This seems to be a somewhat tangled allusion to the myth that 
 Apollo reared the horses of Eumelus Pheretiades in Pieria (//. 1. 
 766) and to the story of his watching the cattle of Laomedon on 
 Mt. Ida (II. 21. 488). 
 
 In F. Q. 7. 6. 35 Spenser represents Apollo as the scribe of 
 the gods, though upon what authority we cannot say. 
 
 ARACHNE. F. Q. 2. 7. 28; 2. 12. 77; Mui. 261, etc. 
 
 The lengthy passage in Muiopotmos which relates the contest 
 between Minerva and Arachne is evidently a translation of 'the 
 same story as given by Ovid, Met. 6. 70 ff., as the following 
 comparison will show : 
 
 Arachne figur'd how Jove did abuse 
 
 Europa like a Bull, and on his backe 
 
 Her through the sea did beare; so lively seene, 
 
 That it true Sea, and true Bull, ye would weene. 
 
 SPENSEK. 
 
 Maeonis elusam designat imagine tauri 
 Europain: verum taurum, freta vera putares. 
 
 OVID. 
 
26 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 She seem'd still backe unto the land to looke, 
 And her play-fellowes aide to call, and feare 
 The dashing of the waves, that up she tooke 
 Her daintie feete, and garments gathered neare. 
 
 SPENSER. 
 
 Ipsa videbatur terras spectare relictas 
 Et comites clamare suas, tactumque vereri 
 Assilientis aquae timidasque reducere plantas. 
 
 OVID. 
 
 Instead of giving the list of the loves of Jupiter, Neptune, 
 Phoebus, Liber, and Saturn as enumerated at this point by Ovid 
 (a passage of which Spenser makes use in another connection), 
 Spenser says : 
 
 Before the Bull she pictur'd winged Love, etc. 
 
 And round about her worke she did empale 
 With a faire border wrought of sundrie flowres, 
 Enwoven with an Yvie-winding trayle. 
 
 SPENSER. 
 
 Ultima pars telae tenui circumdata limbo 
 Nexilibus flores hederis habet iutertextos. 
 
 OVID. 
 
 A goodly worke, full fit for kingly bowres; 
 Such as Dame Pallas, such as Envie pale, 
 That al good things with venemous tooth devowres, 
 
 Could not accuse. 
 
 SPENSER. 
 
 Non illud Pallas, non illud carpere Livor 
 Possit opus. 
 
 OVID. 
 
 She made the storie of the olde debate 
 "Which she with Neptune did for Athens trie. 
 
 SPENSER. 
 
 Cecropia Pallas scopulum Mavortis in arce 
 Pingit et antiquam de terras nomine litem. 
 
 OVID. 
 
 Twelve gods doo sit around in royall state, 
 
 And Jove in midst with awfull Majestie, 
 
 To judge the strife betweene them stirred late. 
 
 SPENSER. 
 Bis sex caelestes medio Jove sedibus altis 
 
 Augusta gravitate sedent. 
 
 OVID. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 27 
 
 Each of the Gods, by his like visnomie 
 Eathe to be knowen; but Jove above them all, 
 By his great lookes and power Imperiall. 
 
 SPENSER. 
 
 . . . sua quemque deorum 
 Inscribit facies. Jovis est regalis imago. 
 
 OVID. 
 
 Before them stands the God of Seas in place, 
 Clayming that sea-coast Citie as his right. 
 And strikes the rockes with his three-forked mace; 
 Whenceforth issues a warlike steed in sight, 
 The sigiie by which he chalengeth the place. 
 
 SPENSEB. 
 
 Stare deum pelagi longoque ferire tridente 
 Aspera saxa facit, medioque e vulnere saxi 
 Exiluisse ferum ; quo pignore vindicet urbem. 
 
 OVID. 
 
 Then to her selfe she gives her ^Egide shield, 
 
 And steelhed speare, and morion on her hedd, 
 
 Such as she oft is seene in warlicke field ; 
 
 Then sets she forth, how with her weapon dredd 
 
 She smote the ground, the which streight foorth did yield 
 
 A fruitfull Olyve tree, -with berries spredd, 
 
 That all the Gods admir'd: then, all the storie 
 
 She compast with a wreathe of Olyves hoarie. 
 
 SPENSEB. 
 
 At sibi dat clipeum, dat acutse cuspidis hastam, 
 Dat galeam capiti; defenditur aegide pectus: 
 Percussamque sua simulat de cuspide terram 
 Edere cum bacis fetuin canentis olivae ; 
 Mirarique deos: 
 
 Circuit extremas oleis pacalibus oras. 
 
 OVID. 
 
 The dots of omission in this last quotation indicate the pas- 
 sage portraying the punishments of those who, like Arachne, had 
 assumed a presumptuous attitude toward some divinity a pas- 
 sage which Spenser omits, and in place of which, for the purposes 
 of his poem, he describes a butterfly among the olives. 
 
 It should be noted also that Spenser inverts the two parts 
 of the story as given by Ovid, placing the description of Arachne's 
 work first. 
 
28 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 AKGONAUTIC EXPEDITION. 
 
 The references which bear upon this general subject are as 
 follows : To the Argo itself and the flower of Greece, which it 
 bore ; to the famous history of Jason and Medea, including her 
 charms, her love for Jason, his conquest of the fleece, and his 
 breach of faith (F. Q. 2. 12. 44). To the pine as ornament of 
 the Argo (V. G. 27). To the quarrel among the Argonauts 
 (f. Q. 4. 1. 23). To Hypsipyle (F. Q. 2. 10. 56). To the mishap 
 of Hylas and the grief of Hercules over his loss (F. Q. 3. 12. 7). 
 To Jason's sowing the dragon's teeth (R. R. 10). To the bones 
 of her brother scattered by Medea upon the Colchic strand (F. Q. 
 5. 8. 47). To the murder of Creusa by Medea (F. Q. 2. 12. 45). 
 
 There are a number of more or less detailed accounts of the 
 Argonautic Expedition among the ancient classics. Such are 
 those of Pindar (Pyth. 4); of Orpheus (Argonaut.); of Apollo- 
 dorus (1. 9) ; of Apollonius Rhodius (Argonaut.) ; and of Ovid 
 (Met. 7. 1 ff, and Trist. 3. 9). 
 
 Pindar's treatment of the subject is too general to have fur- 
 nished Spenser with the points above mentioned. 
 
 Orpheus gives the list of heroes who went on the Argo ; he 
 further describes the " mighty charms " by which the fleece was 
 at last won, and the love of Medea for Jason. He mentions, 
 besides, the adventure of the Argonauts on the isle of Lemnos, 
 where they charmed the Amazons, who inhabited it, among 
 them their queen, Hypsipyle ; also the loss of Hylas, who was 
 stolen by a water-nymph. Orpheus further relates the crime of 
 Medea in killing her brother Absyrtus : he says that he was 
 thrown down the banks of a river and borne on its current to 
 the sea, and the islands where the bones were afterwards washed 
 up were named for him A bsyrtides. 
 
 Apollodorus furnishes all the details mentioned by Spenser 
 except the quarrel. He says that Medea killed her brother, and 
 tore him limb from limb ; that her father collected his bones, and 
 buried them at a place afterwards called Tomi in memory of the 
 deed. 
 
 Apollonius Rhodius has left us a story of the Argonautic 
 Expedition, extending through four books. In the first book we 
 have a list of the heroes, whom Spenser designates as " the flowr 
 
SPENSER 1 S CLASSICAL MYTHOLOGY. 29 
 
 of Greece." There is an account, too, of the quarrel between 
 the chiefs, which occurred before the Argo sailed, and was ended 
 by the intervention of Orpheus. Hypsipyle and Hylas both are 
 mentioned. In the third book Medea's charms are dwelt upon, 
 and " her furious loving fit." The fourth book is concerned with 
 the conquest of the fleece, and the adventures o'f the Argonauts 
 on their return voyage to Greece. 
 
 There are scattered references to the pine of which the Argo 
 was built, with which may be compared V. G. 27, where it is 
 called the ornament of the Argo. The subsequent fickleness of 
 Jason is not referred to. In regard to the murder of Medea's 
 brother, Apollonius Rhodius says it took place upon one of the 
 Brugi, and at the hands of Jason, Medea being an accomplice in 
 the deed. There is, however, no mention of the scattering of 
 the bones. 
 
 Ovid (Trist. 3. 9) speaks of the Argo as the first ship to 
 speed through waves before untried. He then goes on to de- 
 scribe the killing of Absyrtus by Medea. He says she scattered 
 her brother's bones about the fields. The place of the murder 
 was Tomi. 
 
 In Met. 7. 1 ff., the story of the Argonauts is taken up at 
 the point of the arrival in Colchis ; the references, then, which 
 Spenser makes to occurrences before that event are omitted. 
 From the arrival to the murder of her sons by Medea, Ovid 
 gives a detailed account of " the famous history." 
 
 It will be seen, then, that from no one of these accounts 
 could Spenser have drawn, but rather from an amalgamation of 
 several different ones. 
 
 Numerous single passages might be quoted to prove that 
 Jason was the son of JEson, as stated in R. R. 10. 
 
 Yt seemd thenchaunted flame which did Creusa wed. 
 
 F. Q. 2. 12. 45. 
 
 Creusa (or Glauce) was the woman for whom Jason aban- 
 doned Medea. This particular reference is explained in the light 
 of Apollodorus 1. 9. 28: Medea avenged herself by sending 
 Creusa a robe permeated with poison of a combustible nature. 
 When Creusa put the garment on she perished in flames. 
 
30 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 ARGUS. 
 
 Spenser's allusions to Argus are very slight. They may be 
 classed under two heads : those which pertain to his numerous 
 eyes, as F. Q. 3. 9. 7 ; S. C. Jul. 154 ; Sept. 203 ; and those which 
 refer to the myth that those eyes were placed in the tail of the 
 peacock, as F. Q. I. 4. 17 and S. C. Oct. 32. 
 
 Apollodorus (2. 1. 2) says that the surname of Argus was 
 Panoptes, and that he had eyes in his whole body. He relates, 
 further, that he was chosen by Juno to guard lo, whom Jupiter 
 had transformed into a cow ; but, though he mentions the fact 
 that Argus was killed by Mercury, he does not say that Juno 
 placed his numerous eyes in the tail of her own bird. In Ovid, 
 however (Met. 1. 601 ff.), we have this myth in greater detail. 
 We read that " Argus had his head encircled with a hundred 
 eyes," and that later " the daughter of Saturn takes them and 
 places them on the feathers of her own bird, and she fills its tail 
 with starry gems." 
 
 ARIADNE. 
 
 Looke! how the crowne which Ariadne wore 
 
 Upon her yvory forehead, that same day 
 
 That Theseus her unto his bridale hore 
 
 When the hold Centaures made that bloudy fray, 
 
 With the fierce Lapithes which did them dismay, 
 
 Being now placed in the firmament, 
 
 Through the bright heaven doth her beams display, 
 
 And is unto the starres an ornament, 
 
 Which round about her move in order excellent. 
 
 F. Q. 6. 10. 13. 
 
 There is one point in which the mythology of this passage is 
 not accurate : the quarrel between the Lapithae and the Centaurs 
 did not occur at the marriage of Theseus and Ariadne, but at the 
 nuptials of Pirithous, whose " feare " Spenser elsewhere calls 
 Theseus. (See Met. 12. 210 ff.). 
 
 Iu regard to the crown of Ariadne, Spenser follows but one 
 of several myths in making it the gift of Theseus to Ariadne 
 upon their wedding-day. Hyginus (Poet. Astron. 2. Corona) has 
 a long discussion on this point ; while some writers say that the 
 crown was given to Ariadne by Venus, at her wedding with 
 Bacchus, there is authority for making it the gift of Theseus at 
 
SPENSER'S CLASSICAL MYTHOLOGY. 31 
 
 his marriage with Ariadne. All writers, however, agree that it 
 was Bacchus who placed the crown among the stars (see Met. 
 8. 177 ff.). 
 
 ARION. 
 
 The beautiful myth of Arion's charming the dolphin by the 
 power of his music is related at some length by Ovid (Fast. 2. 
 83 ff.). He tells how the tuneful Arion found himself in the 
 hands of a merciless crew on board a vessel ; how escape seemed 
 impossible, till, seizing his lyre, he leaped into the water, and, by 
 the aid of his music, pressed a dolphin into his service ; and 
 how, borne upon the back of the dolphin, he glided over the 
 waves to safety. Spenser abridges the myth to the compass of 
 a few lines (F. Q. 4. 11. 23), and in Am. 38 he employs it in 
 skillful comparison. 
 
 ARNE. - F. Q. 3. 11. 42. 
 
 The statement that Neptune turned himself into a steer in 
 order to beguile Arne, the daughter of .iEolus, is founded upon 
 Met. 6. 115. See also Diod. Sic. 4. 67. 
 
 ASOPTJS. F. Q. 4. 11. 14. See Sea-Gods. 
 ASTEKIA. - F. Q. 3. 11. 34. 
 
 Like the foregoing amours of Jove, this is taken from Ovid's 
 list (Met. 6. 108). With it compare Apoll. 1. 4. 1. 
 
 ASTERIA. Mui. 119, etc. See Venus. 
 ASTHMA. -F. Q. 5. 1. 5. Daph. 218. 
 
 We have in Astrsea, as here pictured, the ideal of justice 
 dwelling among men in some far-off time before the race fell 
 from its perfect state. Hyginus (Poet. Astron. 2. Virgo), quoting 
 Aratus, says that Astnea lived in the golden age of peace and 
 plenty. When, however, justice declined, she could not endure 
 the state of affairs, and so left the earth for the sky. 
 
 ASTR^JUS. F. Q. 4. 11. 13. See Sea-Gods. 
 ATALANTA. - F. Q. 2. 7. 64. Am. 77. 
 
 Both of these passages refer to the apples by means of which 
 Atalanta was outrun, the first mentioning the fact that it was a 
 
32 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Euboean youth who resorted to the strategy, and thus succeeded 
 in outstripping the swift-footed Atalanta. 
 
 This story is related by both Apollodorus (3. 9. 2) and Ovid 
 (Met. 10. 560 ff.), but with the difference that, according to 
 Apollodorus, the name of the successful youth was Melanion, 
 while, with Ovid, it is Hippomenes. Spenser employs neither 
 name, but, as mentioned above, calls the successful competitor 
 "the Euboean young man." This would indicate that he took 
 the story from Apollodorus rather than from Ovid ; for, according 
 to Apollodorus, Melanion was the son of a certain Amphidamas, 
 and we are told by Hesiod (W. and D. 654) that Amphidamas 
 was a king of Chalcis, on the island of Eubcea. Thus Spenser 
 might properly speak of his son as " the Eubcean young man." 
 
 ATE. F. Q. 2. 7. 65; 4. 1. 19; 4. 1. 47; 4. 2. 11; 4. 4. 10; 4. 4. 11; 
 4. 5. 22; 4. 5. 31; 4. 9. 24; 5. 9. 47. 
 
 It is evident that Spenser makes Ate identical with Eris, 
 because he says (F. Q. 2. 7. 55) that it was Ate who threw the 
 apple among the gods : 
 
 For which th' Idaean Ladies disagreed, 
 
 Till partiall Paris dempt it Venus dew, 
 
 And had of her fayre Helen for his ineed, 
 
 That many nohle Greekes and Trojans made to bleed, 
 
 and in F. Q. 4. 1. 22, he hints the same. According to the an- 
 cients, however, it was Eris who stirred that fatal strife (see 
 Hyg. Fab. 92). 
 
 But there is no essential difference in the character of the 
 two. They are both divinities delighting in discord and strife. 
 
 According to Homer, Ate was the daughter of Jove, once 
 inhabiting Olympus, but banished thence because she had dared 
 to outwit Jove himself (//. 19. 128) ; but Hesiod (Theog. 230) says 
 she was the daughter of Eris, who, in turn, was the daughter of 
 Night, who was born of Chaos. Such an ancestry would warrant 
 Spenser in saying (F. Q. 4. 1. 26) that Ate was "borne of hellish 
 brood," and would, indeed, furnish him with a suggestion for that 
 marvelous allegorical picture of the " mother of debate " and her 
 abode which he draws at length in F. Q. 4. 1. 19 ff. What but 
 the imagination of Spenser could have produced that image of 
 
SPENSER'S CLASSICAL MYTHOLOGY. 33 
 
 her foul face, squinted eyes, loathly mouth ; of her divided tongue 
 and heart ; her distorted ears ; her feet unlike, and pointed in 
 opposite directions ; her hands interfering with each other ? Al- 
 most as striking is the description of her abode, " Hard by the 
 gates of hell . . . With thornes and barren brakes environd 
 round." 
 
 Homer very appropriately calls Ate " venerable," and Spenser 
 likewise (F. Q. 5. 9. 47) speaks of her as "that old hag." 
 
 ATLAS. F. q. 2. 7. 64; 3. 1. 57; Ver. 2. 
 
 The first of these passages refers to Atlas as the father of the 
 Hesperides ; the second refers to him as the father of the Hyades ; 
 the third, to the myth which represents Atlas as sustaining the 
 firmament upon his shoulders. There is ample support for all in 
 the ancient mythology. Not that Spenser calls the daughters of 
 Atlas by name : the Hesperides he alludes to as those who were 
 conquered by Hercules in their guardianship over the golden 
 apples ; the Hyades, as the " moist daughters." 
 
 Ancient authorities by no means agree as to the parentage of 
 the Hesperides ; t>ut Spenser has the support of Diodorus Siculus 
 (4. 27) in calling them the daughters of Atlas. They were ap- 
 pointed by Juno to guard upon Mt. Atlas the apples which she 
 had received at her marriage ; but the eleventh labor imposed 
 upon Hercules was to obtain these apples. This he did by the 
 assistance of Atlas. For the ancient authorities on this point see 
 Hercules. 
 
 There is the same disagreement among the ancients as to 
 the parentage of the Hyades. Spenser follows Ovid (Fast. 3. 105 ; 
 5. 169) in calling Atlas their father. 
 
 Servius, in commenting upon JEn. 1. 744, mentions, among 
 other alleged derivations of the name Hyades, that from the 
 Greek verb veiv, to rain a derivation based upon the belief that 
 the rising of the Hyades produced rain. Thus Virgil calls them 
 "the rainy Hyades" (JEn. 1. 744; 3. 516); Horace speaks of 
 their sad portent (Carm. 1.3); and Spenser, following these 
 poets, calls the Hyades "moist" (F. Q. 3. 1. 57). 
 
 The setting of the Hyades is poetically described by Spenser 
 thus ; 
 
34 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 And the moist daughters of huge Atlas strove, 
 Into the Ocean deepe to drive their weary drove. 
 
 F. <?. 3. 1. 57. 
 
 Such passages as //. 18. 489 might be cited as having sug- 
 gested to Spenser the disappearance of the Hyades into the ocean 
 " . . . and [the Bear] alone hath no part in the baths of the 
 ocean;" or the similar passage in Georg. 1. 246; or Met. 15. 30 
 " Candidus Oceano nitidum Caput abdiderat Sol." Their 
 " drove," of which Spenser speaks above, may possibly have been 
 suggested by the "grege " in Fast. 5. 164. 
 
 ATROPOS. F. q. 4. 2. 48; 4. 2. 49. See Fates. 
 
 AURORA. F. Q. 1. 4. 16; 1. 11. 61; 3. 10. 1; 3. 3. 20 ; V. G. 9. 
 
 The goddess of dawn appears so often upon the pages of the 
 ancients that it would be difficult to say just where Spenser de- 
 rived his passing references to her. In F. Q. 1. 4. 16 he described 
 her as decked in "purple pall," and again (F. Q. 1. 11. 51) he 
 speaks of her "rosy cheekes." The adjective "purpurea" is fre- 
 quently used by the Latin poets to describe Aurora, but the differ- 
 ent shades indicated by that word merge into one another like 
 the colors of the dawning east : it may mean " purple " or " red " 
 or " violet " or even " blackish." Thus, in Met. 3. 184, we read 
 of "purpureae Aurorse." The adjective "rosea" also is used by 
 the poets in describing Aurora. (See Lucretius, 5. 655.) Thus 
 also in V. G. 9 we read of her "rosy hair." "Rosea" may mean, 
 not only "rose-colored," but also "of roses." Such passages as 
 JEn. 7. 26, where Aurora is described as riding in her rosy 
 (roseus) car, no doubt suggested to Spenser the " flower-decked 
 chariot "of F. Q. 1. 11. 51. 
 
 " Crocea," also, is used in the classics as descriptive of 
 Aurora : thus in JEn. 7. 25 she is described as " yellow morn," 
 and Ovid (Amor. 2. 4. 43) speaks of how charming she is with 
 her saffron "locks. Spenser follows him when he describes her 
 " golden locks " hanging loosely about her ears. 
 
 There are two references to her as the wife of the aged 
 Tithonus (F. Q. 1. 11. 51; 3. 3. 20). The Horn. Hymn to Venus 
 relates the story of Aurora's mistake in asking Jove that her 
 husband might be immortal, and forgetting to ask for him also 
 
SPENSER'S CLASSICAL MYTHOLOGY. 35 
 
 perpetual youth. With these two passages from Spenser compare 
 the first lines of Od. 5 : " Now the Dawn arose from her couch, 
 from the side of the lordly Tithonus, to bear light to the immor- 
 tals and to mortal men." 
 
 AUTONOE. F. Q. 4. 11. 50. See Nereids. 
 AVERNUS. F. Q. 1. 6. 31. 
 
 It is evident throughout this entire passage that Spenser had 
 in mind the descent of ^neas into Hades (JEn. Q. 237 ff.). 
 There Lake Avernus is represented as the entrance to Hell : 
 " There was a cavern, deep and huge, with its vast mouth, craggy, 
 sheltered by its black lake and forest gloom, o'er which no birds 
 might speed along unharmed ; such an exhalation, pouring from 
 its black jaws, rose to the vault of heaven ; wherefore the Greeks 
 named the spot Avernus." 
 
 BACCHUS. 
 
 Out of the great mass of tradition pertaining to Bacchus, 
 Spenser has selected several points. As the god of wine, or, by 
 metonymy, as wine itself, Bacchus is referred to in F. Q. 1. 6. 15 ; 
 2. 1. 55; 3. 9. 30. In F. Q. 5. 1. 2 we have a reference to him 
 as the champion of justice. T. M. 461 is a declaration by Cal- 
 liope, the muse of epic poetry, that she raised Bacchus to heaven. 
 In F. Q. 5. 8. 47 ; V. G. 22 there are allusions to the tragic death 
 of Pentheus, who was torn to pieces by his own mother, Agave, 
 during some Bacchic orgies. 
 
 In the Horn. Hymn to Bacchus, which relates how Bacchus 
 transformed the crew of a ship into dolphins, and the ship itself 
 into a vine, Bacchus declares himself to be the raging god of 
 wine the son of Jove and Semele. The same myth is treated 
 by Ovid (Met. 3. 631 ff.). In the Iliad and Odyssey, too, he 
 figures as the god of wine. 
 
 Ep. 255 bids that Bacchus, as well as Hymen, be crowned at 
 the marriage. Although it does not appear that the crowning 
 of this god was a regular part of the marriage festival of the 
 ancients, as was that of Hymen with the Romans, yet it is not 
 inappropriate that the god of wine and revelry should be intro- 
 duced here. Furthermore, in ancient art and literature the crown 
 
36 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 of vine-leaves and ivy is a noticeable feature of this god. See 
 Horace, Carm. 3. 25 ; 4. 8. 
 
 It is a very interesting study to trace the development of the 
 attributes of this divinity. In Homeric times he was the god of 
 wine, who taught men the cultivation of the vine ; this idea was 
 further developed, until he became identified with the cultivation 
 of trees and shrubs in general. Thus far he seems to be the 
 personification of productive life in nature. In later times, how- 
 ever, this god of superabounding energy takes on a more ethical 
 character, and becomes the champion of law and order. It is in 
 this character that he appears in the following lines : 
 
 Such first was Bacchus, that with furious might, 
 All th' East, before untam'd, did over-ronne, 
 And wrong repressed, and establisht right, 
 Which lawlesse men had formerly fordonne: 
 There Justice first her princely rule begonne. 
 
 F. Q. 5. 1. 2. 
 
 It was a common tradition that, as Hercules conquered the 
 West, so Bacchus, accompanied by numerous raging attendants, 
 swept through the East, especially India, introducing the cultiva- 
 tion of the vine, founding cities, and establishing laws. Apollo- 
 dorus (3. 5. 2) mentions this, as do Diodorus Siculus (2. 38) and 
 Ovid (Fast. 3. 720). 
 
 The conquests of Bacchus, like those of Hercules, were so 
 vast as to be on an epic scale. Thus is it particularly appropriate 
 that Calliope, the muse of epic poetry, should declare that it was 
 she who had raised Bacchus and Hercules to heaven that is, 
 made them famous for all time (T. M. 461). 
 
 But woe unto the man who dared to oppose the cultivation 
 of the vine and the introduction of the mad orgies which accom- 
 panied the mystic worship of Bacchus ! Such a man was Pen- 
 theus, the son of the Bacchante Agave. Intruding in anger upon 
 the sacred rites which were being celebrated upon Mt. Cithaeron 
 in Boeotia, his mother, in her frenzy, mistook him for a boar, and 
 struck him with her thyrsus. "\Vhereupon, she and her sister 
 Bacchantes rushed upon the wretched Pentheus, and tore him 
 limb from limb. Thus did he become an example of the foolish- 
 ness of withstanding the worship of Bacchus (Met. 3. 701 ff.). 
 
SPENSER'S CLASSICAL MYTHOLOGY. 37 
 
 BELLONA. F, Q. 3. 9. 22; 7. 6. 3; S. C. Oct. 114. 
 
 Bellona, the Roman goddess of war, is identified by Spenser 
 with Pallas, the Greek goddess of armed resistance. This we 
 know from a note by E. K. explaining S. C. Oct. 114. She- is 
 here called " queint Bellona," an epithet referring to her peculiar 
 birth from the head of her father, Jupiter. In support of this 
 story Lucian is cited ; therefore, see his dialogue between He- 
 phaestus and Zeus. 
 
 This identification is preserved further in F. Q. 3. 9. 22, 
 where Bellona is represented as having engaged in the slaughter 
 of the giants, and as having killed Enceladus with her own spear. 
 Compare with this Apoll. 1. 6. 1, where Minerva is said, not to 
 have killed Enceladus with her spear, but to have thrown the 
 island of Sicily upon him in his flight. There is a further dis- 
 crepancy in the statement that this occurred upon Hfemus, which 
 had been heaped high by him. Spenser is evidently thinking of 
 the contest which Typhon waged with Jupiter on Hsemus a 
 description of which, in Apoll. 1. 6. 1, 2, 3, 4, follows immediately 
 upon the story of the war with the giants. In F. Q. 7. 6. 3, how- 
 ever, the character of Bellona is represented as quite different 
 from that of Pallas, who does not delight in war for its own 
 sake ; while Bellona, like the Greek Enyo, revels in the spirit of 
 battle, and arouses enthusiasm in armies. See Mn. 8. 703. 
 
 BELTJS. F. Q. 4. 11. 16. See Founders of Nations. 
 BEREC YNTHT AN (Goddess). B. B. 6. See Cybele. 
 BIBLIS. F. Q. 3. 2. 41. 
 
 We have here a slight reference to the unnatural love of 
 Biblis for her brother Caunus. The horrible story of her pas- 
 sion, its frustration, and her final metamorphosis into a fountain, 
 is related in detail by Ovid (Met. 9. 454 ff.). 
 
 BISALTIS. F. Q.^3. 11. 41. 
 
 Spenser, alluding to the sad aspect of Neptune, says : 
 
 Ne ought but deare Bisaltis ay could make him glad. 
 
 Met. 6. 117 is the source of this statement : " . . . aries Bisaltida 
 
 fallis." 
 
38 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 BOREAS. F. Q. 1. 2. 33; 5. 11. 58; S. C. Feb. 225; B..R. 16; 26. 
 
 Boreas was the personification of the north wind, and as 
 such is often referred to by the ancients (see JEn. 3. 687). 
 There are accounts of various exploits accomplished by him 
 which are in keeping with his blustering character, but Spenser 
 makes no reference to them. Modified by the epithets " bleak," 
 " wrathful," " blustering," " fell," and " colde," Boreas is simply 
 another name for the north wind. 
 
 BRONTES. F. Q. 4. 5. 37 ; 4. 11. 18. 
 
 From the first reference we learn that Brontes was a giant 
 who, in the Lipari Islands, was associated with Pyracmon in 
 forging thunderbolts for the use of Zeus a passage whose 
 source is evidently ^En. 8. 416 ff., where these two giants and 
 a third, Steropes, are described, under the less generic name of 
 Cyclops, as working at the subterranean forges. 
 
 Brontes is mentioned also in the list of sea-gods (.F. Q. 4. 11. 
 13), for which see Sea-Gods. 
 
 CADMUS. 
 
 This hero is mentioned but three times by Spenser, and each 
 time in a different capacity : he appears as the builder of the acrop- 
 olis at Thebes (F. Q. 2. 9. 45) ; as the father of Agave ( V. G. 
 22) ; and as the ancestor of two hostile brothers ( V. G. 52). 
 
 The whole story of the founding of Thebes, the Boeotian 
 city, by Cadmus, the son of Agenor, is related by Ovid (Met. 
 3. 876 ff.). Bidden by his father to recover his sister Europa, 
 who had been carried away by Zeus, or never to show himself in 
 his home-country again, Cadmus sets out upon his quest. It 
 proves to be a futile one ; and, as an exile, he turns to the oracle 
 at Delphi for directions as to his future course. He is told to 
 follow a cow, which he would meet, and, wherever she should lie 
 down, on that spot to found a city. He obeys directions, follows 
 the heifer, and on the allotted spot, by the aid of armed men, 
 who had sprung from the teeth of a hostile dragon, Cadmus 
 founds the city of Thebes, the famous citadel of which is re- 
 ferred to by Spenser. The same story, in briefer form, is related 
 by Apollodorus (3. 4. 1). The two hostile brothers who are re- 
 
SPENSER'S CLASSICAL MYTHOLOGY. 39 
 
 ferred to in. V. G. 52 are Eteocles and Polyneices. That they 
 were " borne of Cadmus blood " is evident from the following 
 
 table : 
 
 CADMUS . 
 
 I 
 
 POLYDORUS 
 
 I 
 LABDACUS 
 
 I 
 LAIUS 
 
 I 
 
 OEDIPUS 
 I 
 
 ETEOCLES POLYNEICES 
 
 CAICUS. F. Q. 4. 11. 14. See Sea-Gods. 
 
 CALLIOPE. F. Q. 7. 6. 37; S. C. Apr. 100; S. C. June 67; T. M. 13. 
 
 See Muses. 
 
 CAMILLA. F. Q. 3. 4. 2. 
 
 This warrior maid, ' whom Diana contented, and who cher- 
 ished an unchanging love for her darts and her virgin state,' is 
 the most striking figure in JEn. 11. Surrounded by her select 
 retinue of Italian virgins, she engages in fearless conflict with 
 the Trojans and their allies ; long is the list of those she slew, 
 among whom was the Trojan Orsilochus. 
 
 CASSIOPEA. F. Q. 1. 3. 16. 
 
 It is the chair of Cassiopea that is referred to here. The 
 boastful pride of Cassiopea in her own beauty, and the vengeance 
 of Xeptune wreaked upon her daughter, have already been cited 
 (see Andromeda). The further punishment of Cassiopea can- 
 not better be described than by a translation of Hyginus, Poet. 
 Astron. 2, Cassiopea : " Concerning her Euripides and Sopho- 
 cles and many others have written, how she boasted that she sur- 
 passed the Nereids in beauty : for this her abode was fixed 
 among the constellations, and she was seated upon a throne so 
 that, as a punishment for her impiety, she seems, as the earth 
 revolves, to move with her head bent backwards." 
 
 CEJ1SINO F. Q. 2. 7. 23. 
 
 The picture which Spenser here paints of the harpy Celaeno, 
 sitting on a cliff, and singing a song so sad that it would melt a 
 heart of stone, is a reproduction of JEn. 3. 245 ff. jEneas and 
 
40 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 his companions have landed on one of the Strophades. They kill 
 some cattle and prepare a repast. No sooner are they seated to 
 regale themselves than a band of harpies swoop down upon them 
 and defile the viands. Virgil describes the harpies as foul mon- 
 sters, having the faces of virgins, and the body, wings, and talons 
 of sea-fowls. They are, moreover, always pale with consuming 
 hunger. They have formerly inhabited Thrace, where they vexed 
 the soothsayer Phineus (see Ap. Rh. 2. 178 ff.) ; but, driven 
 thence by the Argonauts, they have since made the Strophades 
 their haunt. After a combat with these monsters, /Eneas and his 
 men are forced to listen to a dire prophecy from the lips of 
 Celseno, one of the harpies. She is described by Virgil as the 
 prophetess of ill, seated upon a high rock, uttering the dire curse 
 which shall follow the band of Trojans. 
 
 CERBERUS. F. Q. 1. 5. 34 ; 1. 11. 41 ; 4. 10. 58 ; V. G. 44 ; 55. 
 
 The description of Cerberus in the first of these passages is 
 patterned after jEn. 6. 417 ff. There, too, he is described as the 
 monster that guarded the gates of hell, rearing his snakes in 
 anger at the approach of ^Eneas. But in that case he is ap- 
 peased by the Sibyl who accompanied Virgil, while Spenser says 
 that it was Night who pacified the monster. 
 
 With the references to Cerberus in connection with the de- 
 scent of Orpheus into hell, compare Georg. 4. 483 ; Met. 10. 11 ff. 
 
 CERES. F. Q. 3. 1. 51, V. G. 26. 
 
 This Roman goddess of plenty is one with the Greek Demeter. 
 Her character and attributes are vividly portrayed in the Hymn to 
 Ceres, by Callimachus ; and consistent with it are the numerous 
 references to this goddess in later Greek and Latin writers, as 
 well as the one from Spenser, which describes her as fruitful, and 
 as bountifully pouring out her plenty. The Hymn to Ceres de- 
 clares that to Triptolemus Ceres taught the art of agriculture. 
 
 CHARON. V. G. 43. 
 
 For a description of Charon, the ferryman of the rivers in 
 the Lower World, see JEn. 6. 298 ff. : " With his own hands 
 he works the boat along with a pole, and manages the sails, and 
 
SPENSER'S CLASSICAL MYTHOLOGY, 41 
 
 is always conveying to the shore the dead in his murky bark, old 
 as he now is." 
 
 CTTTM/KRA. F. Q. 6. 1. 8 ; V. G. 3. 
 
 This monster is described by Homer (//. 6. 179 ff.) as in 
 front a lion, behind a dragon, in the middle a goat, and as 
 breathing forth fire. He says further that she was killed by Bel- 
 lerophon in Lycia, by the river Xanthus. Virgil (JEn. 6. 288) 
 places this monster, with others, at the portals of the Lower 
 World a passage which no doubt furnished Spenser with his 
 " fell Chimaera in her darksome den." 
 
 CHIRON. P. Q. 7. 7. 40. See Erigone. 
 CHLORIS. S. C. Apr. 122. 
 
 Chloris is here described as the chiefest nymph of all, and 
 as wearing a crown of olives upon her head. E. K. (Spenser ?) ? 
 in his note on this passage, says : " Claris, the name of a nymph 
 and signifieth greenesse [XAwpos, light green], of whom is sayd, that 
 Zephyrus, the westerne wind, being in love with her, and coveting 
 her to wyfe, gave her for a dowrie the chiefdome and soveraigntye 
 of al flowres, and green herbes, growing on earth." For this 
 conception Spenser is plainly indebted to Ovid, Fast. 5. 195 
 ff., where Chloris is identified with Flora, and, as the wife of 
 Zephyrus, has dominion over gardens and fields. 
 
 CHRYSAOR. F. Q. 4. 11. 14. See Sea-Gods. 
 CICONES.-Y. G. 68. 
 
 A people of Thrace who were auxiliaries of the Trojans. 
 Attacked by Ulysses, after Troy was destroyed, they killed some 
 of his men, and put the others to flight. Compare Od. 9. 38 ff. 
 
 CIMMERIANS. T. M. 256; V. G. 47. 
 
 The dusky abode of the Cimmerians is a matter of dispute 
 among the ancients : Homer (Od. 11. 14) places it in the Western 
 world, according to Strabo, near Lake Avernus in Italy, and 
 speaks of it as the entrance to the Lower World, whence Ulysses 
 visited the shades. With this compare V. G. 47. Ovid, on the 
 other hand (Pont, Ep. 4. 10), writing from Pontus, speaks of that 
 country as the Cimmerian shore. 
 
42 SPENSER 1 S CLASSICAL MYTHOLOGY. 
 
 CLIMENE. F. Q. 8. 11. 38. See Clyxnene. 
 CLIO F. Q. 3. 3. 4; 7. 6. 37. See Muses. 
 CLOTHO. F. Q. 4. 2. 48; H. L. 63. See Fates. 
 CLYMENE. F. Q. 3. 11. 38. 
 
 Spenser here alludes to her as the wife of Apollo and the 
 mother of Phaeton. With this compare Met. 2. 19 if. 
 
 COCYTUS. F. Q. 1. 1. 37; 2. 7. 56; 3. 4. 65. 
 
 A river of the Lower World, mentioned in ^En. 6. 132, 297, 
 323. For F. Q. 1. 1. 37 see Gorgon. 
 
 CORONIS. F. Q. 3. 11. 37. 
 
 We have here a reference to Coronis, the beloved of Apollo. 
 Spenser says that, dying at the hands of Apollo, she was changed 
 into a sweetbrier, and that afterwards Apollo tore his golden hair 
 in remorse for his rash act. 
 
 Both Ovid (Met. 2. 542 ff.) and Hyginus (Fab. 202) relate 
 this story of Apollo's jealousy regarding the unfaithfulness of his 
 beloved Coronis. They both say that he killed her in anger, and 
 Ovid adds that he repented of his cruelty when it was too late 
 to restore her to life. There is, however, no authority for saying 
 that she was turned into a sweetbrier ; thus we have here another 
 example of Spenser's original mythology. 
 
 CORYBANTES. F. Q. 7. 6. 27. See Cybele. 
 CREUSA. F. Q. 2. 12. 45. See Argonautic Expedition. 
 CUPID. 
 
 Spenser is not consistent in his treatment of the god of 
 love, who appears so often in his poems : although, for the most 
 part, he represents Cupid as the sportive boy of the later classics, 
 yet in certain cases he deviates from this conception, and portrays 
 the Cupid (Eros) of the early cosmogonies that is, as one of 
 the fundamental principles of nature, the power by which dis- 
 cordant elements were united and harmony brought out of chaos. 
 Thus does Cupid figure in the lengthy passage on love in Co. Cl. 
 (768 ff.), although even in this connection there are hints of the 
 later Cupid in the references to his tyrannical spirit, his bow 
 
SPENSER'S CLASSICAL MYTHOLOGY. 43 
 
 and arrows, etc. In the Hymne of Love also we meet the cosmo- 
 gonic Cupid. This conception was, no doubt, suggested by a 
 passage in Plato's Symposium ; that, in turn, being founded upon 
 Theog. 120 ff., where Eros is represented as a resistless power^ 
 born of Chaos. The story of Cupid's birth from Poros (Plenty) 
 and Peuia (Poverty) is also taken from the Symposium. Indeed, 
 the Hymne of Love and the Hymne of Beautie are evidences of 
 Plato's influence over Spenser. 
 
 The reference to Cupid's being awakened to life by Clotho 
 may have been suggested by Orph. Arg. 15, where he is repre- 
 sented as the first of all the gods to emerge from Chaos. Accord- 
 ing to the several attributes of the Fates, it would be Clotho, 
 rather than Lachesis or Atropos, who would call souls to life. 
 (See Fates.) 
 
 Spenser is at variance with himself regarding the parentage 
 of Cupid. In Co. Cl. 801 he represents him as born of Venus, 
 but without a father, since Venus was of both sexes (a classical 
 conception, for which see Serv. ;En. 2. 632). Compare also F. Q. 
 4. 10. 41. On the other hand, in F. Q. 1. Int. 3, Spenser declares 
 Cupid to be the son of Jove and Venus. This would make Jove 
 both the father and grandfather of Cupid, as in Virgil's Ciris, 
 134 a passage to be explained in the light of Eurip. Hip. 534. 
 
 In other passages (F. Q. 2. 8. 6 ; 3. 6. 20 ; 4. Int. 5 ; 4. 12. 
 13; 6. 7. 37; Mui. 98; H. L. and H. B. passim; Pro. 96; Epi- 
 grams 1, 3, 4) Cupid is referred to as the son of Venus simply ? 
 without reference to his father. The Symposium, again, as well 
 as numerous, other passages from classical literature, might be 
 quoted in support of these. 
 
 In -F. Q. 3. 6. 50 Cupid and Psyche are represented as dwell- 
 ing together in a state of bliss, and Pleasure is their child. See 
 Psyche, and compare Mui. 126 ff. ; H. L. 288. 
 
 As said above, Spenser's usual conception of Cupid corre- 
 sponds to that of the later classics : he is " a faire, young, lusty 
 boy " (F. Q. 7. 7. 46). 
 
 We read of his conquests over the gods Jove, Phoebus, 
 Neptune, Saturn, Bacchus, and Mars in F. Q. 3. 11. 30 ff . ; 
 2. 6. 35 (see the several headings) ; and of his resistless domin- 
 ion over men (F. Q. 3. 1. 39 ; 3. 11. 46 ; 4. 9. 2 ; 6. 8. 25). 
 
44 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 His power is spoken of as a snare (F. Q. 1. 10. 30) ; as a 
 yoke (Co. Cl. 566) ; as a wanton rage (F. Q. 2. 9. 18), and the 
 exhibition of it as wanton sports (F. Q. 2. 9. 34). 
 
 He is represented as blind (Epigram 1 ; F. Q. 6. 7. 32) ; as 
 winged (Am. 60) ; as armed with bows and arrows (F. Q. 2. 9. 34 ; 
 Epigram 2) ; in Co. CL 807 these shafts are described as of gold 
 and lead. (See Daphne.) 
 
 In support of all these references, we cannot do better than 
 quote from E. K.'s Glosse on S. C. March : " Swaine, a boye : for 
 so he is described of the Poetes to be a boye, s. alwayes freshe 
 and lustie : blindfolded, because he maketh no differences of 
 personages : wyth divers colored winges, s. ful of flying fancies : 
 with bowe and arrow, that is, with glaunce of beautye, which 
 prycketh as a forked arrowe. He is sayd also to have shafts, 
 some leaden, some golden : that is, both pleasure for the gracious 
 and loved, and sorrow for the lover that is disdayned or forsaken. 
 But who lists more at large to behold Cupids colours and fur- 
 niture, let him reade ether Propertius, or Moschus, his Idyllion 
 of winged love, being now most excellently translated into Lat- 
 ine by the singuler learned man, Angelus Politianus." 
 
 The scene in F. Q. 3. 6. 20 ff., where Venus is hunting for 
 the runaway Cupid, was probably suggested by the poem of 
 Moschus referred to above. 
 
 Of the four epigrams on Cupid, so in harmony with the later 
 conception of him, the fourth will be recognized as an amplifica- 
 tion of Theoc. Idyl 19 ; the second and third as translations of 
 two epigrams by Clement Marot De Diane and De Cupido et 
 de sa Dame. 
 
 CYBELE. F. Q. 1. 6. 15; 4. 11. 28; B. B. 6. 
 
 This is the name for a Phrygian divinity who became identi- 
 fied with the Greek Rhea. Spenser uses a strictly classical ex- 
 pression when he calls her " the mother of the gods " (F. Q. 
 4. 11. 28). Hesiod (Theog. 453 ff.) says that, as the wife of 
 Saturn, she became the mother of Vesta, Ceres, Juno, Pluto, 
 Neptune, and Jove ; and the epithet, " mother of the gods," is 
 frequently used by the ancients to designate this divinity. See, 
 in particular, Ovid's description of the introduction of Cybele 
 
SPENSER'S CLASSICAL MYTHOLOGY. 45 
 
 into Rome (Fast. 4. 249 ff.). Here she is called, again and again, 
 " the mother," or " the mother of the gods." 
 
 Among her numerous other names was Berecynthia, or, as in 
 R. R. 6, the Berecynthian goddess. Servius, commenting upon 
 jEn. 6. 785, where this name is used, says : " Nam Berecynthos 
 castellum est Phrygise juxta Sangarium fluvium, ubi mater deum 
 colitur." This passage, as a whole, doubtless suggested R. R. 6 : 
 the chariot, the crown of turrets, and the pride of Berecynthia in 
 her mighty offspring, are the same. With these compare F. Q. 
 4. 11. 28, where there is the same classical conception. Servius 
 comments thus upon ./En. 6. 786: " turrita ; [rel] quid ipsa est 
 terra quae urbes sustinet." Ovid explains her turret crown from 
 the fact that she gave towers to the earliest cities. 
 
 The frantic rites of Cybele are alluded to in F. Q. 1. 6. 15. 
 Ovid (Fast. 4. 201 ft.) explains their origin by saying that 
 when Rhea brought forth Jove in Crete, in order to conceal his 
 cries from Saturn, who made a practice of devouring his children, 
 the Curetes and the Corybantes beat shields and rattled empty 
 helmets ; and that the clash of the cymbals and other noises 
 which attended the worship of the goddess in later times were 
 survivals of the din on that occasion. Thus Homer sings in the 
 Hymn to the Mother of the Gods : 
 
 Mother of all, both gods and men, commend, 
 
 O Muse ! whose fair form did from Jove descend ; 
 
 That doth with cymbal sounds delight her life, 
 
 And tremulous divisions of the fife ; 
 
 Loves dreadful lions' roars, and wolves' hoarse howls, 
 
 Sylvan retreats ; and hills, whose hollow knolls 
 
 Raise repercussive sounds about her ears. 
 
 CYCONES. V. G. 68. See Cicones. 
 CYMO. - F. Q. 4. 11. 61. See Nereids. 
 CYMOTHOE.-F. Q. 4. 11. 49. See Nereids. 
 
 CYNTHIA. F. Q. 1. 1. 39 ; 1. 7. 34 ; 3. 1. 43. 7. 6. 8 ; 7. 6. 88 ; 7. 7. 50 ; 
 
 S. C. Apr. 82 ; Aug. 89 ; Ep. 374 ; Pro. 121. See Diana. 
 
 CYPARISSDB. F. Q. 1. 6. 17. 
 
 The details of the story of Cyparissus, as here cited, corre- 
 spond to those of Ovid's version (Met. 10. 120 ff.), with this 
 
46 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 difference : while, with Spenser, it is Silvanus who loves the 
 youth, according to Ovid it is Apollo. There is, however, the 
 same disagreement among the ancients; thus Virgil implies that 
 Cyparissus was beloved of Silvanus, when, in Georg. 1. 20, he 
 represents the rustic god as bearing a cypress-tree, into which 
 Ovid says that the youth was turned by Apollo. 
 
 D^EMOGORGON. F. Q. 1. 6. 22 ; 4. 2. 47. 
 
 We cannot do better than quote the remarks of Dr. Jortin 
 upon this point : " Gorgon : the same, I suppose, who is called 
 Daemogorgon by other modern writers, and by Spenser (F. Q. 
 
 I. 5. 22 ; 4. 2. 47). 
 
 " They give the name of Daemogorgon to that terrible name- 
 less divinity, of whom Lucan and Statius speak, when they intro- 
 duce magicians threatening the infernal gods. Stat. Theb. 4. 514. 
 Lucan, 6. 744. 
 
 " Daemogorgon is a name which perhaps was unknown in the 
 time of Lucan and Statius. However, it is to be found in 
 Lactantius, The Scholiast of Statius, Theb. 4. 516. Dicit deum 
 Demogorgona summum. It is also to be found in Hyginus, page 
 
 II. Ex demogorgone et Terra, Python, draco divinus ; if the place 
 be not corrupted." 
 
 DAMON. F. Q. 4. 10. 27. See Pythias. 
 
 DANAE. F. Q. 8. 11. 31. 
 
 We have here a brief account of Jove's intrigue with Danae. 
 In this case he transformed himself into a shower of gold, and 
 thus, deceiving the guard who had been placed to watch Danae, 
 he won her. For the sources of this myth see Met. 6. 113 and 
 Apoll. 2. 4. 1. 
 
 DAPHNE. -F. Q. 2. 12. 52; 8. 7. 26; 8. 11. 86; 4. 7. 22. 
 
 In the love of Apollo for Daphne we have another instance 
 of the power of Cupid over the gods. In the first of these refer- 
 ences, Spenser states that it was in the vale of Thessalian Tempe 
 that " Fayre Daphne Phcebus hart with love did gore ; " in the 
 second her flight on the JSgean strand is referred to, as in the 
 fourth also ; in the third, we learn that Daphne did not return 
 
SPENSER'S CLASSICAL MYTHOLOGY. 47 
 
 the love of Phoebus, and that the affair ended disastrously in her 
 death. 
 
 An examination of the source of this myth (Met. 1. 452 
 ff.) reveals the fact that Cupid was the cause of all the trouble :' 
 Apollo had defied Cupid's power with the bow and arrow, and 
 the wily god of love, to prove his might, lodged in the heart of 
 Phoabus a golden, or love-exciting dart, and in the heart of 
 Daphne, the daughter of the River Peneus in Thessaly, a leaden 
 arrow, which would repel love. Thus did Daphne flee from the 
 embrace of Apollo ; and when all but overtaken, having prayed to 
 her father Peneus for help, she was turned into a laurel. Apollo's 
 loyalty to her memory is shown in his declaration : " My hair, my 
 lyre, my quiver, shall always have thee, oh laurel." 
 
 DEMOPHOON V. 0. 26. 
 
 The tree here referred to is the almond-tree (see Serv. Eel. 5. 
 10) into which Phyllis was metamorphosed, when, grieving over 
 the supposed fickleness of Demophodn, she had put an end to her 
 life. Hyginus (Fab. 59) says that at a certain time the trees 
 which sprang up at the death of Phyllis shed their leaves, thus 
 mourning for her untimely end ; hence the line : " Eternall hurte 
 left unto many one." 
 
 DEUCALION. F. Q. 3. 11. 42; 6. Int. 2. 
 
 The first of these passages states that Neptune turned him- 
 self into a dolphin to win the daughter of Deucalion. In re- 
 counting the intrigues of Neptune (Met. 6. 115 ff.), Ovid states 
 that Melantho was thus won. For Spenser's authority in referring 
 to Melantho as the daughter of Deucalion, see Tzet. Lye. 208. 
 
 In the second passage, which refers to Deucalion and Pyrrha 
 as casting stones behind their backs, Spenser follows Met. 1. 
 399 ff. 
 
 DIANA. 
 
 The sister of Apollo, whom the Greeks knew as Artemis, is 
 designated by Spenser under the names of Cynthia, Diana, and 
 Phoebe. 
 
 As Apollo was the god of the sun, she was the corresponding 
 divinity of the moon. As Apollo was called Cynthius, on account 
 
48 SPENSER 'S CLASSICAL MYTHOLOGY. 
 
 of his birth at the foot of Mt. Cynthus, on the isle of Delos, so 
 Diana was known as Cynthia for the same reason (compare 
 F. Q. 7. 7. 50 with Hyg. Fab. 140) ; as he was Phoebus, she was 
 known as Phoebe ; and under these two names, Cynthia and 
 Phoebe, Spenser often refers to her as the goddess of the moon. 
 
 In some instances he employs one of the names for the moon 
 itself, as "When Phcebe shineth bright" (S. C. June 31 ; Pro. 
 121) ; but oftener he speaks of her " silver beams," "silver rays," 
 "silver deaw," "silver face," or "silver bed." (See F. Q. 1. 1. 
 39; 1. 7. 34; 2. 1. 53; 2. 2. 44; 3. 1. 43; 4. 5. 14; 7. 6. 21; 
 S. C. Apr. 65 ; Apr. 82 ; June 31 ; Aug. 89 ; Dec. 84 ; Co. Cl. 342 ; 
 Ep. 149.) 
 
 Perhaps the most beautiful of the passages referring to the 
 moon-goddess is that in which Mutability is described as climbing 
 to the circle of the Moon (F. Q. 7. 6. 8 ff.). 
 
 Cynthia's place had been assigned to her by Jove, whose 
 "dearest darling" Spenser elsewhere calls her (F. Q. 7. 7. 50). 
 This is Spenser's only reference to the parentage of Cynthia. 
 With this compare Hyg. Fab. 140. 
 
 There are numerous passages in the ancients which might be 
 quoted to support this designation of Diana as the divinity of the 
 moon; among them Met. 1. 11: "Nee nova crescendo reparabat 
 corona Phcebe ; " and ^En. 10. 216. 
 
 But Diana is not only the moon-goddess ; she is also the god- 
 dess of the chase ; and as such, armed with her bow and arrows 
 (F. Q. 1. 6. 16), and surrounded by her nymphs in shady woods 
 (F. Q. 1.7. 5; 1. 12. 7 ; 3. 6. 16 ; 7. 6. 38), we frequently meet 
 her upon the pages of Spenser. It is in this capacity, as " queen 
 of archery," that she is celebrated in the Horn. Hymn to Diana. 
 In the Iliad (21. 470) she is described as "the queen of wild 
 beasts, huntress Artemis." Ovid (Fast. 2. 155) calls her " jacu- 
 latrix," and pictures her in the woods, resting from the chase, 
 with her nymphs. Virgil (JEn. 1. 498 ff.) compares Dido, ad- 
 vancing to the temple, attended by her retinue of youths, to 
 Diana, in these words : " As on the banks of Eurotas or over 
 the ridges of Cynthus, Diana leads her dances, a thousand moun- 
 tain-nymphs follow her and throng around ; she wears her quiver 
 on her shoulder, and as she steps along o'ertops all the god- 
 
SPENSER'S CLASSICAL MYTHOLOGY. 49 
 
 desses ; Latona's heart with silent joy rebounds." With this 
 passage compare F. Q. 2. 3. 31. 
 
 As the friend of the huntsman Hippolytus, Diana appears in 
 F. Q. 1. 5. 39 and 5. 8. 43. For this see Hippolytus. 
 
 As " queen of archery," delighting in the hardy sports of the 
 chase, Diana scorns the gentler joys of love. Thus she is the 
 champion of virginity in F. Q. 2. 2. 8, transforming a nymph into 
 a stone to save her from the advances of Faunus. This incident 
 was probably suggested by Diana's transformation of Arethusa to 
 a fountain to save her from the love of Alpheus (Met. 5. 618 
 ff.), or by the metamorphosis of Daphne to a laurel (Met. 1. 
 548). 
 
 Thus, averse to love and under the vow of virginity, Diana 
 is out of all harmony with Venus, the goddess of love, and her 
 son, the sportive Cupid. The contrasting pleasures of the two 
 are thus summed up by Spenser : 
 
 As you [Diana], in woods and wanton wildernesse 
 Your glory sett to chace the salvage beasts, 
 So my [Venus'] delight is all in joyfulnesse, 
 In beds, in bowres, in banckets, and in feasts. 
 
 F. Q. 3. 6. 22. 
 
 These words are spoken by Venus, who, in search of Cupid, 
 has strayed into the woods of Diana, and surprised the virgin god- 
 dess in disarray a situation evidently suggested by the story of 
 Actseon (Met. 3. 131 ff.). "Whiles all her Nymphes did like a 
 girlond her disclose," is but a paraphrase of " circumfusseque 
 Dianam Coporibus texere suis " (line 180). This same intrusion 
 of Actseon furnished the basis for the myth concerning Faunus, 
 which Spenser constructs in F. Q. 7. 6. 37 ff. That he had this 
 in mind is shown by the lines : 
 
 And eft him placed where he close might view 
 That never any saw, save onely one, 
 "Who, for his hire to so foole-hardy dew, 
 "Was of his hounds devour'd in Hunter's hew. 
 
 In Epigram 2, Diana, in the course of her chase, comes upon 
 Cupid asleep, and exchanges arms with him. See Cupid. 
 
 But even Cynthia became a victim of the archer-god. The 
 
50 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 story of Endymion, the Latmian shepherd, which has ever been a 
 favorite with the poets, is referred to in S. C. July 63 and Ep. 
 374. With these passages compare Theocritus, Idyl 20. 
 
 In Ep. 374 Spenser says that the Latmian shepherd won the 
 affections of Cynthia by presenting her with " a fleece of wool." 
 But Virgil (Georg. 3. 391) says that it was Pan who did this. 
 
 For Diana's part in the death of Orion (F. Q. 7. 7. 39), see 
 Orion. 
 
 DICE. F. Q. 5. 9. 32. See Litse. 
 DODONTAN (Tree). V. B. 5. 1. See Jove. 
 DOLON. V. G. 67. 8. 
 
 " Colon's subtile surprysall " is explained by //. 10. 314 ff. 
 Setting out from the Trojan camp as a spy, he was waylaid by 
 Ulysses and Diomedes, and killed. 
 
 DORIS. F. Q. 4. 11. 48. 
 
 Among those who came to the wedding of the Medway and 
 the Thames was " the gray-eyde Doris," the daughter of Ocean, 
 the wife of Nereus, and the mother of the fifty Nereids, who 
 attended her. For Spenser's authority on this point see Theog. 
 240 ff. 
 
 DORIS. F. q. 4. 11. 49. See Nereids. 
 DOTO. F. Q. 4. 11. 48. See Nereids. 
 DRYOPE. F. Q. 1. 6. 15. 
 
 This nymph, here mentioned as the wife of Silvanus, is evi- 
 dently the same as the one of JEn. 10. 551, who is said to be the 
 wife of Faunus. This discrepancy is to be accounted for by the 
 similarity between the rustic divinities, Silvanus and Faunus 
 a similarity which often led to their identification by the classical 
 authors. 
 
 DYNAMENE. F. Q. 4. 11. 49. See Nereids. 
 ECHIDNA. -F. Q. 5. 10. 10; 6. 11. 23; 6. 6. 10 ff. 
 
 The last of these references begins thus : 
 
 Echidna is a Monster direfull dred, 
 
 Whom Gods doe hate, and heavens abhor to see. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 51 
 
 She is further described as of hideous shape and huge head, 
 a combination of maiden and dragon. On account of her 
 dreadful aspect, she is condemned by the gods to live in obscurity 
 with the blustering Typhaon, among rocks and caves. By him 
 she is the mother of a hellish dog, " that hight the Blatant 
 Beast." 
 
 These details correspond closely to those given by Hesiod 
 (Theog. 295 ff.). He says that Echidna and Typhaon were the 
 parents of various monsters, among them Orthrus, the dog of 
 Geryon. This, of course, served as a suggestion to our poet for 
 making them the parents of the Blatant Beast. Elsewhere (F. 
 Q. 5. 10. 10) Spenser says that Echidna and Typhaon were the 
 parents of Orthrus. 
 
 EIONE. F. Q. 4. 11. 60. See Nereids. 
 EIRENE. F. Q. 6. 9. 82. See Litae. 
 
 ELYSIAN FIELDS. - F. Q. 4. 10. 23; S. C. NOT. 179; B. T. 332; V. G. 
 63. 
 
 E. K. says in the Glosse on S. C. Nov. 179 : " Elysian 
 fields, be devised of Poetes to be a place of pleasure like Para- 
 dise, where the happy soules doe rest in peace and eternal happy- 
 nesse." In the other passages also the Elysian Fields are referred 
 to as the " abode of the blessed." Compare with these jEn. 6. 
 638 ff., 747, where the Elysian Fields are described as regions 
 of joy, possessed by the happy few. 
 
 ENCELADUS. F. Q. 3. 9. 22. See Bellona. 
 ENDORE.-F. Q. 4. 11. 48. See Nereids. 
 EPHIALTES. V. G. 47. 
 
 Otus, who is here mentioned in close connection, and Ephi- 
 altes, were known as the Aloidae, and were giants of huge bulk. 
 
 In their presumption they dared attempt to invade heaven 
 itself by piling Ossa on Olympus, and Pelion upon Ossa ; but 
 before they accomplished their end, Apollo killed them with 
 his shafts. Thus Homer relates their death (Od. 11. 305 ff.), 
 though Apollodorus and others account for it in another way. 
 Hyginus (Fab. 28) adds that afterwards, in the Lower World, 
 these giant brothers, placed back to back, were bound with ser- 
 
S 52 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 penis to a column, a slightly different situation from that de- 
 scribed in the passage under consideration. 
 
 A corrupt text of F. G. would account for the unauthorized 
 statement that these brothers attempted to burn the world : some 
 texts here read " incendere " instead of " rescindere," which is 
 more in keeping with classical tradition. 
 
 ERATO V. Q. 4. 11. 49. See Nereids. 
 
 EREBUS. 
 
 -ETERNITIE 
 
 HEREBUS (M. NIGHT) 
 
 I 
 
 PHLEGETHON 
 
 F. Q. 2. 4. 41 ; 3. 4. 55. 
 
 Eternity seems to be the same as the Chaos of Hesiod (Theog. 
 123), whence all things proceeded. Among the offspring of Chaos, 
 Hesiod mentions Erebus and his sister Night Erebus being a 
 personification of darkness. Spenser further follows Hesiod in 
 making Erebus the husband of Night. While Hesiod calls only 
 the Sky and Day the children of this union, later writers such 
 as Hyginus, in the preface to his fables multiply their offspring, 
 among whom Styx is mentioned. Thus Spenser is following the 
 spirit, if not the letter, of classical mythology in calling Erebus 
 and Night the parents of Phlegethon, another river of the Lower 
 World. 
 
 In F. Q. 3. 4. 55 and F. G. 40, Erebus is used without per- 
 sonification, also, as the abode of Night, the region of darkness. 
 Compare jEn. 6. 247, 404 and Met. 10. 76, where it signifies the 
 Infernal Regions. 
 
 ERICHTHONIAN (tower). -V. G. 71. 
 
 \ 
 
 This is Pergamum, the Trojan citadel, put by synecdoche 
 for Troy itself. Erichthonius, for whom it is called, was a son 
 of Dardanus, the ancestor of the Trojans. After the death of his 
 brother Ilus, he ruled the kingdom. (See Apoll. 3. 12. 2.) 
 
 ERIGONE.-F. Q. 3. 11. 43. 
 
 Spenser says that for love of Erigone, Saturn transformed 
 himself to a centaur ; and, in the same connection, that Liber 
 (Bacchus) won Philyra in the form of a fruitful vine. By com- 
 
SPENSER'S CLASSICAL MYTHOLOGY. 53 
 
 parison with Met. 6. 125, 126, we find that Spenser has turned 
 the names around, and that it was Liber who won Erigone, while 
 Saturn deceived her who became by him the mother of the two- 
 formed Chiron. Though Ovid does not give her name, we know 
 from Apoll. 1. 2. 4 and Ap. Rh. 2. 1241 that it was Philyra. 
 
 It is to be noticed in this connection that in F. Q. 7. 7. 40 
 (which forms a part of the description of the procession of 
 months), November is represented as riding upon "a dreadfull 
 centaure . . . the seed of Saturn and of f aire Nais, Chiron hight." 
 This seeming discrepancy is explained by the fact that Spenser 
 here employs Nais (a Greek generic noun, meaning water-nymph) 
 as a proper name to denote Philyra, a usage which may have 
 been suggested by Ap. Rh. 4. 813, where Philyra is referred to 
 as a Naiad. See also Schol. Ap. Rh. 813. 
 
 ERINNYS. F. Q. 2. 2. 29; V. G. 60. 
 
 The adjective " fell " is well applied to Erinnys, originally 
 the personification of persecuting anger. A plurality of such 
 personifications were known as the Erinnyes, Eumenides, Furiae, 
 or Dirse. With earlier writers their number is not limited, but 
 later writers say they are three in number (^En. 12. 845 ff.). 
 
 In the passage before us, Spenser represents Erinnys as the 
 personification of discord rather than as an unrelenting curse, 
 the classical conception (II. 9. 571 ; Met. 1. 241). 
 
 ERYX. F. Q. 4. 11. 14. See Sea-Gods. 
 ETJAGORE. F. Q. 4. 11. 60. See Nereids. 
 EUARNA. F. Q. 4. 11. 51. See Nereids. 
 EUCRATE. F. Q. 4. 11. 48. See Nereids. 
 EUUMENE. F. Q. 4. 11. 49. See Nereids. 
 EUNICA. F. Q. 4. 11. 49. See Nereids. 
 ETJNOMIA. F. Q. 6. 9. 32. See Litse. 
 EUPHEMUS. F. Q. 4. 11. 14. See Sea-Gods. 
 EUPHROSYNE. F. Q. 6. 10. 22. See Graces. 
 EUPOMPE. F. Q. 4. 11. 61. See Nereids. 
 
54 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 EUROPA F. q. 3. 11. 30; 5. Int. 6; 7. 7. 33; Mui. 278. 
 
 With the references to the seduction of Europa by Jove, 
 in the form of a bull, compare Met. 6. 103 ; 2. 833 ; Moschus, 
 Europa; Apoll. 3. 1. 1. For the presence of this bull among the 
 constellations (5. Int. 5), see Hyg. Poet. Astron. 2. Taurus. 
 
 EURYDICE. B. T. 391; V. G. 65; 68. 
 
 These passages pertain to the disappearance of Eurydice and 
 her futile rescue by Orpheus, for which see Orpheus. 
 Daph. 463 ff., reads : 
 
 But, as the mother of the Gods, that sought 
 For faire Eurydice, her daughter deere, 
 Throughout the world, with wofull heavy thought; 
 
 The classics furnish no authority for making Eurydice the 
 daughter of the mother of the Gods ; nor for the statement that 
 Eurydice, upon her disappearance, was sought far and wide by 
 her mother. Thus we have here another deviation from classical 
 mythology : our poet seems to have had in mind the story of 
 Ceres and Proserpina. Since, however, Cybele, who was usually 
 called the mother of the gods, and Ceres (Demeter) were often 
 identified by the ancients, Spenser simply errs in the name of 
 the daughter, putting Eurydice for Proserpina. See also S. C. 
 Oct. 29. 
 
 EURYNOME. F. Q. 6. 10. 22. See Graces. 
 EURYPULUS. F. Q. 4. 11. 14. See Sea-Gods. 
 
 EURYTION.-F. Q. 6. 10. 10. 
 
 From this passage we learn that Eurytion was the cowherd 
 of the giant Geryon a statement confirmed by Apoll. 2. 5. 10. 
 See Geryon. 
 
 EURYTTJS F. Q. 4. 11. 14. See Sea-Gods. 
 
 PATES. 
 
 Spenser says that the dwelling of the Fates is in Chaos 
 (F. Q. 4. 2. 47). He names three sisters, Clotho, Lachesis, 
 and Atropos, and represents the first as holding the distaff, 
 
SPENSER 'S CLASSICAL MYTHOLOGY. 55 
 
 the second as spinning out the thread, and the third as cutting it 
 in two. 
 
 For his conception of the abode of the Fates, our poet is 
 indebted to the classical idea of their parentage. According to 
 Hesiod (Theog. 217), they are the daughters of Night, whose 
 parent was Chaos ; or, according to Cic. De Nat. Dear. 3. 44, of 
 Erebus and Night. 
 
 In regard to the picture which Spenser draws of the Fates, 
 intent upon their all-important work one familiar to us in art 
 as well as literature we cannot do better than quote from 
 E. K. : " The fatall sisters, Clotho, Lachesis, and Atropos, daugh- 
 ters of Herebus and the Nighte, whom the Poetes fayne to 
 spinne the life of man, as it were a long threde, which they 
 drawe out in length, till his fatal houre and timely death be 
 come ; but if by other casualtie his dayes be abridged, then 
 one of them, that is, Atropos, is sayde to have cut the threde 
 in twain. Hereof commeth a common verse, ' Clotho colum 
 bajulat, Lachesis trahit, Atropos occat.' " Note on S. C. Nov. 
 148. The quotation with which this note closes is in Anth. 
 Lot. 792. 
 
 For the boasted superiority of the Fates over gods and men 
 (F. Q. 4. 2. 51), see Jove. 
 
 The awakening of Cupid from Chaos (H. L. 63) is said to be 
 at the hands of Clotho. See Cupid. 
 
 FAUNUS. F. Q. 2. 2. 7 ; 7. 6. 42. 
 
 For the sources of both these references see Diana. 
 
 FLORA. P. Q. 1. 1. 48 ; 1. 4. 17 ; 2. 12. 50 ; S. C. March 16 ; May 81. 
 
 " Flora, the Goddesse of flowres, but indede (as saith Taci- 
 tus) a famous harlot, which, with the abuse of her body having 
 gotten great riches, made the people of Rome her heyre : who, in 
 remembraunce of so great beneficence, appointed a yearley feste 
 for the memoriall of her, calling her, not as she was, or as some 
 doe think, Andronica, but Flora ; making her the Goddesse of 
 floures, and doing yerely to her solemne sacrifice." Note by E. 
 K. on S. C. March 16. See also Chloris. 
 
56 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 FOUNDERS OF NATIONS. -F. Q. 4. 11. 16. ff. 
 
 Following upon the list of Sea-Gods is a list of others who 
 were also sons of Neptune, but with the distinction that they 
 were also the founders of powerful nations : 
 
 Ogyges. " Ancient Ogyges, even th' auncientest." Ac- 
 cording to Tzet. Lye. 1206, he was a son of Poseidon. He was 
 the first ruler of Thebes, and Boeotia was called, after him, Ogy- 
 gia (Strab. 9. 2. 18). Spenser appropriately lays the stress 
 upon his great age, since the Greek adjective iyvyios means " pri- 
 meval." 
 
 Inachus " renowmd above the rest." According to Apoll. 
 2. 1. 1 he was a river-god and son of Oceanus. He was the 
 founder of Argos. See Inachus. 
 
 Phcenix. A son of Agenor, and therefore grandson of 
 Neptune. He founded Phoenicia. (Apoll. 3. 1. 1.) 
 
 Aon. A son of Neptune, from whom Bceotia derived its 
 name Aonia. See Stat. Theb. 1. 34 ; Paus. 9. 5. 1. 
 
 Pelasgus " old." Apollodorus (2. 1. 1) says that, according 
 to Acusilaus, Pelasgus was identical with Argus, who was a 
 descendant of Ocean and Tethys, and that from him the name 
 Pelasgia was given to the Peloponnesus ; and others mention him 
 as the ancestor of the Pelasgians, the earliest inhabitants of 
 Greece. 
 
 Belus " great." According to Diod. Sic. 1. 28. 1, he was 
 a son of Neptune and founder of Babylon. 
 
 Phceax (Phaeax), a son of Neptune and progenitor of the 
 Phseacians, the early inhabitants of Corcyra. (Diod. Sic. 4. 
 72. 3.) 
 
 Agenor " best," son of Neptune and founder of a kingdom 
 (Sidon) in Phoenicia. (Apoll. 2. 1. 4.) There seems to be no 
 particular reason for calling him " best." 
 
 Albion. 
 
 And mightie Albion, father of the bold 
 
 And warlike people which the Britaine Islands hold. 
 
 Spenser is indebted to Holinshed's History of England (1. 3) for 
 this story. See Hercules. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 57 
 
 GALATEA. F. Q. 4. 11. 49. See Nereids. 
 GALENE. F. Q. 4. 11. 48. See Nereids. 
 GERYON. -F. Q. 5. 10. 9. 
 
 Spenser describes Geryon as a giant, with " three bodies 
 powre in one combynd," who ruled Spain with great oppression. 
 lie further speaks of his purple kine, his cowherd Eurytion, and 
 Orthrus, the dog that watched these cattle, and closes with the 
 statement that all were overcome by Hercules. See Hercules. 
 
 In saying that Geryon fed these oxen with the flesh of human 
 beings, Spenser follows Natalis Conies rather than any classical 
 authority. 
 
 GLAUCE. F. Q. 4. 11. 48. See Nereids. 
 GLAUCONOME. F. Q. 4. 11. 50. See Nereids. 
 GLAUCUS. F. q. 4. 11. 13. See Sea-Gods. 
 GORGON. F. Q. 1. 1. 37. See Dsemogorgon. 
 GORGONIAN (shield). F. Q. 3. 9. 22. See JEigide (shield). 
 GRACES. F. Q. 6. 10. 21. 
 
 The ancients by no means agree as to the number, names, 
 and parentage of the Graces. In order to show this, we cannot 
 do better than quote from the Greece of Pausanias (9. 35). He 
 says : " The Boeotians, too, say that Eteocles was the first that 
 sacrificed to the Graces. And, indeed, that he established three 
 Graces they are well convinced, but they have lost the remem- 
 brance of the names which he gave them. For the Lacedaemo- 
 nians only worship two Graces, the statues of which, they say, 
 were dedicated by Lacedsemon, the son of Taygete, who also gave 
 them the names of Cleta and Phaenna. These names, indeed, are 
 very properly given to the Graces, as likewise are those names 
 which are assigned to the Graces by the Athenians, for the 
 Athenians have from ancient times venerated the Graces, Auxo 
 and Hegemone. Indeed we now pray to three Graces, having 
 learnt there are three from the Orchomenian Eteocles. And at 
 Athens, in the vestibule of the tower, there are three Graces 
 whose mysteries, which are kept secret from the multitude, are 
 celebrated. 
 
58 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 " But Pamphus is the first we are acquainted with that cele- 
 brated the Graces in verse ; but he neither mentions their number 
 nor their names. Homer, too, makes mention of the Graces, and 
 says that one of these is the wife of Vulcan, and that her name is 
 Charis. He also says that Sleep is the lover of the Grace Pasithea, 
 and in the speech of Sleep he has the following verse : 
 
 That she my loved one shall be ever mine, 
 The youngest Grace, Pasithea the divine. 
 
 Hence some have suspected that Homer knew of other more 
 ancient Graces. 
 
 "But Hesiod in his Theogony says that the Graces are the 
 daughters of Jupiter and Eurynorne, and that their names are 
 Aglaia, Thalia, and Euphrosyne. 
 
 " But Antimachus neither mentions the number nor the 
 names of the Graces, but only says they are the daughters of 
 Aigle and the Sun." 
 
 In the passage under consideration, then, we see that Spenser 
 follows Hesiod (Theog. 907 ff.) in the number, name, and par- 
 entage of the Graces. In T. M. 403, however, he says that they 
 are the offspring of Venus : this is but a slight exaggeration of 
 the conception which made the Graces the special attendants 
 of Venus, as in this passage, and F. Q. 6. 10. 9; 6. 10. 15; 6. 10. 
 21 ; Ep. 108. Very numerous are the passages in the classics 
 that might be quoted as pictures of Venus attended by the 
 Graces : in the Horn. Hymn to Venus, 
 
 The ready Graces wait, her baths prepare, 
 And oint with fragrant oils her flowing hair. 
 
 See also Od. 8. 364; Hor. Carm. 1. 4 ; 1. 30; 3. 21 ; 4. 7. 
 
 The exposition which Spenser gives of the function of the 
 Graces and the description and explanation of the usual repre- 
 sentations of these sisters find appropriate comment in a note by 
 E. K. on S. C. Apr. 109 : 
 
 " The Graces be three sisters, the daughters of Jupiter, (whose 
 names are Aglaia, Thalia, Euphrosyne ; and Homer onley added a 
 fourth, s. Pasithea) otherwise called Charites, that is, thankes : 
 whom the Poetes feyned to be the Goddesses of all bountie and 
 
SPENSER S CLASSICAL MYTHOLOGY. 59 
 
 comelines, which therefore (as sayth Theodontius) they make 
 three, to wete, that men first ought to be gracious and bountifull 
 to other freely; then to receive benefits at other mens hands 
 courteously ; and thirdly, to requite them thankfully ; which are 
 three sundry Actions in liberalitye. And Boccace saith, that 
 they be painted naked (as they were indeed on the tombe of C. 
 Julius Caesar) the one having her back toward us, and her face 
 fromwarde, as proceeding from us ; the other two toward us, 
 noting double thanke to be due to us for the benefit we have 
 done." See also Seneca, De Benef. 1. 3, for a lengthy discussion 
 upon the Graces. 
 
 The indefinite number of Graces, of which the poet writes in 
 6. 10. 21, is also corroborated by classical authority. Thus E. K. 
 says : 
 
 " Many Graces, though there be indeede but three Graces or 
 Charites (as afore is sayd) or at the utmost but foure, yet, in 
 respect of many gyftes of bounty there may be sayde more. And 
 so Musaeus sayth, that in Heroes eyther eye there sat a hundred 
 Graces. And, by that authoritye, thys same Poete, in his Pa- 
 geaunts, saith ' An hundred Graces on her eyelidde sate,' etc." 
 Note on S. C. June 25. 
 
 HEBE. B. T. 384; H. L. 283; Ep. 405. 
 
 The first two of these passages refer to Hebe as the wife 
 of Hercules, after the apotheosis of the latter. In other words, 
 after the earthly life of labor which Hercules led, he is borne 
 to Heaven, and, in recognition of his glorious deeds, eternal youth 
 (for Hebe is the personification of youth) is conferred upon him. 
 See Theog. 950 ff. ; Od. 11. 603 ; Apoll. 2.7.7; Horn. Hymn to 
 Hercules. 
 
 In Ep. 405, Hebe is invoked for offspring along with Hymen. 
 
 HECATE. -F. Q. 1. 1. 43; 7. 6. 3. 
 
 In the latter passage Hecate is mentioned as one of the 
 Titans (see Titans), who by special favor of Jove, after the fall 
 of the Titans, retained all rule and principality. For her exten- 
 sive power over gods and men, to which Spenser here alludes, see 
 the lengthy tribute paid to Hecate by Hesiod (TJieog. 411 ff.). 
 But we must look elsewhere for the source of the first reference, 
 
60 SPENSER 'S CLASSICAL MYTHOLOGY. 
 
 where the name of Hecate is called " dreaded," implying that she 
 was an infernal divinity ; for while Hesiod and other earlier wri- 
 ters attribute to her all power over heaven, earth, and sea, they 
 do not mention her in connection with the Lower World. We 
 must turn to later writers for this conception. Thus Virgil (Mn. 
 6. 247) declares that the power of Hecate extends over both 
 heaven and hell. She was regarded as a being of grewsome 
 aspect, practiced in sorcery and witchcraft. Thus it will be re- 
 membered that it was to Hecate that Medea owed her skill in 
 magic charms (see Ap. Rh. 3. passim). 
 
 HECTOR. F. Q. 2. 9. 46; V. G. 63; 66; 66; B. B. 14. 
 
 The first of the passages refers to the fate of Astyanax, the 
 child of Hector. After the capture of Troy he was hurled from 
 the tower of Ilium by the Greeks. See Met. 13. 415 ff . ; Hyg. 
 Fab. 109. For the other references, see Achilles and JEJacides. 
 
 HELEN. 
 
 As the prize bestowed upon Paris for his judgment in regard 
 to the beauty of Venus, and as the consequent cause of the Trojan 
 War, Helen is referred to in F. Q. 2. 7. 55; 3. 9. 35; 4. 11. 19. 
 See Venus and Nereus. 
 
 The last of these passages referj3k> her as the Tindarid lass 
 that is, the daughter of Tyndareus. Compare JEn. 2. 601; 
 Met. 15. 23. 
 
 In F. Q. 3. 10. 12 Spenser represents Helen as overjoyed at 
 the sight of Troy in flames. This seems to have been suggested 
 by the story of Deiphobus in regard to the conduct of Helen on 
 the night that the Greeks entered Troy (JEn. 6. 517) : " She, in 
 feigned religious dance, led around the city the Phrygian women, 
 raising the bacchanal cry ; she herself in their midst held a 
 mighty firebrand, and called in the Greeks from the height of the 
 citadel." 
 
 The incident referred to in Co. Cl. 920 is related of the poet 
 Stesichorus : he was said to have written an attack upon Helen, 
 and in consequence to have been struck with blindness, only 
 recovering his sight after he had atoned for his fault by a re- 
 cantation, beginning : " False is that word of mine." See Plat. 
 Phced. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 61 
 
 HELLE. F. Q. 3. 11. 30; 5. Int. 5. 
 
 The familiar myth which represents Phrixus and Helle es- 
 caping upon a " golden fleecy ram " from the cruelty of their 
 step-mother, Ino, is touched upon in both these passages, the first 
 of which declares that this ram was Jove in disguise, who thus 
 deceived Helle. This seems at first an unwarranted perversion 
 of the usual myth, which states that the ram, the offspring of 
 Neptune and Theophane, was brought to Phrixus and Helle by 
 their own mother Nephele, in order that they might escape from 
 the snares of Ino (see Hyg. Fab. 3; 188; Apoll. 1. 9. 1); but 
 there is a slight authority for it in Ovid, Fast. 4. 715. 
 
 HERCULES. 
 
 The parentage of this hero is referred to in R. T. 380 and 
 Ep. 328. He was the son of Jove and Alcmena. (See Alcmena.) 
 
 Spenser calls him not only Hercules, but also Alcides, the 
 Amphytrionide, the (Etean Knight, and the Tirynthian groome. The 
 two patronymics are explained by the following table : 
 
 PERSEUS 
 
 l 
 
 ALC.EUS 
 
 AMPHITRYON (STEPFATHER OF HERCULES) 
 
 HERCULES 
 
 The epithet, Tirynthian groome, is accounted for by the fact 
 that Hercules was brought up at Tiryns, in Argolis, and was, 
 therefore, often called the Tirynthian hero by the ancient writers. 
 Thus Servius explains JEn. 7. 662. See also Call. Hymn to Diana, 
 146 ; Paus. 10. 13. 8. 
 
 Hercules is appropriately alluded to as the (Etean Knight, 
 because it was from Mt. (Eta that he was carried to heaven. 
 
 Of the twelve great labors which Hercules accomplished for 
 Eurystheus, and by which he won immortality, Spenser mentions 
 six. They are as follows : 
 
 The Nemean Lion. F. Q. 2. 5. 31 ; 7. 7. 36; Mni. 70 ff. 
 
 The Lernean Hydra. -F. Q. 1. 7. 17 ; 6. 12. 32; B. B. 10; V. B. 10. 
 
 The Mares of Diomedes. F. Q. 5. 8. 31. 
 
 The Oxen of Geryon. F. q. 5. 10. 10. 
 
62 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 The Golden Apples of the Hesperides. F. Q. 2. 7. 64; Am. 77. 
 Cerberus. F. Q. 6. 12. 35. 
 
 It is probable that Spenser drew these references from Apoll. 
 2 or from Diod. Sic. 4, both of whom relate in detail all the twelve 
 labors of Hercules. 
 
 Besides the so-called twelve labors of Hercules, the ancients 
 recount subordinate adventures also. Such, for instance, is the 
 fight with the Centaurs, mentioned by Spenser in F. Q. 4. 1. 23. 
 While in quest of the Erymanthian boar, Hercules came to the 
 cave of the Centaur Pholus. There, in spite of the protests of 
 Pholus, he opened a jar of wine, and the neighboring Centaurs, 
 attracted by the odor, rushed into the cave ; whereupon the fight 
 alluded to took place. In support of this see Apoll. and Diod. 
 Sic., whose accounts of this affair agree in the main. 
 
 A review of the labors of Hercules reveals the fact that they 
 were not confined to the East. Thus the conquest of Geryon 
 took place in the island Eurythea, off the coast of Spain ; and 
 while on this expedition Hercules erected the pillars referred to 
 in Pro. 148. (See Apoll. and Diod. Sic.) 
 
 The exploits of Hercules in the West, which are related by 
 Apollodorus and Diodorus Siculus, are summed up by Spenser 
 
 thus : 
 
 "Who all the "West with equall conquest wonne, 
 And monstrous tyrants with his club subdewed. 
 
 F. Q. 5. 1. 2. 
 
 Spenser mentions further the contest between Albion of 
 Britain and the Celtic Hercules of France perhaps a native 
 hero who was identified with the Greek Hercules (F. Q. 2. 10. 11 ; 
 4. 11. 16). While Spenser, no doubt, took this particular incident 
 from the British Chroniclers, Diodorus Siculus gives ample testi- 
 mony to the founding of the Gallic nation by Hercules (5. 24. 2 
 ff.). 
 
 But even so mighty a conqueror as Hercules was himself 
 subdued by the darts of Cupid. F. Q. 5. 5. 24 represents him as 
 in the society of lole, forgetting war and delighting " In combats 
 of sweet love," his huge club and rough lion's skin exchanged for 
 a distaff and cloak of gold. See also F. Q. 5. 8. 2. 
 
 This picture is based upon classical authority, probably 
 
SPENSER'S CLASSICAL MYTHOLOGY. 63 
 
 Ovid, Her. 9, but Spenser makes a mistake, not in implying the 
 love of Hercules for lole (see Apoll. 2.7.7; Met. 9. 140), but in 
 saying that it was for her sake that he led an effeminate life. 
 Our poet is evidently thinking of Omphale, queen of Lydia, with 
 whom Hercules at one time passed several years. In the epistle 
 by Ovid, cited above, Hercules' amour with lole is mentioned by 
 Deianira in close connection with her reproaches against her hus- 
 band for his effeminate life with Omphale a circumstance which 
 may account for the confusion on the part of Spenser. For the 
 affection of Hercules for Hylas (F. Q. 3. 12. 7; 4. 10. 27), see 
 Hylas. 
 
 For his apotheosis and union with Hebe (H. L. 283), see 
 Hebe. 
 
 And on the other syde a pleasaunt grove 
 Was shott up high, full of the stately tree 
 That dedicated is t'Olympick Jove, 
 And [of the tree which was dedicated] to his sonne 
 Alcides, whenas hee 
 
 In Nemus gayned goodly victoree. 
 
 F. Q. 2. 5. 31. 
 
 The above interpolation is necessary to a proper understand- 
 ing of this passage ; for the oak was sacred only to Jove, while it 
 was the poplar which was dedicated to Hercules. See Virgil, 
 Ed. 7. 61. Spenser makes the triumph over the Nemean lion 
 the immediate cause of this honor to Hercules an idea which, 
 so far as is known, is original with him. 
 
 Such are some of the points in the arduous life of Hercules. 
 Well might Calliope, the muse who records the heroic, exclaim 
 that she raised Hercules to heaven! (T. M. 461.) 
 
 HEREBUS. F. Q. 2. 4. 41 ; 3. 4. 65 ; V. G. 40. See Erebus. 
 HERMES. F. Q. 7. 6. 19 ff. See Mercury. 
 
 HESIONE. V. G. 62. 
 
 As a parallel to this free translation of a much disputed pas- 
 sage in the original may be cited Apoll. 2. 6. 4; 3. 12. 7 and Met. 
 11. 194 ff., whence it appears that Hesione was given captive to 
 Telamon by Hercules in reward for his valor when the latter 
 attacked Troy, and that she afterwards became his wife. 
 
64 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 HESPERUS. F. Q. 1. 2. 6; 1. 7. 30; 3. 4. 51; Ep. 96; Pro. 164. 
 
 The ancients, even in the earliest times, regarded Hesperus, 
 the evening-star, as identical with the morning-star; and thus 
 Spenser is quite classical in employing the same name to denote 
 respectively the evening-star (F. Q. 3. 4. 51) and the morning- 
 star (F. Q. 1. 2. 6). 
 
 Both the Greeks and the Romans, however, referred to the 
 morning-star as the bringer of light, calling it 'Euxr^opo? and Luci- 
 fer ; and Spenser follows them when he describes Hesperus as 
 "bringing forth dawning light." On this point see //. 23. 226; 
 and thus, also, Ovid assigns to Hesperus a dusky steed and to 
 Lucifer a white one. (Compare Fast. 2. 314 ; 5. 419 with Fast. 
 15. 189 ; Met. 2. 115.) See also Hyg. Poet. Astron. 2. De quinque 
 stellis. 
 
 The brilliancy of Hesperus, alluded to by Spenser, is de- 
 scribed by Homer (//. 22. 317) as a brightness surpassing that 
 of the other stars of heaven. 
 
 In F. Q. 7. 6. 9 and V. G. 40, Vesper, the Latin word for 
 " evening," is used for Hesperus, the evening star. Compare with 
 such usage Met. 1. 63 and Horace, Carm. 2. 9. 
 
 HIPPOLYTUS. F. Q. 1. 5. 36 ff. 
 
 For convenience in tracing this myth to its sources, the fol- 
 lowing points made by Spenser may be enumerated : 
 
 1. Hippolytus, a huntsman son of Theseus. 
 
 2. Sought by his stepmother, whom he repels, in conse- 
 quence of which she complains of him to Theseus. 
 
 3. Neptune, besought by Theseus, sends two sea-monsters, 
 which so frighten the horses of Hippolytus, as he is driving, that 
 he is killed. See also F. Q. 5. 8. 43. 
 
 4. The stepmother [Phaedra], repenting, kills herself with a 
 knife. 
 
 5. Theseus, upon learning the innocence of his son, rends 
 his hair and tongue. 
 
 6. With the aid of Diana, who is the friend of Hippolytus, 
 Theseus gathers up the remains of his son, and bears them to 
 .ZEsculapius. 
 
 7. .ZEsculapius restores Hippolytus, and, in consequence, in- 
 
SPENSER'S CLASSICAL MYTHOLOGY. 65 
 
 curs the anger of Jove, who thrusts him down to hell with a 
 thunderbolt. 
 
 A comparison of the above with JEneid 7. 765 ff., reveals 
 the fact that Virgil makes or hints at the following points : 
 2 ; 3 (but no mention of the number of sea-monsters simply 
 in the plural) ; 6 (but nothing is said of Theseus' gathering the 
 remains) ; 7. 
 
 Ovid (Met. 15. 497 ff.) touches upon 1 (but does not say 
 Hippolytus was a huntsman) ; 2 ; 3 (but speaks of one monster 
 only) ; 6 (but does not say that Theseus gathered his bones) ; 7 
 (nothing, however, of Jove's anger toward ^Esculapius) . 
 
 Ovid (Fast. 6. 737 ff.) mentions 1 (but does not speak of 
 Hippolytus as a huntsman) ; 2 ; 3 (but only one monster, and 
 nothing of the appeal of Theseus to Neptune) ; 6 (but does not 
 say that Theseus gathered the remains of Hippolytus) ; 7. 
 
 It is evident from these comparisons that Spenser must have 
 been indebted to some other source, or his own inventive powers, 
 for the facts that Hippolytus was a huntsman, that Phaedra 
 stabbed herself, that Theseus tore his hair and tongue, and that 
 he afterwards gathered together the remains of Hippolytus, and 
 bore them to ^sculapius. 
 
 Turning to the drama of Hippolytus by Euripides, we find 
 that the youth is a son of Theseus, and a huntsman, and specially 
 devoted to Diana : 
 
 Artemis, Phoebos* sister, child of Zeus, 
 He honors, thinking her the chief of gods; 
 And ever in the greenwood with the maid 
 Destroys the beasts with his fleet-footed hounds, 
 Enjoying more than human comradeship. 
 
 Furthermore, points 2, 3, and 4 are clearly brought out, ex- 
 cept that only one monster is mentioned, and that Phsedra hangs 
 herself, instead of committing suicide with a knife. Theseus 
 learns of his son's innocence through Diana, but his grief finds 
 vent in only controlled expressions of passion. Nothing is said 
 of the revival of Hippolytus, who dies in the presence of his 
 father. 
 
 One other source remains to be considered the Hippolytus 
 of Seneca. Here are brought out points 1, 2, 3 (but one monster 
 
66 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 only), and 4. Furthermore, Theseus learns of the innocence of 
 Hippolytus through Phaedra, whereupon he gives expression to his 
 feelings in long speeches not, however, in the way Spenser men- 
 tions. But, as in Euripides, nothing is said of the bones' being 
 gathered up by Theseus, or of the revival of Hippolytus by js- 
 culapius. 
 
 It would appear from this discussion, then, that while Spen- 
 ser follows Seneca in certain striking particulars, he is, for the 
 rest of his story, indebted to the narratives of either Virgil or 
 Ovid, and to his own fertile imagination. 
 
 HTPPOTHOE. F. q. 4. 11. 50. See Nereids. 
 HOURS. F. Q. 7. 7. 46 ; Ep. 99. 
 
 These two passages really agree in regard to the parentage of 
 the Hours, since the Jove of the one and the Day of the other 
 are identical. The domain of Zeus being " the wide heaven, in 
 clear air and clouds " (II. 15. 192), he was sometimes identified 
 by the ancients, as by Spenser, with the Upper World and the 
 light, as contrasted with the Lower World, the darkness. See 
 Jove. 
 
 In making Day and Night the parents of the Hours, Spenser 
 is original. Hesiod (Theog. 901) calls them the daughters of Jove 
 and Themis, Eunomie, Dice, and Irene, while Homer does 
 not mention their parentage or names. It is, however, //. 5. 749 
 which Spenser has in mind when he calls the Hours the porters 
 of heaven's gate : "... self-moving groaned upon their hinges 
 the gates of heaven whereof the Hours are warders, to whom is 
 committed great heaven and Olympus, whether to throw open the 
 thick cloud or set it to." Homer authorizes Spenser also in mak- 
 ing them allot the seasons. See Od. 10. 469. 
 
 HYACINTHUS. F. Q. 3. 6. 45; 3. 11. 37. 
 
 The untimely fate of this youth, " Phoebus paramoure And 
 dearest love," is pathetically told by Ovid (Met. 10. 162 ff.). 
 While playing at quoits with the god, Hyacinthus is struck by a 
 discus and killed. Phcebus, in token of his grief and remem- 
 brance, causes the hyacinth, an emblem of mourning with the 
 ancients, to spring from the blood of this beloved youth. 
 
SPENSER 1 S CLASSICAL MYTHOLOGY. 67 
 
 In the second passage Spenser says that Hyacinthus was 
 transformed to a paunce, or pansy a statement for which there 
 is no classical authority. 
 
 HYDRA. F. Q. 6. 12. 32. 
 
 Among the monstrosities which, according to Hesiod, were 
 the offspring of Typhaon and Echidna, was the Hydra. While 
 Spenser says that the Hydra had a thousand heads, Hyginus 
 (Fab. 30) and Apollodorus (2. 5. 2) say that there were nine 5 
 Diodorus Siculus, one hundred : Virgil (^En. 8. 300) describes 
 the monster, in a general way, as "many-headed." The killing 
 of this monster was the second labor of Hercules. See Hercules. 
 
 HYLAS. F. Q. 3. 12. 7. 
 
 The incident here referred to occurred upon the journey of 
 the Argonauts to Colchis. Hylas was a favorite of Hercules, who, 
 when the Argo anchored upon the coast of Mysia, went to draw 
 water from a fountain, into which he was himself drawn by the 
 nymphs, who had been charmed by his beauty. Hercules sought 
 him in vain, calling his name again and again, but only the echo 
 of it replied. This echo, which is often referred to by the poets, 
 is accounted for by Antoninus Liberalis (Hylas) as being really 
 Hylas himself, who had been changed into an echo by the 
 nymphs they being fearful lest. Hercules should discover his 
 beloved in their fountain. See Argonautic Expedition. 
 
 HYLLUS. F. q. 4. 10. 27. 
 
 Spenser doubtless means to say Hylas, between whom and 
 Hercules there was the closest friendship. See Hylas. 
 
 HYMEN. F. Q. 1. 1. 48; V. G. 60; Ep. passim. 
 
 Hymen was the god of marriage, and therefore appropri- 
 ately invoked in the Epithalamion. From among the classics, the 
 Epithalamium of Catullus, written in celebration of the nuptials 
 of Manlius and Julia, may be cited as an example : there Hymen 
 is called upon again and again as the god of marriage, and 
 Spenser imitates the lo Hymen Hymencee in F. Q. 1. 1. 48 and in 
 his Epithalamion. The custom of crowning Hymen with a gar- 
 land at marriage festivals is referred to by Catullus, as by Spen- 
 ser (Ep. 256). 
 
68 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 HYPERION. - Mui. 61. 
 
 Helios, the sun, is here called " Hyperion's fierie childe." 
 Hesiod (Theog. 134, 371 ff.), Apoll. (1. 2. 2), Diod. Sic. (5. 67. 
 1), may be quoted as authorities on this point. Hyperion was 
 the child of Heaven and Earth, and, in turn, became the father 
 of the Sun, the Moon, and the Dawn-goddess. In V. G. 20 
 the name is used for the sun itself. Compare Met. 8. 565 
 
 HYPONEO. - P. Q. 4. 11. 51. See Nereids. 
 
 HYPSIPHYLE. V. Q. 2. 10. 56. See Argonautic Expedition. 
 INACHUS. T. M. 447. 
 
 In the passage before us Calliope asks : 
 
 What oddes twixt Irus and old Inachus, 
 'Twixt best and worst, when both alike are dedd ; 
 If none of neither mention should make, 
 Nor out of dust their memories awake? 
 
 The first of the two extremes of society here cited is Irus, 
 the beggar of Ithaca, a characterization of whom opens the 
 eighteenth book of the Odyssey. 
 
 The other character, with whom Irus is contrasted, is the 
 celebrated river-god and hero of Argos, the first ruler of that 
 country. Thus Euripides (Elec. 1) addresses him as the ancient 
 glory of Argos, and in Sup. 371 Argos is called the land of 
 Inachus. See also JEn. 7. 286, where the expression " Inachian 
 Argos " occurs. 
 
 In writing the passage in question, Spenser seems to have 
 had in mind Horace, Carm. 2. 3 : 
 
 Divesne, prisco natus ab Inacho 
 Nil interest an pauper et infima 
 De gente sub divo moreris, 
 Victima nil miserantis Orci. 
 
 See also Sea-Gods. 
 
 INO. F. Q. 4. 11. 13; 6. 8. 47. 
 
 Ino is mentioned as the mother of Palsemon. She is further 
 described as " raging," and engaged in the act of throwing her hus- 
 band's murdered infant out. For the details of this tragic story, 
 
SPENSER'S CLASSICAL MYTHOLOGY. 69 
 
 the madness of Athamas, the husband of Ino, and his pursuit 
 of Ino to the brink of the sea, where she casts herself and her 
 child, Palaemon, into the waves, see Met. 4. 417 ff. ; Fast. 
 6. 528. 
 
 IDLE. F. Q. 6. 5. 24. See Herculee. 
 
 ZPHIMEDIA. F. Q. 3. 11. 42. 
 
 Neptune became by her the father of Otus and Ephialtes. 
 See Met. 6. 115 ; Od. 11. 305 ; Apoll. 1. 7. 4. 
 
 IRIS.-F. Q. 3. 11. 47; Mui. 93. 
 
 Although Iris was originally the personification of the rain- 
 bow itself, and is sometimes identified with it in the ancient 
 poets, she is generally considered (as in Spenser) as having an 
 individuality apart from it. She is the messenger of the gods, 
 particularly of Juno ; and the rainbow is either the path over 
 which she glides, or the varicolored robe in which she is clothed. 
 jEn. 5. 604 ff. ; Met. 14. 830 ff . ; 1. 271; 11. 585 ff., may be 
 cited as typical passages on this point. For the parentage of 
 Iris, see Thaumas. 
 
 IRUS. T. M. 447. See Inachus. 
 
 ISIS. F. Q. 5. 7. 3 ff. 
 
 This entire passage, which describes the attributes and wor- 
 ship of the Egyptian divinities, Isis and Osiris, is based upon 
 Plutarch's Isis and Osiris. Spenser, however, does not feel him- 
 self at all bound by the original, but follows it at times afar off. 
 Thus he says the priests wore their hair long, while Plutarch 
 says their heads were shaved. The interpretation of the croco- 
 dile, also, which he gives in Stanza 22, is not authorized by the 
 original. The other points which Spenser cites, the justice of 
 Osiris when king of Egypt; the equity attributed to Isis; the 
 linen garb of the priests ; the crescent miters ; the interpretation 
 of Osiris as the sun, and Isis as the moon ; the continence of 
 the priests ; their abstinence from fleshly food ; the reason why 
 they did not drink wine, all these are consistent with the 
 account given by Plutarch. 
 
70 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 ISSA. F. Q. 3. 11. 39. 
 
 Spenser here makes the statement that Apollo was in love 
 with Issa, the daughter of Admetus, and it was for her sake 
 that he fed the flocks of Admetus. There is a confusion here : 
 Met. 6. 124, the evident source of this passage, says that as a 
 shepherd, Phoebus deceived Isse, the daughter of Macareus ; and 
 with this statement Spenser has confused the more conspicuous 
 instance of Apollo's becoming a shepherd in the service of 
 Admetus. See Apollo. 
 ITYS. V. G. 61. 
 
 For an explanation of this passage, see Met. 6. 412 ff., 
 where it appears that the two Pandionian maids were Procne 
 and Philomela, daughters of Pandion. The Thracian king was 
 Tereus. He married Procne, by whom he became the father of 
 Itys. He afterwards fell in love with Philomela; and, having 
 deceived her, he cut out her tongue, and placed her in confinement, 
 pretending to Procne that she was dead. Philomela, however, 
 found means to acquaint her sister with her distress ; Procne de- 
 livered her from her captivity ; and together they wreaked ven- 
 geance upon the faithless Tereus by killing the boy Itys. After 
 this a general metamorphosis took place : Procne and Philomela 
 were changed, in their flight, to the swallow and the nightingale, 
 respectively, while Tereus became the lapwing. 
 
 ZULUS. F. Q. 8. 9. 43. See tineas. 
 IXION. F. Q. 1. 6. 35; 7. 6. 29. 
 
 The presumption of Ixion in daring to aspire to the favor of 
 Juno, and his subsequent punishment in the Lower World, are 
 here cited. Hyginus (Fab. 62) and Lucian (Dial. Deor. 6) re- 
 late both the transgression and its punishment. Both Juno and 
 Orpheus in their visits to the Lower World (Met. 4. 461 ; 10. 42) 
 saw Ixion bound to his wheel, and he is mentioned as among the 
 shades noticed by JSneas (JSn. 6. 601). 
 IXIONE. V. G. 2. See Hesfone. 
 JANUS. F. q. 4. 10. 12 ; Am. 4. 
 
 Ovid (Fast. 1, passim) has furnished a fertile source of infor- 
 mation in regard to Janus, his double face, and his gate. Ovid's 
 invocation of the god begins thus : 
 
SPENSER'S CLASSICAL MYTHOLOGY. 71 
 
 O, Janus, thou of the two heads! origiu of the year silently 
 rolling on, thou who alone of the gods above dost behold thy own 
 back, be thou propitious to our princes, etc. 
 
 Further : 
 
 For the month of Janus is first, because the gate is at the very 
 entrance. 
 
 And again : 
 
 But, O Janus, thou of the double form, what kind of deity shall 
 I pronounce thee to be ? for Greece has no divinity corresponding to 
 thee. Do thou, at the same time, declare the reason why thou alone 
 of all the inhabitants of heaven lookest upon that which is behind 
 thee, and that which is before thee. 
 
 Janus gives the reason of his shape in these words : 
 
 Every gate has two fronts, one on either side, of which the one 
 looks out upon the people, but the other looks inward upon the 
 household shrine ; and as the gate-keeper among you mortals, sit- 
 ting near the threshold of the front of the building, sees both the 
 goings out and the comings in, so do I, the doorkeeper of the vesti- 
 bule of heaven, at the same time look forth upon the regions of the 
 east and the west. 
 
 JASON. F. Q. 2. 12. 44. See Argonautic Expedition. 
 JOVE. 
 
 Spenser is not exactly consistent in regard to the parentage 
 of Jove : in F. Q. 1. 5. 22 he is called the eldest born of Night. 
 Wishing to make Night seem as ancient as possible, Spenser 
 makes her the parent even of Jove. In F. Q. 7. 6. 2 he calls Jove 
 the son of Saturn, or Cronus. 
 
 The first passage is to be freely interpreted in the light of a 
 line in one of the Orphic Hymns, which refers to Night as the 
 parent of men and gods. 
 
 The second passage is supported by the Theogony of Hesiod. 
 According to that, Chaos was the origin of all ; from Chaos were 
 born Earth and Night ; and from Earth, Cronus and Rhea sprang, 
 who, in turn, became the parents of Jove and other divinities. 
 
 As to the birthplace of Jove, when Mutability (F. Q. 7. 7. 
 
72 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 53) wished to prove that even Jove, like all others born in this 
 world, was subject to herself, she says : 
 
 Where were ye borne ? Some say in Crete by name, 
 Others in Thebes, and others other-where. 
 
 There is, indeed, this disagreement among the ancients in 
 regard to the birthplace of Jove. The commonest tradition ac- 
 cords with Hesiod's Theogony, which calls him the son of Cronus 
 and Rhea, and his birthplace Crete. Callimachus, however, in 
 his Hymn to Jove, speaks of various places as claiming to be his 
 birthplace; and Tzet. Lye. 1194 mentions Thebes among the 
 number. See Rhea, also. 
 
 F. Q. 7. 7. 41 represents December as riding on the goat 
 wherewith Jove was nourished by the Idsean maid. This allusion 
 to Jove, also, is part of the myth concerning the Cretan Zeus. 
 According to Ovid (Fast. 5. 121 ff.) the Idsean maid was "Nais 
 Amalthea, Cretsea nobilis Ida ; " and the goat which nourished Ju- 
 piter was placed, in token of reward, in the sky, thus becoming 
 the constellation of the she-goat. Other writers say that Amal- 
 thea was the name of the goat. 
 
 Great as was the power of Jove, he himself was, nevertheless, 
 subject to the wiles of Cupid (see F. Q. 3. 6. 22; 3. 11. 30; 
 3. 11. 35; Co. Cl. 809; Am. 39); and, although married to 
 Juno, he was the hero of numerous amours with both goddesses 
 and mortal women. Among those who excited the love of Jove, 
 Spenser mentions .ZEgina (F. Q. 3. 11. 35) ; Alcmena (F. Q. 3. 11. 
 33); M. H. T. 1299; Ep. 328); Antiope (F. Q. 3. 11. 35); As- 
 teria (F. Q. 3. 11. 34); Danae (F. Q. 3. 11. 31) ; Europa (F. Q. 
 3. 11. 30; 5. Int. 5; 7. 7. 33; Mui. 278 ff.) ; Helle ( F. Q. 3. 
 11. 30); Leda (F. Q. 3. 11. 32; Pro. 42); Maia (Ep. 307); 
 Mnemosyne (F. Q. 3. 11. 35; 4. 11. 10); Semele (F. Q. 3. 11. 
 33) ; Thracian maid (F. Q. 3. 11. 35). For a discussion of these 
 points, see the several headings. 
 
 The rape of Ganymede, whom Spenser refers to as the 
 Trojan boy (F. Q. 3. 11. 34 ; 3. 12. 7) is the subject of a fa- 
 vorite myth with the ancients. That Jove was charmed with 
 the beauty of Ganymede, and that in the form of an eagle he 
 snatched him away and bore him to Olympus, where, much 
 
SPENSER'S CLASSICAL MYTHOLOGY. 73 
 
 against the -will of Juno, he became the cup-bearer of the gods, 
 is briefly stated by Ovid (Met. 10. 155). The myth forms also 
 the groundwork of two of Lucian's dialogues. 
 
 Jove became the father of numerous children. From among 
 these, Spenser cites Cupid, calling him the offspring of Jove and 
 Venus (F. Q. 1. Int. 3). See Cupid. 
 
 Spenser further mentions Cynthia (F. Q. 7. 7. 50), who was 
 especially beloved by Jove ; Hercules (Ep. 328) ; Mars (R. R. 11) ; 
 Phosbus (V. G. 2); the Graces (F. Q. 6. 10. 22); the Hours 
 (F. Q. 7. 7. 45; Ep. 99); the Litse (F. Q. 5. 9. 31); the Muses 
 (F. Q. 4. 11. 10; S. C. June 66; R. T. 369). For a discussion 
 of these, see the several headings. 
 
 Besides those above mentioned, there are references to the 
 "twins of Jove" in F. Q. 5. Int. 6; Pro. 173. These are Castor 
 and Pollux. (See Leda.) The circumstances of their transfer- 
 ence to the sky under the name of the Gemini are related by 
 Ovid (Fast. 700 ff.) and Hyginus (Poet. Astron. 2. Gemini). 
 
 Spenser further declares the Water-nymphs to be of Jove's 
 " kinde." For an explanation of this, see Nereids. 
 
 Jove won and maintained his supremacy only at the expense 
 of two famous contests, the first with the Titans, the second 
 with the Giants ; for, although confounded by ancient writers 
 and by Spenser himself, these two contests were originally quite 
 distinct. 
 
 The Titans, we are told by Hesiod, were the children of 
 Uranus and Gea, and were called Titans (from nraivw) by their 
 father, because they stretched forth their hands in violence 
 against him. After the Titans had gained the power, and had 
 placed Cronus, one of their number, upon the throne of their 
 father, they, in turn, were assailed by Jove. Hesiod (Theog. 616 
 ff.) relates in a vivid manner the story of this contest, when 
 earth and sea and sky shared in the general upheaval. Jove in 
 the end came off victorious ; and the Titans were hurled from 
 their heavenly abodes and condemned to Tartarus, though their 
 descendants continued to inhabit the earth. Spenser refers to 
 this war in F. Q. 7. 6. 2, and 7. 6. 27. In F. Q. 3. 7. 47, and 
 5. 1. 9 he employs the name Titans to designate the Giants 
 instances of the confusion referred to above. 
 
74 SPENSER 'S CLASSICAL MYTHOLOGY. 
 
 The famous contest of Jove with the earth-born giants, who 
 were so rash as to' assail even heaven itself, is related at some 
 length by Apollodorus (1. 6. 1 ff.) and Claudian (Giyant.} and 
 frequently referred to by others among the ancients. Besides 
 the references to this point already quoted, Spenser mentions the 
 rebellion of the Giants in F. Q. 2. 10. 3; 5. 7. 10; R. R. 4 
 and 12. 
 
 The adjective " Phlegrsean," which is used in the first two 
 of these references, is explained in the light of A poll. 1. 6. 1 ; 
 Claud. Gigant. 4 ; Diod. Sic. 4. 21. 5 ; 5. 71. 4 : it was in Phlegra 
 in Italy, the home of the Giants, that the contest took place. 
 See also Apollo. 
 
 Spenser further relates that under the wrathful power of 
 Earth, the mother of the slain, the blood of the Giants which 
 was shed on this occasion became wine the liquor that has 
 "the mindes of men with fury fraught." This idea is from 
 Plutarch's I sis and Osiris. 
 
 The picture which Spenser gives us of Jove is made up of 
 bits of mosaic, a passage here and an epithet there. When, 
 however, these bits are pieced together, we have the Jove of the 
 Iliad. 
 
 Perhaps no passage of that poem more clearly shows the 
 relation of Jove to the other gods than his own address to them 
 on Mt. Olympus, which opens the eighth book of the Iliad. 
 With this passage may be compared F. Q. 5. 7. 1, where Jove is 
 described as one "who doth true justice deale To his inferior 
 Gods." 
 
 When, according to Iliad 15. 187 ff., the universe was par- 
 titioned among the three sons of Saturn, Jupiter was allotted 
 " the wide heaven, in clear air and clouds." Hence Spenser call.>j 
 him the ruler of day and night (F. Q. 1. 5. 42), and the day and 
 the stars his lamps (see F. Q. 1. 5. 19; 1. 7. 23; 3. 1. 57; 
 3. 4. 51). 
 
 According to the Iliad, the abode of Jove is on the top of 
 Mt. Olympus, in the heavens, whence he rules the world. With 
 this conception compare F. Q. 1. 4. 11 ; 1. 4. 17 ; 7. 6. 15. 
 
 Homer frequently describes Jove as thundering ; and Spenser 
 follows him in such passages as F. Q. 1. 5. 42 ; 2. 6. 10 ; 2. 6. 50 ; 
 
SPENSER'S CLASSICAL MYTHOLOGY. <O 
 
 4. 5. 37. With his thunderbolts he killed Phaeton, and thrust 
 JSsculapius down to hell. See JEsculapius and Phaeton. 
 
 A storm was supposed to be expressive of his anger. On 
 this point compare F. Q. 1. 1. 6 ; 1. 8. 9 ; 4. 6. 14 with the force- 
 ful description of a storm as expressive of the wrath of Jove 
 against the injustice of men in //. 16. 384 ff. 
 
 With the peculiar description in the first of these passages, 
 compare Lucret. 1. 251 : 
 
 . . . pereunt imbres, ubi eos pater ^Ether 
 In gremium matris Terrae prsecipitavit. 
 
 Throughout the Iliad, Jove appears as the arbiter of justice 
 to gods and men. His rewards are great and his punishments 
 fearful. Thus Spenser represents him (F. Q. 4. 3. 44) as advan- 
 cing the worthy to heaven, as in the case of Hercules and many 
 others (Hyg. Fab. 225), and in condemning the damned to Phlege- 
 thon (F. Q. 1. 5. 33). He punishes Prometheus for his audacity 
 (F. Q. 2. 10. 70), on which point see Prometheus. He is also the 
 judge in the contest between Pallas and Neptune over the naming 
 of Athens (Mui. 305 ff.). See Arachne. In F. Q.. 1. 5. 25 Spen- 
 ser follows //. 8. 19, and speaks of the chain of necessity the 
 concatenation of cause and effect " Which fast is tyde to Jove's 
 eternall seat." 
 
 While the Homeric Jove is always superior to Fate, Spenser 
 says : 
 
 Not so; for what the Fates do once decree, 
 Not all the gods can change, nor Jove himself can free. 
 . F. Q. 4. 2. 61. 
 
 This conception of Jove and the other gods as limited in 
 power by the Fates is rather in accord with such passages as Met. 
 15. 781, 807 ff. 
 
 The bird of Jove referred to in F. Q. 2. 11. 43; R. R. 17 ; 
 V. W. V. 4, is the eagle. With these passages compare the 
 opening lines of that famous ode by Horace, which records the 
 triumphs of Drusus (Cam. 4. 4) : 
 
 Like the fierce bird with thunder-laden wing, etc. 
 
 In F. Q. 2. 5. 31 ; V. B. 5 we have a reference to the tree 
 that was sacred to Jove. This is the oak, through whose rustling 
 
76 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 leaves the god was supposed to make his will known at his oracle 
 at Dodona (Od. 19. 296). 
 
 The great image of Jove " in Olympus [ ! ] placed " (R. R. 
 2) is the famous statue of the god at Olympia in Elis. It was 
 the work of Phidias, and was considered to be one of the wonders 
 of the ancient world (Hyg. Fab. 223). 
 
 In V. W. F. 11 Jove is called the patron of the Capitol at 
 Rome. This epithet, more briefly expressed by the Romans in 
 the title of Capitolinus, has reference to the fact that Jupiter had 
 a temple upon the Capitoline Hill at Rome (Fast. 2. 69). 
 
 The Jupiter of the Greeks and Romans was identified with 
 the Egyptian Ammon, to whom there is a single reference in 
 Spenser (F. Q. 1. 5. 48). The " mightie monarch" of this pas- 
 sage is Alexander, who was first hailed by the Egyptian priests 
 as the son of Zeus Ammon. For an explanation of this, see Plu- 
 tarch. See also Lucian, Dial. Mort. 12 ; 13 ; 14. 
 
 A fitting close to this article is the Horn. Hymn to Jove, 
 which sums up many of the points here alluded to : 
 
 Jove now I sing; the greatest and the best 
 
 Of all those powers that are with deity blest; 
 
 That far-off doth his dreadful voice diffuse; 
 
 And, being king of all, dotli all conduce 
 
 To all their ends ; who (shut from all gods else 
 
 With Themis, that the laws of all things tells) 
 
 Their fit composures to their times doth call, 
 
 Weds them together, and preserves this all. 
 
 Grace then, O far-heard Jove! the grace thou'st given; 
 
 Most glorious, and most great, of earth and heaven. 
 
 JUNO. 
 
 Spenser's references to Juno are slight and few in number. 
 In F. Q. 7. 7. 26 (a part of the paraphrase of Ovid's presenta- 
 tion of the Pythagorean philosophy of change), after naming the 
 four elements, earth, water, air, and fire, Spenser says that 
 Juno is ruler of the air. In making this statement, Spenser 
 follows Macrobius, Sat. 1. 5, where Juno is called aeris arbitra, 
 an epithet arising from the fact that the early Romans identified 
 Juno with the moon, which sails through the air. 
 
 In Ep. 390 ff, Juno is invoked as the patron of marriage, 
 
SPENSER'S CLASSICAL MYTHOLOGY. 77 
 
 and the divinity who presides over childbirth. The origin of the 
 first of these ideas is in the wifely relation which Juno bore to 
 Jove ; her interest in offspring arises from the fact that she first 
 made Saturn a parent that is, she was his eldest child (see 
 Fast. 6. 26 if., where she is frequently alluded to as the guard- 
 ian of marriage, as in Ap. Rh. 4. 96 ; JEn. 4. 166.) 
 
 The character of Juno (or Hera), as represented by the 
 ancients from Homer down, is distinguished by jealousy, arro- 
 gance, and a spirit of contention and revenge. Lucian, in his 
 Dialogues, portrays these characteristics in a most realistic man- 
 ner, and makes of the queen of heaven a mortal among mortals. 
 
 The fickleness of Jove tended to develop the vengeful side 
 of Juno's nature, and we frequently find her engaged in some 
 scheme for thwarting his amours. Thus Spenser refers to her 
 anger against Latona (F. Q. 2. 12. 13), and to the deception 
 which she practiced on Semele (F. Q. 3. 11. 3), for which see 
 Latona and Semele. 
 
 In F. Q. I. 4. 17 we have a picture of the famous golden 
 chariot of Juno, drawn by peacocks. While this passage was, no 
 doubt, suggested indirectly by II. 5. 720 where the chariot is 
 described as golden in part, though drawn, not by peacocks, but 
 by horses the direct source of Spenser's description is Met. 
 2. 5. 31 ff., where the variegated birds are mentioned. 
 
 The "ey-spotted traine" of Juno's bird is referred to in 
 Mui. 95. For the source of this, see Argus. 
 
 LACHESIS. F. Q. 4. 2. 48. See Pates. 
 LAERTES. V. 6. 67. See Ulysses. 
 LAOMEDIA. F. Q. 4. 11. 51. See Nereids. 
 LAOMEDON. F. Q. 2. 11. 19. See Apollo. 
 
 LAPITH^E.-F. Q. 4. 1. 23; 6. 10. 13; V. 6. 6. 
 
 These passages all refer to the bloody contest between the 
 Lapithse and the Centaurs at the marriage of Pirithous, one of 
 the Lapithae, and Hippodamia. On this occasion Eurytus, one 
 of the Centaurs, made an attempt upon the bride, and a bloody 
 fray ensued. Compare Met. 12. 210 ff. See also Ariadne. 
 
78 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 IiATINUS.-F. Q. 3. 9. 42; 3. 9. 43. 
 
 Latinus was the king of Latium at the time vEneas and his 
 followers reached the country. It was decreed by unmistakable 
 signs that JEneas should marry Lavinia, the only daughter of 
 Latinus, and that thus the two peoples should be united ; but 
 the oracle was fulfilled only after bloody wars and the final 
 defeat of Turnus, the foe and rival of JSneas. See JEneid 7 ; 8 ; 
 9; 10; 11; 12. 
 
 LATONA. 
 
 For the references to Latona as the mother of Apollo and 
 Diana, and the circumstances attending their birth (F. Q. 2. 
 12. 13 ; 6. 2. 25 ; V. G. 2), see Apollo. 
 
 For the references to the wrath which Latona's children 
 visited upon the hapless Niobe (F. Q. 5. 10. 7 ; S. C. Apr. 86), 
 see Niobe. 
 
 The single remaining passage (V. G. 48) refers to the pun- 
 ishment of Tityus for his assault upon Latona, for which see 
 Tityus. 
 
 LEANDER. H. L. 231. 
 
 The romantic love of Hero and Leander is here referred to. 
 Every night Leander of Abydos swam the Hellespont (not the 
 Euxine waves) in order to reach his beloved Hero, a priestess of 
 Venus, upon Sestus, in which undertaking he finally perished. 
 The source of this reference is, no doubt, the poem of Hero and 
 Leander, by Musaeus. 
 
 IiEDA. F. Q. 3. 11. 32; Pro. 43. 
 
 Jove's intrigue with Leda, whom he approached in the shape 
 of a swan, is referred to in these passages, in support of which 
 see Met. 6. 109 and Apoll. 3. 10. 7. 
 
 Castor and Pollux were the offspring of this union. Their 
 constellation, the Gemini, is referred to in F. Q. 7. 7. 34 ; 7?. T. 
 386. For the origin of this constellation as explained by Ovid, 
 see Fast. 5. 697 ff. 
 
 LETHE. F. Q. 1. 3. 36; S. C. March 23; B. T. 428; V. G. 43. 
 
 "Lethe is a lake in hell, which the poetes call the lake of 
 forgetf ulness." E. K., Glosse, S. C. March 23. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 79 
 
 Compare JEn. 6. 714, where Lethe is described as a river of 
 the Lower World, whose waters dispelled care and produced 
 oblivion in those shades who were destined to be reincarnated. 
 
 For R. T. 428, see Thetis. 
 
 T.TAGORE. F. Q. 3. 4. 41. See Apollo. 
 LIAGORE. F. q. 4. 11. 61. See Nereids. 
 LINUS. B. T. 333. 
 
 Linus is here mentioned as a poet in close connection with 
 Orpheus. They both belong to the number of those half-mythical 
 and half-historical poets who were believed to have been under 
 the immediate instruction of Apollo and the Muses. Their 
 shadowy personalities haunt the pages of classic literature, and 
 in later times they came to be regarded as historical characters. 
 
 Apollodorus (2. 3. 9) declares Linus and Orpheus to have 
 been brothers, the sons of the Muse Calliope and (Eagrus (1. 3. 2). 
 Virgil (Ed. 4. 50) speaks of Calliope and Apollo as their parents. 
 
 Diodorus Siculus says that Linus invented the lichanos (3. 
 59. 6) and measure and song (3. 67. 1) ; and that among his 
 pupils were Hercules, Thamyris, and Orpheus, the first of whom 
 struck and killed his master with his lyre. He adds that Linus 
 left behind him certain works committed to writing (3. 67. 2). 
 
 LISIANASSA. F. Q. 4. 11. 60. See Nereids. 
 IiIT-dE. F. Q. 5. 9. 31. 
 
 This name is a personification of the Greek word for 
 
 "prayers" (AITOI), as in Iliad 9. 502 ff a passage which is the 
 
 source of the general conception here expressed. With Homer, 
 as with Spenser, they are daughters of Jove, who attend their 
 father as mediators between him and man ; and they bend the 
 wills of mortals also. But while Homer describes them as " halt- 
 ing and wrinkled and of eyes askance, that have their task withal 
 to go in the steps of Sin," Spenser says they are fair virgins and 
 lovely daughters. Moreover, Homer mentions no particular num- 
 ber of Litse ; neither does he give their names or that of their 
 mother. Spenser, on the other hand, calls them the daughters of 
 Jove and Themis (the personification of justice), and gives their 
 names as Dice, Eunomie, and Irene, in which particulars he is 
 following Hesiod in his designation of the Hours. 
 
80 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 This fusion of the Litse with the Hours is arbitrary on the 
 part of our poet : it may have been suggested, however, by the 
 ethical conception of the Hours, which is evident in Hesiod 
 (Theog. 901 ff.) and Pindar (Olymp. 13). It is clear, from the 
 names themselves, that the Hours of Hesiod are something more 
 than those of Homer, who represents them as divinities of the 
 seasons only : with Hesiod there is an ethical conception, and 
 they administer justice, good laws, and peace to men, as their 
 names indicate. This idea held its own as time went on, as will 
 be seen from the passage by Pindar, referred to above : " For 
 therein dwell Order, and her sisters, sure foundation of states, 
 Justice and like-minded Peace, dispensers of wealth to men, wise 
 Themis' golden daughters." 
 
 This conception, however, is so different from that of Homer 
 concerning the Litse that, as said above, it could not have done 
 more than suggest to Spenser the fusion of the two. 
 
 LUCOTA. F. Q. 2. 1. 53; 3. 6. 27. 
 
 This was a name given to both Juno and Diana as the god- 
 desses who preside at childbirth. See Fast. 2. 449 ff., where the 
 name as applied to Diana is derived from lucus, a grove, or (more 
 probably) from lux, lucis, meaning light ; for she it is who brings 
 children to the light. See also Fast. 3. 255. 
 
 . F. Q. 3. l. 51. 
 
 The derivation of this name, Avato, from the verb AU'W, to loose 
 or deliver, shows the appropriateness of it as an epithet of Bac- 
 chus, the god of care-dispelling wine. See Anac. 6. 8. 24, 25, 53 ; 
 Anth. Lai. 745. 
 
 . F. Q. 5. 8. 47. 
 
 The fury of the Msenades, or priestesses of Bacchus, is here 
 referred to, with which compare Eurip. Bacchanals, passim. 
 
 MAIA. 
 
 Flora now calleth forth eche flower, 
 And bids make readie Maias bower, 
 
 That newe is upryst from bedde. 
 
 S. C. Mar. 17. 
 
 E. K., commenting upon this passage, says: "Maias bower, 
 that is, the pleasaunt field, or rather the Maye bushes. Maia is 
 
SPENSER 'S CLASSICAL MYTHOLOGY. 81 
 
 a goddess, and the mother of Mercuric, in honour of whome the 
 moneth of Maye is of her name so called, as sayth Macrobius." 
 
 With this authority compare F. Q. 4. 3. 42 ; 7. 6. 16 ; M. 
 H. T. 1257. 
 
 In Ep. 307 Spenser names Tempe as the place where Jove 
 and Maia met, but his authority is not evident. 
 
 MARS. 
 
 The Mars of Spenser's poems appears under two different 
 aspects, as delighting in war, and as conquered by love. As the 
 god of war Mars (Ares) appears often in the Iliad, and the Horn. 
 Hymn to Mars gives us a clear idea of his warlike character. 
 Compare F Q. 1. 11. 7; S, C. Oct. 39. 
 
 In R. R. 11, the warlike Roman people are spoken of as the 
 offspring of Mars. Macrobius tells that the Romans worshiped 
 Mars under the title of " Marspiter," that is, Father Mars (Sat. 
 1. 19. 3). 
 
 This fact is easily explained in the light of the myth which 
 makes Mars the father of Romulus, the founder of the Roman 
 state (Fast. 3. 1 ff.). The month of March was sacred to him, 
 and he was second only to Jupiter among the Roman people. 
 
 But there is a hint in F. Q. I. Int. 3 that Mars could at times 
 lay aside his fierce aspect : 
 
 . . . and with you bring triumphant Mart, 
 
 In loves and gentle jollities arraid, 
 
 After his murdrous spoyles and bloudie rage allayd. 
 
 In F. Q. 2. 6. 35 Spenser goes so far as to declare that 
 
 . . . Mars is Cupidoes trend, 
 
 And is for Venus loves renowmed more 
 
 Then all his wars and spoiles, the which he did of yore. 
 
 This is a reference to the love of Venus and Mars, which 
 was disclosed by Phcebus. It is the theme of the bard in the 
 eighth book of the Odyssey. See also F. Q. 2. 6. 35 ; 3. 6. 24 ; 
 3. 11. 36; 3. 11. 44. 
 
 The planet Mars is cited in F. Q. 5. Int. 8; 7. 7. 52 ; Am. 
 60. See Hyg. Poet. Astron. 2. De quinque stellis ; 4. De Marte. 
 
 MEDEA. P. Q. 2. 12. 44; 6. 8. 47. See Argonautic Expedition. 
 
82 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 MEDUSA. F. Q. 3. 11. 42; B. T. 647. 
 
 In both these passages Medusa is referred to as the mother 
 of Pegasus, the winged horse ; in the first, as among those who 
 won the love of Neptune, by whom she became the mother of 
 Pegasus. 
 
 Apollodorus (2. 4. 3) and Ovid (Met. 6. 119) say that Medusa 
 was the mother of the horse by Neptune, which authors Spenser 
 follows. It should be added, however, that while Ovid says that 
 Neptune deceived Medusa in the shape of a bird, Spenser says 
 that it was as a winged horse a slight deviation, for which 
 there is apparently no classical authority. 
 
 The reference to her snaky locks is explained by Met. 4. 790 
 ff. : it was in the temple of Minerva that Neptune and Medusa 
 met, and the goddess punished such desecration by changing the 
 beautiful hair of Medusa to snaky locks. 
 
 MEG2ERA.-T. M. 164. 
 
 One of the three Furies, mentioned by Virgil (^En. 12. 846). 
 The daughters of Night, made hideous with serpents and provided 
 with swift wings, they strike terror to the hearts of mortals. 
 
 MEUTE. F. Q. 4. 11. 49. See Nereids. 
 MELPOMENE. S. C. NOT. 53. See Muses. 
 MENIPPE. F. Q. 4. 11. 51. See Nereids. 
 MERCURY. 
 
 Spenser alludes to the messenger of the gods under the 
 names of Hermes, Mercury, and the son of Maia. 
 
 For the parentage of Mercury (F. Q. 4. 3. 42 ; 7. 6. 16 ; 
 M. H. T. 1257), see Maia. 
 
 In F. Q. 7. 6. 16 ff. ; M. H. T. 1257, Mercury appears as a 
 messenger. In'F. Q . 2. 12. 41 there is a reference to his rod, 
 
 With which he wonts the Stygian realmes invade 
 Through ghostly horror and eternall shade: 
 Th' infernall feends with it he can asswage, 
 And Orcus tame, whome nothing can persuade, 
 And rule the Furyes when they most doe rage. 
 
 In F. Q. 4. 3. 42, to this rod is compared one which is 
 wound with two serpents, crowned with an olive garland. In 
 
SPENSER'S CLASSICAL MYTHOLOGY. 83 
 
 M. If. T. 1292 the power of Mercury's caduceus in bringing 
 about continuous night at the time of Jupiter's intrigue with 
 Alcmena is referred to. In R. 7? 665 and M. H. T. 1257 the 
 wings of Mercury are mentioned. 
 
 Numerous passages from the Iliad and other writings might 
 be quoted to prove that Mercury was the messenger of the gods, 
 a fact which is playfully brought out in Lucian DiaL Dear. 24, 
 where Hermes grumbles over the numerous demands made upon 
 him. 
 
 His magic staff also is mentioned in the Iliad ; and, in the 
 Horn. Hymn to Mercury, we learn that it was the gift of Apollo. 
 There is, however, no mention of the serpents until later times. 
 Hyginus (Poet. Astron. 2. 7), accounting for their presence on the 
 staff, says that Mercury one day came across two serpents fight- 
 ing one with the other. He extended his rod between them and 
 they separated. The rod, in consequence, became a token of 
 peace, and it was represented as adorned with two intertwined 
 serpents. Spenser, as if to emphasize the idea of peace, adds an 
 olive crown ; and there is a certain consistency in this, since by 
 some the olive-tree was believed to be the gift of Mercury and 
 not of Minerva (Diod. Sic. 1. 16. 2). 
 
 The power of this staff in calming certain creatures in 
 Hades is brought out by Spenser in the above-quoted passage. 
 There is a somewhat similar general statement in jEn. 4. 242 ff. ; 
 Lucian Dial. Dear. 7. For a particular instance, see Od. 24. 1 
 ff., where Homer describes Mercury conducting the souls of the 
 suitors to the Lower World. See also Lucian, Dial. Mort, passim. 
 
 For the power of Mercury's caduceus at the time of Jove's 
 intrigue with Alcmena, see //. 24. 343, where to Mercury is at- 
 tributed the power of granting or withholding sleep by the 
 exercise of his wand, 
 
 Although Mercury is generally represented as with wings, 
 all writers do not agree in placing the wings : some make them 
 an adornment of his hat ; others, of his staff ; while others, like 
 Spenser, place them upon his feet. With Spenser compare JEn. 
 4. 239. It is, of course, more than probable that Spenser was 
 indebted to works of art also for his conception of Mercury and 
 his attributes. 
 
84 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 F. Q. 7. 6. 14, and 7. 7. 51 refer to Mercury as a planet. 
 Spenser follows the Ptolemaic system when, in the first of these 
 passages, he says that Mercury " next [to the moon] doth raigne." 
 
 MINERVA. Mui. 273. See Arachne 
 MINOS. -V. G. 78. 
 
 One .of the judges in the Lower World : " Minos rules the 
 scrutiny, and shakes the urn ; he convokes the conclave of the 
 silent dead, and learns their lives, and the charges brought 
 against them." JEn. 6. 432 ff. 
 
 MNEMOSYNE. F. Q. 3. 11. 35. 
 
 Spenser is again indebted to the list of Jove's transforma- 
 tions mentioned by Ovid. See Met. 6. 114. Mnemosyne is re- 
 ferred to in the other passages as Memory, for which see Muses. 
 
 MCENADES. F. Q. 5. 8. 47. See Msenades. 
 MORPHEUS. 
 
 When Archimago sends one of his legions of sprites to the 
 house of Morpheus to obtain from the god of sleep " A fit false 
 dreame, that can delude the sleepers sent" (F. Q. 1. 1. 38 ff.), he 
 is simply following Juno, who sent Iris to the god of sleep with 
 a similar request that he would dispatch a dream to Halcyone, 
 telling her of the death of her husband Ceyx (Met. 11. 590 ff.). 
 A comparison of these two passages will reveal their general 
 similarity, although in certain minor points there is a difference : 
 thus, for instance, with Ovid, Morpheus is but one of the thou- 
 sand sons of Father Sleep who, as dreams, do the bidding of their 
 master; while, with Spenser, Morpheus himself is the god of 
 sleep, having the dreams in his control. But the abode of sleep, 
 its situation, the quietness pervading it, and the drowsiness of 
 the god, are practically the same in both accounts. The twin 
 portals of sleep are not from Ovid, however, but from Virgil 
 (Mn. 6. 893 ff.; cf. Od. 19. 562 ff.). 
 
 The leaden mace of Morpheus (F. Q. 1. 4. 44) may have 
 been suggested to our poet by the Lethe-drenched branch which 
 the god of sleep shakes over the head of Palinurus (&n. 5. 854), 
 or perhaps by Hermes' soporific wand (Od. 5. 47 ; JEn. 4. 244). 
 See also F. Q. 6. 8. 34 ; V. B. 15. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 85 
 
 MUSES. 
 
 In the number and names of the Muses as given in The Teares 
 of the Muses, Spenser follows the list of Hesiod (Theog. 77 ff.); 
 but the distinct arts which Spenser attributes to the " sacred 
 Sisters nine " are not mentioned by Hesiod, except in the case of 
 Calliope, who is named as the most honored of the Muses, the 
 one who sings of the great acts of virtuous monarchs. With 
 Hesiod, poetry in general is the province of all the Muses, and 
 with their master Apollo they give inspiration to the poet : 
 
 Bless'd whom with eyes of love the Muses view, 
 Sweet flow his words, gentle as falling dew. 
 
 Spenser, however, follows later authorities, and distinguishes 
 a special province for each of the nine : 
 
 Clio speaks as the Muse of History, who registers noble 
 feats, and keeps alive the memory of them from age to age. 
 Compare Anth. Lot. 664. 
 
 Melpomene declares that it is her part " The Stage with 
 Tragick buskin to adorne." Compare Hor. Carm. 1. 24. 
 
 Thalia boasts that she is the queen of comedy. Compare 
 Anth. Lot. 664. 
 
 Euterpe speaks as the Muse of lyric poetry. Compare 
 Hor. Carm. 1.1. 
 
 Terpsichore is the Muse of the choral song and dance, who 
 " earst in joyance did abound." Compare Plato, Phcedr. 259 C. 
 
 Erato sings, "Love wont to be schoolmaster of my skill." 
 Compare Plato, Phcedr. 259 D. 
 
 Calliope, as Muse of the epic, boasts that she is the nurse 
 of virtue, immortalizing the deeds of heroes. See above. 
 
 Urania, as Muse of astronomy, talks of the stars and her 
 " heavenlie discipline." Compare Anth. Lat. 664 ; Plato, Phcedr. 
 259 D. 
 
 Polyhymnia utters her lament in the capacity of the Muse 
 of lofty hymns. Compare Hor. Carm. 1. 1. 
 
 Thus, also, in other poems, Spenser preserves the distinct 
 offices of the several Muses : Calliope, F. Q. 7. 6. 37 ; Clio, F. Q. 
 3. 3. 4 ; 7. 6. 37 ; Melpomene, S. C. Nov. 53. 
 
 E. K., in his note on Calliope (S. C. Apr. 100), has in mind 
 
86 SPENSER 'S CLASSICAL MYTHOLOGY. 
 
 Anth. Lat. 664 a poem already cited when he assigns to this 
 Muse " The firste glorye of Heroical verse," and attributes to 
 Virgil a line in regard to Polyhymnia, with which he disagrees. 
 And again, in his note on Melpomene (5. C. Nov. 53), E. K. 
 quotes from the same poem, attributing it also to Virgil : 
 
 Melpomene tragico proclainat moesta boatu. 
 
 There is a discrepancy in Spenser's references to the paren- 
 tage of the Muses. The passages touching upon this point are 
 of. two classes : those which refer to Jove as their father, and 
 those which mention Apollo in that relation. See F. Q. 4. 11. 
 10 ; S. C. June 66 ; R. T. 369 ; and F. Q. 1. 11. 5 ; 3. 3. 4 ; T. M. 
 2 ; Ep. 121. Whenever the mother of the Muses is mentioned, 
 it is Mnemosyne (Memory). 
 
 The weight of classical authority is in support of making 
 Jove and Mnemosyne the parents of the Muses. (See Theog.~) 
 There seems to be very slight ground for calling Apollo their 
 father ; though his intimate connection with the Muses, as their 
 leader, would quite naturally suggest it. 
 
 Spenser deviates from the classics in calling the Muses the 
 sisters of Phaeton, who drove the chariot of the Sun (T. M. 11) ; 
 and in saying that Calliope was the mother of the Palici (T. M. 
 13). See Phaeton and Palici. 
 
 Certain haunts of the Muses are especially mentioned in 
 T. M., passim, as elsewhere in Spenser's poems. These are the 
 spring on Mt. Helicon (see Pegasus) ; Mt. Parnassus (especially 
 sacred to Apollo and therefore to the Muses because the 
 oracle of Delphi was at its base. See Horn. Hymn to Apollo 
 (Pythian) ; Paus. 10. 5. 6); and the "speaking streams of pure 
 Castalion." (Compare " Castaliae vocalibus undis Invisus."- 
 Stat. Silv. 5. 5.) 
 
 Calliope is further named in June, 57. Other general refer- 
 ences to the Muses are too numerous to mention. 
 
 The office of the Muses is suggestively stated in the Horn. 
 Hymn to the Muses and Apollo : 
 
 The Muses, Jove and Phoebus, now I sing: 
 For from the far-off-shooting Phoebus spring 
 All poets and musicians ; and from Jove 
 Th' ascent of kings. The man the Muses love, 
 
SPENSER'S CLASSICAL MYTHOLOGY. 87 
 
 Felicity blesses; elocution's choice 
 In syrup laying, of sweetest breath, his voice. 
 Hail, seed of Jove, my song your honors give ; , 
 And so, in mine, shall yours and others' live. 
 
 MYRRHA. F. Q. 3. 2. 41. See Adonis. 
 
 The epithet " Arabian " is explained by the tradition that 
 Myrrha in her flight over wide countries rested in Sabsea, in Ara- 
 bia Felix (see Met. 10. 480). Compare Virg. Ciris, 237. 
 
 NAIS. F. Q. 7. 7. 40. See Chiron. 
 
 NARCISSUS. 
 
 Foolish Narcisse, that likes the watry shore. 
 
 F. Q. 3. 6. 45. 
 
 . . . lyke Narcissus vaine, 
 Whose eyes him starv'd. 
 
 Am. 35. 
 
 The story of Narcissus, who fell in love with his own reflec- 
 tion in the water, and was transformed into the flower, is related 
 in Met. 3. 402. 
 
 NELEUS. F. Q. 4. 11. 14. See Sea-Gods. 
 
 NE1VLS3AN (lion). F. Q. 5. Int. 6; 7. 7. 36; Mui. 72. See Hercules. 
 
 NEMERTEA. F. Q. 4. 11. 61. See Nereids. 
 
 NEMESIS. -Mui. 2. 
 
 In this passage Nemesis appears as the spiteful instigator of 
 a quarrel " Betwixt two mightie ones of great estate." 
 
 This is not in accord with the earliest classical conception of 
 Nemesis, as the personification of a regard for what is due ; but 
 rather with the later conception of this divinity, as envious of the 
 prosperity of mortals and of a vengeful character. Eurip. Orest. 
 1362; Soph. Elec. 792. 
 
 NEPENTHE. F. Q. 4. 3. 42 ff. 
 
 The name of this magic potion is from the Greek adjective 
 i/)irei<0)js, dispelling sorrow, which is employed in Od. 4. 221 to 
 describe a drug which allayed all care. Spenser is, no doubt, 
 indebted to this passage for his description. 
 
88 SPENSER'S CLASSICAL MYTHOLOGY 
 
 NEPTUNE. 
 
 "... And to me fell the hoary sea, to be my habitation for 
 ever, when we shook the lots." Thus says Neptune (Poseidon) 
 to Iris, when he relates the partition of the universe among Jupi- 
 ter, Pluto, and himself (II. 15. 187 ff.) ; and thus he appears in 
 all classical literature as the god of the sea and watery elements 
 in general. Compare F. Q. 1. 3. 32 ; 2. 6. 10 ; 3. 4. 10 ; 7. 7. 26. 
 
 Sometimes Spenser employs the name Neptune to denote a 
 mere personification of the sea, as in F. Q. 3. 4. 32, where the 
 surface of the waves is called the back of Neptune (compare //. 
 2. 159) ; and in F. Q. 3. 4. 42, where it is designated as the 
 neck of Neptune (compare Lucret. 2. 472). 
 
 In F. Q. 3. 11. 40 we have a striking and elaborate picture of 
 the god of the seas ; he is seated in a chariot drawn by four 
 great "hippodames," and in his hand he wields a trident. In 
 regard to the hippodames, the Century Dictionary may be cited 
 in support of the probability that Spenser had in mind the hippo- 
 campus, a sea-monster on which the sea-gods, and especially Nep- 
 tune, rode. See Strab. 384, and compare Philostratus 774. The 
 trident is the familiar attribute of Neptune. The whole picture 
 may have been suggested to our poet by ^En. 1. 142 ff., where the 
 god is described as riding upon the waves in his chariot, drawn 
 by steeds, the trident in his hand ; but it is consistent with the 
 representations of Neptune in art also. See Paus. 2. 1, a passage 
 describing the statues before the temple of Poseidon at Corinth. 
 
 For the contest between Neptune and Minerva over the nam- 
 ing of Athens (Mui. 306 ff.), see Arachne. 
 
 In F. Q. 3. 8. 30 the mighty herd of Neptune in charge of 
 Proteus, the shepherd of the seas, is mentioned. This passage is 
 undoubtedly derived from those verses of the Odyssey (4. 384 ff.) 
 which describe Proteus and his flock ; whence it appears that the 
 herd was composed of phocce, or seals, or as Spenser calls them 
 farther on phocas. 
 
 When the Medway and the Thames were united, an impos- 
 ing marriage-feast was held in the house of Proteus, to which 
 came a numerous company of sea-gods, with their offspring 
 (F. Q. 4. 11. 8 ff.). At the head of this august procession were 
 Neptune and his bride, the lovely Amphitrite. See Amphitrite. 
 
SPENSEB'S CLASSICAL MYTHOLOGY. 89 
 
 But the affections of the variable god of the seas were not con- 
 fined to one. In F. Q. 4. 9. 23 and 3. 11. 42, his love for Arne, 
 the daughter of ^Eolus, is cited. For this and the other immedi- 
 ate references to the loves of Neptune, see under the several names. 
 The " great equipage Which from great Neptune do derive 
 their parentage," and which are enumerated in F. Q. 4. 11. 13 ff., 
 are considered under the heads of Sea-Gods and Founders of 
 Nations. 
 
 NEREIDS. 
 
 To the wedding of the Medway and the Thames came the 
 fifty Nereids, daughters of Nereus and Doris (F. Q. 4. 11. 48 ff.). 
 In the number of these nymphs Spenser follows Hesiod, who 
 mentions fifty (Theog. 243 ff.) ; Homer names only thirty-three 
 (//. 18. 39 ff.), and Apollodorus, forty-five (1. 2. 7). For 
 the names, also, Spenser is indebted to Hesiod in all but two 
 instances : in place of Thoe and Cymatolege, Spenser gives Phao 
 and Poris, names which are not given in the lists of either 
 Homer or Apollodorus, nor are they mentioned by any ancient 
 author, so far as is known. They are, then, probably original 
 with Spenser himself. The nymph Eudora of Hesiod and Apol- 
 lodorus appears in Spenser as Endore. According to Upton this 
 is a misprint. 
 
 In regard to the epithets employed, Spenser follows no origi- 
 nal with exactness. While Apollodorus employs no epithets to 
 describe the Nereids, Homer but three, and Hesiod not more than 
 fourteen, Spenser lavishes adjectives or descriptive phrases upon 
 all but five. The following lists will show the instances in which 
 Spenser agrees with or varies from Hesiod in this matter : 
 
 SPENSER. HESIOO. 
 
 White hand Eunica poSoirrtxvs 
 
 Joyous Thalia e'pdco-cra 
 
 Sweete Melita \apieaaa 
 
 Milkewhite Galatea . cvei^s 
 
 Speedy Hippothoe epdecrcra 
 
 And she that with her least word K.viJ.oS6Krj ff, $ KVHO.T' 
 
 can asswage The surging seas, tv rjfpoeiSei -novrta 
 
 when they do sorest rage, -avoids re a0eW di-e/iwi/ 
 
 Cymodoce, aw Kv/ua.ToAjyf/ 
 
 "Peta TTprjui/ei ical 
 
 Goodly Amphitrite ev<r<f>utp<p 'A/u.</HTpiT7j 
 
90 SPENSEH'S CLASSICAL MYTHOLOGY. 
 
 SPENSER. HESIOD. 
 
 And, seeming still to smile, Glauconome . . . </>tAofi/iiS>js 
 
 Fresh Aliuieda deckt with girlond greene . . . cvorc^apot 
 
 Hyponeo with salt-bedewed wrests poSonrixvs 
 
 And Psamathe [much praised] for her brode 
 
 snowy brests \apiftra-a fie>as 
 
 And she that virtue loves and ^VTJI/ T eparri KOL 
 
 vice detests, Euarna e'Sos a/ic<o/xos 
 
 Menippe true in trust Sir; 
 
 And Nemertea learned well to >) Trarpbs e^ei voov 
 
 rule her lust. aOavdroio. 
 
 After summing up the Nereids (F. Q. 4. 11. 52) Spenser 
 says : 
 
 And yet, besides, three thousand more there were 
 Of th' Oceans seede, but Joves and Phoebus kinde; 
 The which in floods and fountains doe appere, 
 And all mankinde do nourish with their waters clere. 
 
 That is, he means to say that although the native element of 
 these nymphs is the water, yet in their rank and character they 
 are associated with Zeus and Apollo. In support of this may 
 be cited such passages as 11. 20. 8, where the nymphs are repre- 
 sented as present at one of the Olympic assemblies with Zeus 
 and the other gods ; also, on account of the prophetic power 
 which certain fountains were supposed to confer on those who 
 drank of them, the nymphs who inhabited them were regarded 
 as endowed with oracular power. Thus is Spenser justified in 
 saying that they are of the same nature with Phoebus. In sup- 
 port of this see Paus. 4. 27. 
 
 NEREIS. -V. G. 71. 
 
 A patronymic from Nereus, one of the Nereids, daughters 
 of Nereus. 
 
 NEREUS. 
 
 This sea-god is called by our poet " th' eldest and the best " 
 of the children of Ocean and Tethys (F. Q. 4. 11. 18), and is 
 further described as possessed of an upright character, and en- 
 dowed with the gift of prophecy. This passage is an amplifica- 
 tion of Theog. 233 ff. ; although Hesiod says that Nereus was 
 born of Ocean and Earth, rather than of Ocean and Tethys, 
 
SPENSER'S CLASSICAL MYTHOLOGY. 91 
 
 who were the parents of numerous rivers, and so considered by 
 Spenser in this passage. It appears from Hesiod that Nereus 
 was the firstborn of his parents, and was respected for his "wise 
 moderation, an indirect allusion to his prophetic genius. Horace 
 devotes one of his odes to the prophecy of Nereus concerning 
 the fall of Troy (Corm. 1. 15), and other cases of his foretelling 
 the future might be mentioned. 
 
 Nereus became by Doris the father of fifty Xereids (F. Q. 4. 
 11. 52), among whom is mentioned Thetis, as also in V. G. 62. 
 See Doris and Nereids. 
 
 In F. Q. 3. 4. 19 he is mentioned as the father of Cymoent. 
 
 As a god of the sea, he appears in F. B. 13, and in F. Q. 
 1. 3. 31, the grateful sailor, safe returned to port, crowns the god 
 with cups. 
 
 NES.S3A. F. Q. 4. 11. 49. See Nereids. 
 NESO. F. Q. 4. 11. 60. See Nereids. 
 TJTP.TTT.-F.ns _ Y. G. 22. See Nyctelius. 
 
 NTNTJS. F. q. 1. 5. 48; 2. 9. 21; 2. 9. 56; B. T. 611. 
 
 Ninus and his wife Semiramis, the reputed founders of the 
 Assyrian empire, must be regarded as mythical characters. Dio- 
 dorus Siculus (2. 1 ff.) relates the numerous wars of this king ; 
 his conquests were so great that Spenser is warranted in saying 
 that he was " of all the world obeyed." 
 
 Diodorus says Semiramis was the founder of Babylon (tower 
 of Babel, Spenser) but the achievements of Ninus and his wife 
 are so closely connected as to warrant Spenser in attributing this 
 work to Xinus. Diodorus mentions the Assyrian bitumen abound- 
 ing in the region around Babylon, of which the walls of the city 
 were built. Spenser, it will be noticed, somewhat carelessly calls 
 this " ^Egyptian slime." 
 
 NIOBE. -F. Q. 4. 7. 30; 5. 10. 7 ; S. C. Apr. 87. 
 
 These passages may all be explained in the light of Met. 6. 
 146 ff., which relates that Xiobe, the mother of seven sons and 
 as many daughters, showed contempt for Latona, the mother of 
 but two children, Apollo and Diana. In punishment for this, 
 
92 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Latona's children killed all the offspring of Niobe, and she herself 
 was turned into a rock. 
 
 NYCTELIUS. Y. G. 22. 
 
 A name of Bacchus ; it was given to him because his orgies 
 were celebrated at night. Serv. JEn. 4. 383. 
 
 OGYGES. F. Q. 3. 8. 30. See Founders of Nations. 
 CENONE.-F. Q. 3. 9. 36; 6. 9. 36. 
 
 She was a river-nymph of Mt. Ida, whom Paris married 
 while still a shepherd, and before he was acknowledged as the son 
 of Priam. Together they lived a simple pastoral life, until their 
 happiness was ended by the judgment which Paris made concern- 
 ing the relative beauty of Juno, Minerva, and Venus, a decision 
 which gave Helen to Paris, and brought on the Trojan War. 
 
 The perfidy of Paris wounded (En one, and Ovid embodies 
 her protests in the form of a letter (Her. 5). See Apoll. 3. 12.6 
 for a statement of the simple facts. 
 
 It was said that Paris had a son, Corythus, by GEnone (Tzet. 
 Lye. 57), and Spenser skillfully calls him Parius, and makes him 
 the progenitor of Paridell. See also Apollo. 
 
 OPS. F. Q. 7. 7. 26. 
 
 Spenser mentions Ops as the goddess of the earth, a state- 
 ment authorized by Macrobius, who says that Ops was regarded 
 as the wife of Saturn, " quos, etiam nonnullis cselum ac terram esse 
 persuasum est, Saturnumque a satu dictum, cuius causa de cselo 
 est, et terram opem, cuius ope humanse vitse alimenta quaeruntur, 
 vel ab opere per quod fructus frugesque nascuntur." Sat. 1. 10. 
 20. 
 
 ORCUS. F. Q. 2. 12. 41; 6. 12. 26. 
 
 The ancients use this name to signify both the Infernal 
 Regions and a god of Hell, synonymous with Pluto. 
 
 Spenser, in both these passages, speaks of Orcus as a grim, 
 inexorable divinity. Compare 11. 9. 158, where he is described as 
 so implacable that in the eyes of mortals he is the most hateful of 
 the gods ; and Horace, Carm. 2. 3, where he is said to be pitiless. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 93 
 
 ORESTES F. Q. 4. 10. 27. 
 
 Among the celebrated friendships named iu this passage, 
 that of Pylades and Orestes is cited. The Orestes of Euripides 
 brings out the strength and beauty of their devotion to each other 
 in a conversation between the two friends, when Orestes is facing 
 the wrath of the Argives over the murder of his mother. Orestes 
 hails Pylades as the partner of his soul ; and Pylades asks : 
 
 . . . "Where shall friendship show its faith, 
 If now in thy afflictions I forsake thee? 
 ORION. 
 
 . . . And now in Ocean deep 
 Orion, flying fast from hissing snake, 
 His flaming head did hasten for to steep. 
 
 F. Q. 2. 2. 46. 
 
 This poetical description of the setting of Orion rests upon 
 the myth concerning his death. All authorities agree as to his 
 life : it was that of a hunter devoted- to the same pursuit that 
 Diana loved ; but there is not the same agreement as regards 
 his death. Hyginus (Fab. 195) says simply that he was killed 
 by Diana because of an attempt to violate her. Ovid (Fast. 
 5. 537) relates that, after Orion had boasted that there was 
 no wild beast which he was unable to conquer, the earth sent 
 forth a scorpion, which attempted to seize upon Latona. Orion, 
 opposing it, was killed, and Latona added him to the num- 
 ber of the stars. According to Homer (Od. 5. 121) Aurora 
 incurred the anger of Diana by her love for Orion, and in ven- 
 geance Diana pierced him with her arrows. Apollodorus (1. 4. 
 5) says that he was killed by the darts of Diana, either for chal- 
 lenging her to a game of discus, or for violating Opis. It will 
 be seen that with no one of these accounts does Spenser exactly 
 agree. He says : 
 
 Upon a dreadful scorpion he did ride, 
 The same which by Dianaes doom unjust 
 Slew great Orion. 
 
 F. Q. 7. 7. 39. 
 
 For such an account of his death we must turn to Lucan 9. 
 836. See also Serv. JEn. 1. 539. 
 
 Hyginus (Poet. Astron. 2. Scorpius) says that the scorpion in 
 the heavens is the one which the earth produced in defiance of 
 
94 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Orion's boast, and that Jupiter admitted it to the number of the 
 stars that it might ever serve as a warning to men against too 
 great self-confidence. He further adds that Diana obtained from 
 Jupiter the favor that when the scorpion rose Orion should set. 
 
 In F. Q. 1. 3. 31 we have a reference to fierce Orion's hound. 
 This is the dog-star, which Hyginus says (Poet. Astron. 2. Canis) 
 was according to some accounts the dog of the hunter Orion. 
 
 For F. Q. 4. 11. 13, see Sea-Gods. 
 
 ORPHEUS. 
 
 What has already been said of Linus, who is mentioned as 
 a poet in connection with Orpheus (R. T. 333), will apply to 
 Orpheus, only that, in the group of half-historical and half- 
 mythological characters to which they both belong, Orpheus, the 
 reputed inventor of music, is the more important. Many are 
 the works attributed to him, some of which are genuine and 
 some spurious. 
 
 Among the scant earlier traditions respecting Orpheus, is 
 that which represents the wonderful power of his music over 
 men, beasts, and inanimate nature. Spenser refers to this in 
 F. Q. 4.2.1; R. T. 607 ; V. G. 23 ; Am. 44. For the special ref- 
 erence to his allaying the discord among the followers of Jason, 
 see Argonautic Expedition. Numerous passages, from the time 
 of the lyric poets of Greece down to a much later day, might be 
 quoted to support the general references; but perhaps no one 
 better shows that his music had charms than Mel. 10. 86 ff., 
 where trees and beasts and birds are described as flocking about 
 the tuneful bard, when, in his retirement among the mountains, 
 he mourns the loss of his wife. 
 
 But the power of his lyre was not confined to the upper 
 world ; with it Orpheus dared to invade the realms of Hades in 
 order to recover his beloved Eurydice to life, and by its spell the 
 Stygian powers were appeased. This incident is enlarged upon 
 in V. G. 55 ff., with which passage should be compared the more 
 detailed and poetical accounts in Georg. 4. 454 ff. and Met. 10. 797 
 ff. See also F. Q. 4. 10. 58; H. L. 231; Ep. 16; and R. T. 391, 
 where Spenser says that the temporary recovery of Eurydice was 
 by favor of the Muses. This is most appropriate, for the ancients 
 
SPENSER'S CLASSICAL MYTHOLOGY. 95 
 
 believed Orpheus to have been the child of Calliope, and the 
 special care of Apollo and the Muses (Hyg. Poet. Astron. 2. 
 Lyra). 
 
 ORSILOCHUS. F. Q. 3. 4. 2. See Camilla. 
 ORTHRUS. F. Q. 5. 10. 10. See Geryon. 
 OSIRIS. F. Q. 5. 7. 2. See Isis. 
 OTHTJS. V. G. 47. See Ephialtes. 
 P^EON. F. Q. 3. 4. 41. See Apollo. 
 PALEMON. F. q. 4. 11. 13. See Sea-Gods. 
 PALES. -V. G. 4; 15. 
 
 A Roman divinity of shepherds. Compare Fast. 4. 721 ff. 
 pAT.T.AS. Mini. 262 ff. See Arachne. 
 
 PAIiICI. 
 
 Nor since that faire Calliope did lose 
 Her loved Twinnes, the dearlings of her joy, 
 Her Palici, whom her unkindly foes, 
 The fatall Sisters, did for spight destroy, 
 "Whom all the Muses did bewaile long space, 
 Was ever heard such wayling in this place. 
 
 T. M. 15 S. 
 
 An examination of ancient authorities reveals the fact that 
 Spenser has erred in the mythology of this passage. The Palici 
 were indeed twins, but the sons of Zeus and Thalia not, how- 
 ever, the Muse Thalia, but a nymph, the daughter of Hephaestus 
 a presumable confusion, which resulted in the further confu- 
 sion of the Muse Calliope with Thalia. 
 
 In the Saturnalia of Macrobius (5. 19. 16 ff.), there is a 
 lengthy discussion of the Palici, from which it appears that 
 Thalia, out of fear of the anger of Juno, implored the earth to 
 swallow her. Her request was granted, and in due time there 
 issued from the earth the twin sons of Zeus and Thalia. They 
 were called Palici, " anb TOV ir<i\<.v Uea-eai, quoniam prius in terra im- 
 mcrsi denuo inde reversi sunt." They were worshiped in Sicily. 
 
 PAN. F. Q. 2. 9. 40. S. C. Jan. 17 ; Apr. 51; May 64, 111; June 30,68; 
 Nov. 8; Dec. 7, 46. 
 
 Since Pan was the god of sheep and shepherds, we should 
 naturally expect to'find his name often mentioned on the pages 
 
96 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 of a pastoral poem like the Shepheard's Calender. It is the case 
 with the Eclogues of Virgil and also the Idyls of Theocritus, 
 after which the Shepheard's Calender was avowedly patterned. 
 
 Sometimes Spenser used the name for that of Christ : thus 
 E. K. says in one of his notes : " Great Pan is Christ, the veiy 
 God of all shepherds, which calleth himself the ' greate, and good 
 shepherd.' The name is most rightly (methinks) applyed to 
 him ; for Pan signifieth all, or omnipotent, which is only the 
 Lord Jesus." 
 
 There are several references to Pan's sporting in song and 
 dance with the nymphs, which are thoroughly consistent with the 
 characterization of this rollicking god in the Horn. Hymn to Pan. 
 
 In S. C. Jan. 17, Colin Clout thus invokes Pan : 
 
 And, Pan, thou shepheards God, that once didst love, 
 Pitie the paines that thou thyselfe didst prove. 
 
 This is a reference to Pan's unavailing love for Syrinx, men- 
 tioned also in Apr. 51. Ovid (Met. 1. 689 ff.) says that Syrinx 
 was a Naiad who had devoted her virginity to Diana. When Pan 
 became enamored of her, she fled from him to the river Ladon, 
 in Arcadia, and besought help from the nymphs of that stream. 
 They met her entreaties with the desired metamorphosis, and 
 Syrinx was changed into reeds. And here the origin of the 
 shepherd's flute, or syrinx, is poetically accounted for : Pan seized 
 what he supposed to be his beloved Syrinx, but what proved to 
 be only reeds of the marsh. As he held them in despair, the 
 wind sighed among them, as if it too were lamenting the unre- 
 quited love of the god. Immediately Pan was charmed by the 
 sound, and vowed that henceforth that should be his mode of 
 communicating with the vanished nymph. 
 
 It is said that Pan became so elated with the music of this 
 pipe that he dared challenge even Phoebus to a contest, a myth 
 already referred to under Apollo. 
 
 F. Q. 2. 9. 40 contains a reference to a myth which is usually 
 only hinted at in an obscure way in the classics : according to 
 Schol. Theoc. Idyl 2. 17, Echo bore to Pan a daughter named 
 lynx, who, for trying to practice her love-charms upon Jove, was 
 
SPENSER'S CLASSICAL MYTHOLOGY. 97 
 
 changed by Juno into the wry-neck (Lat. iynx) a bird used by 
 the ancients in conjurations and love-charms (see Find. Pyih. 
 4. 380). 
 
 It is evident, however, that it is not the wry-neck, but more 
 probably the cuckoo, that Spenser has in mind here ; and it will 
 be noticed also that our poet makes Pan, rather than Juno, re- 
 sponsible for the metamorphosis. 
 
 PANDIONIAN (maids). V. G. 61. Seeltys. 
 PANDORA. T. M. 678; B. E. 19.; Am. 24. 
 
 When Spenser, after the manner of the Elizabethans, would 
 offer his tribute of flattery to his sovereign, he calls her " the true 
 Pandora of all heavenly graces," having in mind the meaning of 
 the name the all-gifted one. 
 
 When Jove wished to destroy the peace of man, says Hesiod 
 (Theog. 571 ff . ; W. and D. 60 ff.), he ordered Vulcan to make 
 Pandora the type of all the fair sex. Endowed by the immortals 
 with various charms, she allures man only to prove his bane : she 
 is the drone, while man is the bee. It must have been this pes- 
 simistic wail of the old poet that Spenser had in mind when, in 
 Am. 24, he says : 
 
 I thinke that I a new Pandora see 
 "Whom all the Gods in councell did agree 
 Into this sinfull world from heaven to send ; 
 That she to wicked men a scourge should hee, 
 For all their faults with which they did offend. 
 
 In R. R. 19 there is a reference to the famous box of Pan- 
 dora. Hesiod says it contained all the ills to which flesh is heir, 
 while other writers say it held only blessings ; but when Pandora 
 opened the box they escaped, thus, by their absence, proving to be 
 ills. In the passage under consideration, the box which is likened 
 to Pandora's contains both good and bad fortune. 
 
 PANOPE. - F. q. 4. 11. 49. See Nereids. 
 
 In F. Q. 3. 8. 37 ff., the name is given to an aged nymph 
 who keeps the house for Proteus at the bottom of the sea 
 seemingly an instance of Spenser's original mythology. 
 
98 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 PARIS. -F. Q. 2. 7. 85; 3. 9. 34; 4. 11. 19; 6. 9. 36; T. G. 67. See 
 
 Helen ; CEnone ; Achilles. 
 
 PASIPHAE. F. Q. 3. 2. 41. 
 
 This reference to the passion of Pasiphae, the wife of Minos, 
 and mother of the Minotaur, is explained by Apoll. 3. 1. 4. and 
 Hyg. Fab. 40. 
 
 PASITHEA.-F. Q. 4. 11. 49. See Nereids. 
 PEGASUS. F. Q. 3. 11. 42; R. T. 426 ff. 
 
 For the parentage of Pegasus, see Medusa. 
 
 Then, who so will with vertuous deeds assay 
 To mount to heaven, on Pegasus must ride, 
 
 And with sweete Poets verse be glorifide. 
 
 R. T. 426. 
 
 The idea which associates Pegasus with the Muses as patrons 
 of poetry, which in our day is embodied in the expression "to 
 mount Pegasus," arose from the myth concerning the fount of 
 Hippocrene on Helicon, which, it was said, was produced by the 
 striking of the hoof of Pegasus against the ground, when, on the 
 occasion of the universal delight over the singing of the Muses, 
 he was hidden by Poseidon to arrest the upward movement of 
 Helicon. See Paus. 9. 31 ; Stat. Theb. 4. 60. For the reference 
 to the winged steed in R. T. 646, see Andromeda. 
 
 PELEUS. F. Q. 6. 10. 22; 7. 7. 12; V. G. 61 ff. 
 
 These passages all refer to the marriage of Peleus, the son of 
 JEacus, and Thetis, the daughter of Nereus, in support of which 
 see Iliad, passim; Apoll. 3. 13. 5; Met. 11. 217 ff . ; Catullus, 
 Nupt. Pel. et Thet. It should be noticed that, whereas Apollodorus 
 says the marriage occurred on Mt. Pelion, Ovid says it was by the 
 bay of Hsemonia a name which, it is possible, Spenser had in 
 mind when, in the second passage referred to, he says the nuptials 
 were celebrated on Mt. Haemus. As to the " spousall hymne," see 
 Apollo. 
 
 PETJAS. F. Q. 4. 11. 14. See Sea-Gods. 
 PENELOPE. F. q. 6. 7. 39; V. G. 64 ; Am. 23. 
 
 These references to Penelope, the classical type of constancy; 
 to the web which she devised to put off her suitors ; and to her final 
 reunion with Ulysses, are all taken from the Odyssey, passim. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 99 
 
 PENTHESHjEA. - F. Q. 3. 4. 2. 
 
 Spenser here says that Homer refers to the bold feats of 
 Penthesilea ; this, however, is not true, unless we take Homer in 
 a very broad sense to include certain extensions of his works, like 
 the writings of Quintus Calaber. This author has much to say 
 of Penthesilea and her Amazons (1. 18 ff.). 
 
 For the death of Penthesilea, see Amazons. 
 
 PERSEPHONE. T. M. 164; V. 6. 63. See Proserpina. 
 PERSEUS. B. T. 648. See Andromeda. 
 
 PHAETON. - F. Q. 5. 8. 40 ; V. 6. 25. 
 
 The myth of Phaeton, whom his father Phoebus, in token of 
 his paternity, allowed to drive the horses of the sun, is here cited. 
 It is the subject of an extensive passage in the Metamorphoses 
 (1. 748 ff.), to which Spenser was, no doubt, indebted. When, 
 through the careless driving of Phaeton, the world seemed in 
 danger of being consumed, Jupiter struck him with a thunder- 
 bolt ; Phaeton, falling into the river Po, was henceforth mourned 
 by his sisters, who were transformed to poplar-trees. Ovid, like 
 Spenser, mentions the fright which the scorpion caused, but says 
 it was Phaeton, not the horses, who was thus excited. See also 
 T. M. 7. 
 
 PHAO. F. Q. 3. 2. 20. 
 
 Not a character from classical mythology. See note on this 
 passage in Child's edition of Spenser : " The story of this 
 tower is apparently derived from some mediaeval legend about 
 the Pharos of Ptolemy Philadelphus, in which, perhaps, Phao 
 took the place of the historical Arsinoe. The king was, no 
 doubt, confounded with Ptolemy the Astronomer, who, says 
 Warton, 'was famous among the Eastern writers and their fol- 
 lowers for his skill in operations of glass.' " 
 
 PHAO. -F. Q. 4. 11. 49. See Nereids. 
 PHERUSA.-F. Q. 4. 11. 49. See Nereids. 
 PHILOMELA. T. M. 236. See Itys. 
 
100 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 PHLEGETHON. 
 
 A river bounding Tartarus, with waves of torrent fire (^Era. 
 6. 551). Compare F. Q. 1. 5. 33 ; 2. 6. 50; V. G. 56; 78. 
 
 According to F. Q. 4. 2. 1., Discord is appropriately de- 
 scribed as a firebrand kindled in Phlegethon. Compare F. Q. 
 2. 5. 22. 
 
 For F. Q. 2. 4. 41, see Erebus. 
 
 PHCEAX. F. Q. 4. 11. 15. See Founders of Nations. 
 
 PHCEBE. F. Q. 1. 7. 5; 2. 2. 44; 8. 6. 24 ; 4. 5. 14; 7. 6. 21; S. C. Apr. 
 65; Jane 31 ; July 63 ; Dec. 84 ; Co. Cl. 342 ; Ep. 149. See Diana. 
 
 PHCEBUS. F.Q.I. Int. 4; 1. 1. 23; 1. 2. 1; 1. 2. 29; 1.4. 9; 1.6. 2; 1. 
 5. 20 ; 1. 5. 44 ; 1. 6. 6 ; 1. 7. 29 ; 1. 7. 34 ; 1. 11. 5 ; 1. 11. 31 ; 1. 12. 
 2 ; 2. 8. 5 ; 2. 9. 10 ; 2. 9. 48 ; 2. 10. 3 ; 2. 11. 19 ; 2. 12. 62 ; 3. 2. 24 ; 
 8. 3. 4 ; 3. 5. 27 ; 3. 6. 2 ; 3. 6. 44 ; 3. 6. 45 ; 3. 10. 1 ; 3. 10. 45 ; 3. 
 11. 36 ; 4. 6. 1 ; 4. 11. 52 ; 5. 3. 19 ; 5. 11. 62 ; 6. 3. 29 ; 7. 6. 35 ; 
 7. 6. 39 ; 7. 7. 12 ; 7. 7. 51 ; S. C. Jan. 73 ; Apr. 73 ; June 68 ; Aug. 
 83 ; Oct. 3. NOT. 14 ; T. M. 7 ; 330 ; V. 6. 2 ; 7 ; 21 ; 78 ; 84 ; Mui. 
 79; V. W. V. 2; Ep. 77; 121. See Apollo. 
 
 PHOENIX. F. Q. 4. 11. 15. See Founders of Nations. 
 
 PHOLOE. F. Q. 1. 6. 15. 
 
 Pholoe is here alluded to as a nymph beloved by Silvanus. 
 The name belongs primarily to a mountain in Arcadia which was 
 frequented by Pan (Fast. 2. 273), and, according to classic usage, 
 might be transferred to an Oread, or nymph inhabiting the 
 mountain. In making her the beloved of Silvanus, Spenser is 
 only carrying out the frequent classical identifications of the 
 rustic divinities, Silvanus and Pan. 
 
 PHORCYS. F. Q. 4. 11. 13. See Sea-Gods. 
 PHRIXUS. F. Q. 5. Int. 6. See Helle. 
 PHRYGIAN (mother). B. B. 6. See Cybele. 
 
 PIRITHOUS. F. Q. 4. 10. 27. 
 
 The friendship between Theseus and Pirithous was pro- 
 verbial among the ancients. Thus Ovid speaks of it as " felix 
 concordia " (Met. 8. 303). 
 
SPENSER'S CLASSICAL 
 
 PLUTO. 
 
 The Infernal Regions are referred to as the bower or house 
 of Pluto in F. Q. 1. 5. 14 ; 1. 5. 32 ; 2. 7. 21 ; 2. 7. 24 ; 4. 3. 13 ; 
 S. C. Oct. 29. Since he was the king of the Lower World, this 
 designation is appropriate. Compare II. 15. 188 ; jEn. 6, passim. 
 F. Q. 2. 7. 21 ff., which describes the beings sitting before the 
 realm of Pluto, is copied after JEn. 6. 273 ff. : " Just before the 
 porch and in the opening of the jaws of Orcus, Grief and Aven- 
 ging Pains have set their couch ; and there ghastly Diseases dwell," 
 etc. 
 
 Pluto is further mentioned as the husband of Proserpina in 
 F. Q. 1. 1. 37; 1. 4. 11, for which see Proserpina; also as the 
 master of Cerberus in -F. Q. 6. 12. 35, for which see Cerberus. 
 
 PODAURIUS. - F. Q. 6. 6. 1. 
 
 Homer (//. 2. 732) says that Podalirius and Machaon were 
 two excellent physicians, sons of ^Esculapius. Ovid (A. A. 2. 735) 
 says : " As great as was Podalirius among the Greeks in the art 
 of healing, .... so great a lover am I." 
 
 POLYNOME. F. Q. 4. 11. 60. See Nereida. 
 PONTOPOREA.-F. Q. 4. 11. 60. See Nereids. 
 PORIS. F. Q. 4. 11. 49. See Nereids. 
 PROCRUSTES. F. Q. 7. 6. 29. 
 
 This reference to Procrustes as among those who had been 
 too presumptuous in their aspirations, and, thus offending Jupiter, 
 were punished by him, is not at all to the point. Procrustes was 
 a robber of Attica, who waylaid strangers and stretched them 
 upon a bed ; if they were too long or too short, he adjusted mat- 
 ters by cutting off or stretching out their limbs. This monster 
 met his fate at the hands of Theseus, and is, therefore, merely an 
 example of a criminal deservedly punished ; and so, as said above, 
 the circumstances of his life and death do not warrant Spenser in 
 introducing him in this particular connection. See Diod. Sic. 4. 
 59. 5 ; Hyg. Fab. 38. 
 
 PRIAM. 
 
 Since Priam was the king of the Trojans, Troy is appropri- 
 ately called Priam's city, realm, or town in F. Q. 2. 9. 48 3. 9. 
 
102 SPENSEft'S CLASSICAL MYTHOLOGY. 
 
 36 ; 3. 9. 38 ; 4. 11. 19. Compare //. 1. 19 ; 22. 251 ; JEn. 2. 191. 
 For F. Q. 2. 3. 31, see Amazons. 
 
 PROMETHEUS. F. Q. 2. 10. 70; 7. 6. 29. 
 
 Spenser says that Prometheus created man from the organs 
 of beasts, that he stole fire from the gods to animate this creation, 
 and that he was, for this audacity, deprived by Jove of life (that 
 is, its freedom). 
 
 This account accords with the later rather than the earlier 
 classics. Thus Hesiod (Theog. 53.5 ff.) says that Prometheus 
 tried to practice deception upon Jove in the division of a sacri- 
 ficial animal, and that Jove, in his anger, denied fire to men. 
 Prometheus, however, secretly stole some sparks from the gods, 
 and, concealing them in a hollow tube, brought them to the earth 
 for the use of man. This so enraged Jupiter that he sent Pan- 
 dora as a scourge to men, had Prometheus chained to a pillar, and 
 sent an eagle every day to feed upon his never-dying liver ; until, 
 after the lapse of years, the hapless Prometheus was released by 
 Hercules. 
 
 The Prometheus of ^Eschylus, also, while not agreeing with 
 the account of Hesiod, does not more nearly accord with this pas- 
 sage from Spenser. Neither knows aught of Prometheus as the 
 creator of man, nor of his stealing fire to animate this creation, 
 although both support Spenser in the matter of the punishment of 
 Prometheus. 
 
 It is to Latin authorities of a later period that our poet is 
 indebted for these points: thus Ovid (Met. 1. 76 ff.) says that 
 Prometheus made man of earth and water, but says nothing of 
 his creating him from the organs of animals and animating him 
 with fire. Horace, on the other hand, authorizes the first of these 
 
 statements : 
 
 Fertur Prometheus addere principi 
 Limo coactus particulam undique 
 Desectam, et insani leonis 
 Vim stomacho adposuisse nostro. 
 
 Carm. \. 16. 
 
 and Fulgentius, in his treatment of the myth of Prometheus, adds 
 that the creator of man stole fire from the celestial regions to ani- 
 mate his work. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 103 
 
 PRONJ3A. - F. Q. 4. 11. 60. See Nereids. 
 
 PROSERPINA. F. Q. 1. 2. 2; 1. 4. 11; 2. 7. 63; 3. 11. 1; B. T. 373; 
 T. M. 164 ; Y. G. 63. 
 
 All these passages refer to Proserpina in the capacity of 
 Queen of Hell, after she was captured by Pluto, and borne as his 
 bride from the Upper to the Lower World. For the details of 
 her abduction, see the Horn. Hymn to Ceres, and Claudian, De 
 Raptu Proserpince. See also Od. 11, passim; JEn. 6. 397, where 
 die is referred to as the queen of the grim Pluto. 
 
 Spenser's description of the Garden of Proserpina in F. Q. 
 2. 7. 51 ff. is a finely imagined amplification of certain sugges- 
 tions in the classics ; thus, in Odyssey 10. 508 ff., there is men- 
 tioned a grove of Proserpina, at the utmost western limit of the 
 Ocean. It consists of poplar and willow trees, and forms the 
 entrance to Hell. In Claudian's De Raptu Proserpince 290 ff., 
 Pluto describes to his bride, among other delights awaiting her in 
 Hades, a grove which is to be sacred to her : 
 
 Est etiam lucis arbor praedives opacis, 
 Fulgentes viridi ramos curvata rnetallo. 
 Haec tibi sacra datur, fortunatumque tenebis 
 Autumiium, et fulvis semper ditabere pomis. 
 
 This last passage in particular probably suggested to Spenser 
 the tree laden with the golden apples, or perhaps it was ;En. 6. 
 136 ff., lines which describe the tree with the bough of gold 
 which was sacred to Proserpina. 
 
 PROTEUS. F. Q. 1. 2. 10; 3. 4. 25 ff . ; 3. 8. 29 ff. ; 4. 11. 2 ff. ; 4. 12. 
 3 ff. ; Co. Cl. 248. 
 
 From these passages we learn that Proteus was the shepherd 
 of the seas, who attended the flocks of Xeptune ; that he could 
 change his form at will ; that he was inspired with the gift of 
 prophecy ; and that he lived in a huge cave, walled about by the 
 waves of the sea. His personal appearance is thus described : 
 
 An aged sire with head all frory hore, 
 And sprinckled frost upon his deawy beard. 
 
 All this is thoroughly consistent with that passage in the 
 Odyssey (4. 384 ff.) which describes the prophetic interview which 
 
104 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Proteus granted Telemachus, but only after trying to evade it by 
 changing himself into a lion, a pard, a boar, a dragon, a stream, 
 and a tree. See also Georg. 4. 388 ff. a passage patterned 
 after that of the Odyssey. 
 
 PHOTO. F. Q. 4. 11. 48. See Nereids. 
 PROTOMED^A. - F. Q. 4. 11. 49. See Nereids. 
 PSAMATHE.-F. Q. 4. 11. 61. See Nereids. 
 PSYCHE. -F. Q. 3. 6. 50; Mui. 131. 
 
 Both these passages refer to the story of Cupid and Psyche 
 as related in the fourth book of the Metamorphoses of Apuleius. 
 Psyche was a mortal, who, by her surpassing beauty, excited the 
 jealousy of Venus. The goddess commanded her son Cupid to 
 curse Psyche with a love for the most wretched of mortals. 
 Cupid himself, however, fell a victim to the charms of the hapless 
 Psyche, and visited her every night, taking his flight before day- 
 break, that she might not know who her lover was. This state of 
 bliss would have been enduring had not Psyche violated the in- 
 junction of Cupid, and sought to discover his identity. Bending 
 over him with a lamp, she let fall a drop of oil upon his shoul- 
 der ; he awoke, and in anger vanished from her sight. Here the 
 troubles of Psyche began : in the search for her lost love, she fell 
 into the hands of Venus, who subjected her to various hardships. 
 But her wretchedness had an end ; for Cupid made an appeal to 
 Jupiter, who summoned the gods to an assembly, and in pres- 
 ence of them all he united the lovers in wedlock. Moreover, 
 in order that they might be of equal rank, Jupiter extended to 
 Psyche a cup of ambrosia, and bade her quaff it, with these 
 words : " Take this, Psyche, and be immortal ; nor shall Cupid 
 ever depart from your embrace, but these nuptials of yours shall 
 be perpetual." 
 
 Thus Psyche, the soul, after enduring the purification that 
 hardship and suffering bring, was elevated to heaven, and joined 
 to Love in everlasting union. 
 
 In due time, the story relates, a daughter was born to them 
 who was called Pleasure. Compare H. L. 288. 
 
 PYLADES. F. Q. 4. 10. 27. See Orestes. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 105 
 
 PYT.TATNT (sire). F. Q. 2. 9. 48; 
 
 This is Nestor, whose native city was Pylos. His reputation 
 for sage counsel and remarkable age is due principally to the 
 Iliad and the Odyssey; for he took an active part in the Trojan 
 War, not only as a warrior at the head of his Pylian forces, but 
 as a wise counselor whose advice was often sought by the Greeks. 
 It was a common tradition that he survived three generations of 
 men. Thus Homer (77. 1. 250 ff.) says, "Two generations of 
 mortal men already had he seen perish, that had been of old time 
 born and nurtured with him in goodly Pylos, and he was king 
 among the third." 
 
 PYRACMON.-F. Q. 4. 5. 87. See Brontes. 
 PYRRHA. F. Q. 5. Int. 2. See Deucalion. 
 PYTHIAS. F. Q. 4. 10. 27. 
 
 Diodorus Siculus (21. 10. 4) tells the well-known story of 
 the friendship between Damon and Pythias (Phintias). When 
 Pythias had been condemned to death for his share in a plot 
 against Dionysius, the tyrant of Syracuse, he asked for a respite 
 of a few days that he might arrange his business affairs, promis- 
 ing to secure a friend who would serve as pledge, and who, if he 
 himself did not return by a certain time, would die in his stead. 
 Such a friend was found in Damon, who, however, was saved 
 from the fulfillment of his promise by the opportune arrival of 
 Pythias. As might be expected, Dionysius was so filled with 
 admiration at this unusual devotion that he pardoned Pythias, 
 and asked that he himself might share in such a friendship. 
 
 RHJESUS. See Rhesus. 
 RHESUS. V. G. 67. 
 
 The fall of Strymonian Rhesus at the hands of Ulysses and 
 Diomedes is related in 77. 10, in close connection with the violent 
 death of Dolon. Rhesus was a king of Thrace who sided with 
 the Trojans. While he and his men were asleep, Ulysses and 
 Diomedes murdered them, and carried away their famous white 
 horses. 
 
 The epithet Strymonian is explained by the fact that later 
 writers regarded Rhesus as the son of Strymon, a river of Thrace. 
 
106 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 SAO. F. Q. 4. 11. 48. See Nereids. 
 SATURN. 
 
 In F. Q. 7. 6. 27 Spenser says that Saturn was the son of 
 Uranus, thus following Hesiod (Theog. 137), Saturn being the 
 Greek Cronus, with whom he was identified by the Romans. 
 Then our poet proceeds to relate the circumstances by which 
 Saturn and his descendants won the throne from Titan, an elder 
 son of Uranus. For this unusual recital of the affair, see Titan. 
 
 Saturn is mentioned as the father of Jove in F. Q. 7. 6. 2. 
 See Jove. 
 
 In F. Q. 3. 11. 43 Saturn is called the lover of Erigone, for 
 whom he transformed himself into a Centaur, and in F. Q. 7. 7. 
 40 he is mentioned as the father of Chiron by Xais. For a dis- 
 cussion of these passages, see Erigone and Nais. 
 
 The reign of Saturn, " the golden age," when peace and 
 plenty abounded (F. Q. 5. Int. 9 ; M. H. T. 151), is explained by 
 Ovid (Fast. 1. 233 ff.) and Macrobius (Sat. 1. 7 ff.). 
 
 When Saturn was expelled from heaven by Jove, he took up 
 his abode in Latium, where he was hospitably received by Janus. 
 He taught the aborigines the uses of agriculture, and a reign of 
 universal prosperity ensued. In Met. 1. 89 ff., we have a detailed 
 description of this golden age, which Spenser has paraphrased in 
 F. Q. 5. Int. 9. 
 
 The planet of Saturn is mentioned in F. Q. 2. 9. 52 ; 5. Int. 
 8 ; 7. 7. 52. Its baneful influence over human life is hinted at in 
 the adjectives " oblique " and " grim," while the adjective " old " 
 has reference to the belief that Saturn was the first of the gods. 
 It is common to find in ancient literature references to the malign 
 influence of Saturn, as for instance in Horace Carm. 2. 17. The 
 reason for this belief is discussed at some length by Macrobius 
 Com. 19. 20 a subject that is within the province of astrology 
 rather than that of mythology. 
 
 SCYT.T.A.-Y. G. 68. 
 
 With this compare Odyssey 12. 73 ff., and JZn. 3. 420 ff., 
 whence it appears that Scylla was a monster inhabiting a certain 
 dangerous rock between Italy and Sicily. Her voice was dreadful 
 
SPENSER'S CLASSICAL MYTHOLOGY. 107 
 
 to hear, and her form frightful to look upon. Surrounded by her 
 sea-dogs, she stood ready to devour all ships that came her way. 
 
 SEA-GODS. F. Q. 4. 11. 12. 
 
 Although the direct source of this catalogue of names is prob- 
 ably the Mythology of Xatalis Comes, yet there arc ultimate au- 
 thorities in the classics which justify the statement that these 
 divinities were the offspring of Neptune ; provided that too strict 
 an interpretation is not put upon Neptune, and that the name be 
 understood to stand for Pontus and Oceanus also. When, how- 
 ever, our poet says that Amphitrite is the mother of these gods, 
 he does so on his own authority, unsupported by the classics. For 
 the descriptive words and phrases accompanying the names, 
 Spenser is for the most part indebted to the ancients. 
 
 Phorcys, 
 
 The father of that fatall brood, 
 
 By whom those old Heroes wonne such fame. 
 
 Son of Pontus, and father of the Gorgons (Apoll. 1. 2. 6). 
 
 Glaucus, " that wise soothsayer understood." According to 
 Met. 13. 904 ff., he was originally a mortal. Having placed some 
 fishes on the grass, he noticed that they ate of it, and with re- 
 newed life jumped again into the water. Thereupon Glaucus him- 
 self partook of the grass, and in a frenzy leaped into the sea, 
 where he became a god. 
 
 His remarkable prophetic power is alluded to by Apollonius 
 Rhodius (1. 1310). 
 
 Falaemon, 
 
 And tragicke Inoes sonne, the which became 
 A God of seas through his mad mothers blame, 
 Now hight Palemon, and. is saylers frend. 
 
 This is explained by Apoll. 3. 4. 3 and Met. 4. 416 ff. The 
 jealousy of Juno had been excited against Ino, the wife of Atha- 
 mas, and aunt of Bacchus, and she caused Ino and her husband to 
 become mad. The results of their frenzy were most distressing ; 
 for Athamas, after killing his eldest son, pursued Ino, who bore 
 in her arms the infant Melicertes, to the brink of the sea, where 
 the maddened Ino plunged with her child beneath the waves. 
 
108 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 At this point Neptune changed them to sea-gods, altering the 
 name of Melicertes to Palsemon, who was supposed to bring aid 
 to the storm-tossed sailor. 
 
 The following table, also deduced from Apollodorus, shows 
 that Palsemon was a descendent of Neptune : 
 
 NEPTUNE 
 
 I 
 
 AGENOB 
 
 I 
 CADMUS 
 
 I 
 INO 
 
 I 
 PALSEMON 
 
 Brontes, " great." He was one of the Cyclops, mentioned by 
 Hesiod (Theog. 140), who, according to him, were the sons of Ura- 
 nus and Gsea. They are, however, mentioned by other writers as 
 the sons of Poseidon (see Od. 9. 412),. 
 Astraeus, 
 
 . . . that did shame 
 Himselfe with incest of his kin unkend. 
 
 Plut. De Fluv. 21. 1 calls him a son of Poseidon, and men- 
 tions the fact of his incest. 
 Orion, 
 
 And huge Orion, that doth tempest still portend. 
 
 Orion was, according to Apoll. 1. 4. 3, the son of Neptune ; 
 and his great size is also mentioned there. After his death he 
 was placed in the heavens as a constellation, whose rising was 
 generally supposed to be accompanied by storms. Thus, in ^En. 
 1. 535, Orion is called stormy. See Orion. 
 
 Cteatus, " the rich Cteatus." Apoll. 2. 7. 2 names him and 
 his brother Eurytus as the sons of Neptune, and says that they 
 surpassed all their contemporaries in power (dw&fiei}. The 
 Greek word may mean wealth as well as bodily strength ; thus, in 
 the Latin translation of this passage by Benedictus ^Egius Spola- 
 tinus, the single Greek word is translated by " viribus atque opi- 
 bus," and on similar grounds Spenser uses the epithet "rich." 
 
 Eurytus, " long." See above. But why he is called long is 
 not evident. 
 
 Neleus and Pelias, " lovely brethren both." They were, 
 
SPENSER'S CLASSICAL MYTHOLOGY. 109 
 
 according to Apoll. 1. 9. 8, the twin sons of Neptune by Tyro. 
 The adjective lovely seems to be inserted by Spenser without any 
 special authority from the classics. 
 
 Chrysaor, " mightie." According to Apoll. 2. 4. 3, he was 
 the son of Neptune, who, with Pegasus, sprang from the blood of 
 Medusa, and also the father of the monster Geryon. Hesiod 
 (Theog. 281) speaks of Chrysaor as great. 
 
 Caicus, "strong." He is mentioned in Theog. 343 among 
 the rivers who were the offspring of Ocean and Tethys. He is 
 called strong because the Caicus drains a large plain in Mysia 
 (Strab. 13. 1. 68). 
 
 Eurypulus, "that calmes the waters wroth." He is men- 
 tioned in Apoll. 2. 7. 1 as a son of Neptune. The particular 
 power ascribed to him seems to have no parallel in the classics. 
 
 Euphoemus, 
 
 . . . that upon them [the waters] goth, 
 As, on the ground, without dismay or dread. 
 
 He is mentioned in Apoll. 1. 9. 16 as a son of Neptune. 
 
 The allusion to his fearlessness in walking upon the sea is 
 explained by Hyg. Fab. 14 : " Hie super aquas sicco pede cucur- 
 risse dicitur." 
 
 Eryx, " Fierce Eryx." He is mentioned in Apoll. 2. 5. 10 as 
 a son of Neptune who ruled in a part of Sicily, and who fought 
 with Hercules ; hence " fierce." 
 
 Alebius, " that know'th the waters depth and doth their bot- 
 tome tread." Alebius is the Alebiou of Apoll. 2. 5. 10. He was 
 a son of Neptune, who attacked Hercules as he was passing 
 through Liguria with the oxen of Geryon. 
 
 The description seems to be fanciful on Spenser's part. 
 
 Asopus, " And sad Asopus, comely with his hoarie head." 
 He was, according to Apoll. 3. 12. 6, a son of Oceanus and the 
 father of 2Egina, whom Jupiter carried away ; hence the epithet 
 sad. Since he was the father of numerous sons and daughters, 
 Spenser very appropriately represents him with a hoary head. 
 
 SEMEIiE. F. Q. 3. 11. 33. 
 
 The tragic death of Semele, caused by beholding Jove in all 
 his glory, is related in Met. 3. 253 ff. Juno, stung with jealousy 
 
110 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 at Jove's intrigue with Semele, visited her in the guise of her 
 nurse, and suggested to Semele that she request Jupiter to confirm 
 his godship by appearing to her in all his majesty. Juno knew 
 that no mortal eye could behold such glory with impunity, but 
 the unsuspecting Semele followed the advice given her. Jupiter 
 swore to grant any request she might make ; thus it was too late 
 to retract when Semele asked that she might behold him in the 
 majesty with which he was accustomed to appear to Juno. " The 
 mortal body of Semele," says Ovid, " could not endure the ethe- 
 real shock, and she was killed amid her nuptial presents." 
 
 SEMTRAMIS. F. Q. 1. 5. 60 ; 2. 10. 56. 
 
 The account which Diodorus Siculus gives of the death of 
 Semiramis does not accord with that given in the first of these 
 passages ; but it is probable that his story at this point is only an 
 abridgment of that of Ctesias, whom he follows in his narration 
 of Assyrian history. Justin (1. 1), however, who also is in- 
 debted to Ctesias for his information, says that Semiramis was 
 killed by her son on account of her unlawful love for him. See 
 Ninus. 
 
 SILVANUS. F. Q. 1. 6. 7 ; 1. 0. 38. 
 
 A very striking passage is that in which Silvanus, a rustic 
 deity, with his fauns and satyrs, his hamadryads and naiads, are 
 represented as overcome with admiration at the loveliness of Una, 
 who had been led into their woody retreat. Silvanus is pictured 
 as an old man, leaning on a cypress staff, his waist twined with 
 ivy. It is true that the ancients represent him as advanced in 
 years (see Georg. 2. 494), but not as feeble : thus Ovid says he 
 was " suis semper juvenilior annis " (Met. 14. 639). The cypress 
 staff was, no doubt, suggested to Spenser by Georg. 1. 20, where 
 Silvanus is said to be carrying a young cypress-tree, or by the 
 myth which relates the love of the god for Cyparissus, to which 
 Spenser refers later on. See Cyparissus. 
 
 When the Satyrs come bringing Una, " that flowre of fayth 
 and beautie excellent," to Silvanus, the beauty of his Dryope 
 pales in his estimation, and Pholoe seems no longer fair. See 
 Dryope and Pholoe. 
 
SPENSER'S CLASSICAL MYTHOLOGY. Ill 
 
 SISYPHUS. -F. Q. 1. 6. 35. 
 
 Among those who, in the Lower World, were suffering the 
 penalty of crimes committed in this, was Sisyphus : 
 
 And Sisyphus an huge round stone did reele 
 Against an hill, ne might from labour lin. 
 
 This is consistent with Od. 11. 593; Met. 4. 460; 10. 44: 
 that is, Ulysses, Juno, and Orpheus, when they visited the Lower 
 World, all saw Sisyphus at his futile task of rolling a huge stone 
 up a hill; when the stone reached the top, down it fell, and 
 the labor must be renewed. While there is general agreement 
 among the ancients as to the manner of his punishment, various 
 crimes are mentioned as the cause of it. 
 
 SPIO. F. Q. 4. 11. 48. See Nereids. 
 STHENOBQEA. F. Q. 1. 6. 50. 
 
 The suicide of Sthenoboea, the wife of Proetus, is related by 
 Hyginus (Fa6. 57). She fell in love with Bellerophon; but her 
 affection was repulsed, and she killed herself in despair. Hygi- 
 nus, however, does not mention the means by which she com- 
 mitted suicide, and other writers say she took poison ; therefore 
 Spenser is original in saying she did it by choking herself with a 
 rope. 
 
 STYGIAN See Styx. 
 
 STYX. 
 
 A river of the Infernal Regions, mentioned in jEn. 6, passim. 
 Hence Spenser speaks of the bitter wave of hellish Styx (F. Q. 2. 
 8. 20) ; of the black Stygian lake (F. Q. 1. 5. 10 ; 5. 11. 32) ; and 
 of the black shadow of the Stygian shore (V. G. 48). 
 
 The references to ghosts wandering upon the banks of the 
 Styx (F. Q. 1. 4. 48; 3. 2. 52 ; 3. 7. 14) are to be explained in 
 the light of JEn. 6. 325 ff. : " All this crowd that you behold is 
 forlorn and unburied. . . . And he [Charon] is not allowed to 
 convey them between the dreadful banks, and across the roaring 
 stream, before their bones have been laid in their place of rest. 
 A hundred years they roam, and flit about these coasts ; then at 
 last they are received, and visit again the pool they long to win." 
 
112 SPENSEB'S CLASSICAL MYTHOLOGY. 
 
 With F. Q. 3. 6. 24, which refers to a vow by the Stygian 
 lake, whose sad annoy The Gods doe dread," compare jEn. 6. 324 : 
 " the Stygian lake, by whose divinity the gods dread to swear and 
 violate [their oath]." 
 
 With R. R. 15 compare Mn. 6. 439 : " and Styx, nine times 
 rolling between, confines them." 
 
 In F. Q. 2. 5. 22, Spenser seems to have confused the river 
 Styx with Phlegethon ; since it is that river, and not the Styx, 
 which, according to JEn. 6. 550, rolls along torrents of flame. 
 
 Since the Styx is the most important of the rivers of the 
 Lower World, Spenser very appropriately speaks of the Lower 
 World itself as the Stygian realms, F. Q. 2. 12. 41 (see Mer- 
 cury) ; of the Stygian gods, F. Q. 3. 6. 46 (see Adonis) and 
 F. Q. 4. 3. 32 ; of the Stygian Prince, F.. Q. 4. 10. 58 (see Eury- 
 dice) ; of the Stygian powers, V. G. 55 ; of the Stygian strands, 
 Daph. 20. 
 
 In F. Q. 4. 11. 4 the Styx is personified as the Grandame of 
 the Gods, with which passage compare Hyginus {Fab. Pref.), 
 where Styx is said to be the offspring of Night and Erebus, who 
 were of the first generation after Chaos. See Erebus. 
 
 For F. Q. 1. 1. 37, a passage in which the Styx and Cocytus 
 are represented as quaking at the name of Gorgon, see Gorgon. 
 
 SYRINX. S. C. Apr. 50, 93. See Pan. 
 SYLVANUS. F. Q. 1. 6. 7 ; 1. 6. 33. See Silvanus. 
 TALUS. F. Q. 5. 1. 11. 
 
 This man of iron mold, who, with an iron flail, separated 
 truth from falsehood, is the same whom (pseudo-) Plato {Minos 
 320 C) describes as the guardian of the laws of Crete, which he 
 had written upon brazen tables. Apollodorus, however, assures 
 us thut he was made of brass (1. 9. 26). 
 
 TANTALUS. 
 
 The description of the punishment of Tantalus in F. Q. 2. 7. 
 58 ff. is a copy of the similar passage in Od. 11. 582 ff. Tanta- 
 lus is mentioned also among those accursed ones whom Juno and 
 Orpheus saw in the Lower World {Met. 4. 458 ; 10. 41). See 
 also F. Q.l. 5. 35; H. L. 200. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 113 
 
 The reason for the particular kind of punishment inflicted 
 upon Tantalus is hinted at in the lines : 
 
 Lo! Tantalus, I here tormented lye: 
 
 Of whom high Jove wont whylome feasted bee; 
 
 Lo! here I now for want of food doe dye. 
 
 From an examination of the ancients, it seems probable that 
 the second line of this passage should read, " Who of high Jove 
 wont whylome feasted bee ; " for that Tantalus was accustomed 
 to eat at the table of the gods is vouched for by the ancients, 
 where there is but one occasion on record where the gods feasted 
 with him. It is said that Jove was accustomed to confide in 
 Tantalus when he dined with him, and that Tantalus revealed the 
 secrets of the immortals to men, for which he was thus punished 
 in Hades. See Hyg. Fab. 82 ; 83 ; Met. 6. 173. 
 
 Thitt Agamemnon was of the stock of Tantalus, as stated in 
 V. G. 69, is seen from the following table : 
 
 TANTALUS 
 
 I 
 PELOPS 
 
 I 
 ATREDS 
 
 I 
 AGAMEMNON 
 
 TARTARUS. F. Q. 1. 7. 44; 2. 12. 6; V. G. 66; 68; M. H. T. 1294. 
 
 Compare ^En. 6. 577 ff., where Tartarus is described as that 
 portion of the Lower World devoted to the punishment of the 
 wicked. 
 
 TELAMON. V. 6. 61; 65. 
 
 For the parentage of Telamon, see JEaciis. For the mar- 
 riage of Telamon with Ixione, see Hesione. 
 
 The son of Telamon referred to in the second passage is 
 Ajax, for an account of whose valor see Saddles. 
 
 TETHYS. 
 
 Next came the aged Ocean and his Dame 
 Old Tethys, th' oldest two of all the rest; 
 For all the rest of those two parents came, 
 "Which afterward both sea and land possest. 
 
 f. Q. 4. 11. 18. 
 
 According to the Theogony of Hesiod, Ocean and Tethys 
 were ancient indeed, for they were the children of Heaven and 
 
114 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Earth. From their union sprang numerous rivers and Ocean- 
 ides ; so that Spenser is somewhat justified in the sweeping state- 
 ment which he makes regarding the offspring of Ocean and 
 Tethys. 
 
 The name Tethys is sometimes used by the ancients for the 
 sea itself, as in Met. 2. 69, with which compare F. Q. 1. 1. 39 ; 
 1. 3. 31; 2. 12. 26; R. E. 20. 
 
 THALIA. F. Q. 4. 11. 49. See Nereids. 
 THALIA. F. Q. 6. 10. 22. See Graces. 
 THAUMANTES. F. Q. 5. 3. 25. See Thaumas. 
 THAUMAS.-F. Q. 6. 8. 25. 
 
 Iris is here referred to as the daughter of Thaumantes. It 
 should be Thaumas, who was, according to Met. 11. 647, the 
 father of Iris. 
 
 THEMIS. F. Q. 5. 9. 31. See Litse. 
 THEMISTE. F. Q. 4. 11. 61. See Nereids. 
 THESEUS. 
 
 For Theseus as husband of Ariadne (F. Q. 6. 10. 13), see 
 Ariadne; as the father of a cursed son (F. Q. 5. 8. 43), see Hip- 
 polytus; as 'feare' [mate] of Pirithous (F. Q. 4. 10. 27), see 
 Pirithous. 
 
 Theseus condemned to endless slouth by law. 
 
 F. Q. 1. 5. 35. 
 
 This seems to be a paraphrase of JEn. 6. 617 : " Unhappy 
 Theseus sits and will sit there forever." Theseus had assisted 
 Pirithous in his attempt to carry away Proserpina from the realm 
 of Pluto, for which they were both cast into chains ; but it is 
 usually related that the punishment of Theseus lasted only until 
 he was released by Hercules. See Diod. Sic. 4. 63. 4. 
 
 THETIS'. 
 
 As the wife of Peleus, Thetis is mentioned in F. Q. 6. 10. 22 ; 
 F. Q. 7. 7. 12 ; V. G. 62, for which see Peleus. 
 
 For not to have been dipt in Lethe lake, 
 Could save the sonne of Thetis from to die; 
 But that blinde bard did him immortall make 
 
 With verses, dipt in deaw of Castalie. 
 
 R. T. 429 ff. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 115 
 
 Since Achilles is the central figure of the Iliad, our poet may 
 well say that Homer made him immortal. The tradition, how- 
 ever, that Thetis dipped her son in the Styx (Spenser says Lethe 
 lake) to make him immortal is, notwithstanding E. K.'s note on 
 
 5. C. March 97, of later date than Homer. See Stat. Achilles 
 1. 269 ; Fulgentius, De Peleo et Thetide. 
 
 As one of the Nereids, Thetis is mentioned in F. Q. 4. 11. 
 48. See Nereids. 
 
 The name is employed by metonymy for the sea in R. R. 4, 
 just as Neptune and Tethys are used elsewhere. For this post- 
 Augustan use of the term, see Mart. 10. 30. 
 
 THEACIAN(maid). F. Q. 3. 11. 35. 
 
 A comparison of this reference with its evident source, Met. 
 
 6. 114, shows that the Thracian maid is Deois ; that is, Proser- 
 pina, daughter of Deo, or Ceres. The adjective Thracian, as 
 applied to Proserpina, is explained .from the fact that Cotys, or 
 Cotytto, a divinity sometimes identified with Proserpina, was 
 worshiped in Thrace. See Strab. 10. 3. 16. 
 
 TTND ARID (lass). F. Q. 4. 11. 19. See Helen. 
 TISIPHONE. V. G. 43. 
 
 Compare JEn. 6. 555 ff., where Tisiphone is described as a 
 Fury, guarding the vestibule of Tartarus. She is clothed in a 
 bloody robe, and is further described in these words : " Tisi- 
 phone, the avenger, armed with her whip, unceasingly lashes the 
 shuddering criminals, and taunts them withal, and with her left 
 hand brandishing her grim serpents, summons her ruthless sis- 
 terhood." 
 
 TITAN. 
 
 The story to which reference is made in F. Q. 7. 6. 27 is 
 told by Natalis Comes, and is not the usual familiar account of 
 the way by which Saturn obtained the throne of heaven. (See 
 Jove.) According to Natalis Comes, Titan was the elder brother 
 of Saturn, who was persuaded to abdicate the throne on condi- 
 tion that Saturn would kill all children who might be born to 
 him. This was in order that Saturn might have no descendants 
 to succeed him. The compact was agreed upon, and Saturn de- 
 
116 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 voured one child after another. Jove, however, escaped the fate 
 of his brothers and sisters ; hence Spenser's reference to the 
 " Corybantes slight," which is explained under Cybele. 
 
 This myth, it will be seen, is better adapted to enforce the 
 claims of Mutability than the usual one would be, and hence it 
 was seized upon by our poet. 
 
 In the second stanza of this same canto, reference is made 
 to the familiar story of Jove's overthrow of Saturn and his 
 brother Titans (see Jove) ; and the statement is made that many 
 of the descendants of the Titans survived, among whom Hecate 
 and Bellona are especially mentioned. It is very true that the 
 name of Titan is applied in the classics to various divinities 
 among them Themis, Phoebe, and even Hecate (see Serv. JEn. 
 4. 511) but it would be difficult to say on what authority Bel- 
 lona is mentioned as a Titan ; however, we have found that Spen- 
 ser is not bound by the letter of classical mythology, and the 
 spirit of it is certainly not violated here. But it is Helios, or 
 Phoebus, the Sun, who in the classics is most often designated 
 by the name of Titan. Spenser follows this usage, as in S. C. 
 Jul. 59. E. K., commenting upon this passage, explains Titan 
 as the sun, and says : " Which story is to be redde in Diodorus 
 Syc. of the hyl Ida ; from whence, he sayth, all night time is to 
 bee seene a mightye fire, as if the skye burned, which toward 
 morning beginneth to gather into a rownd forme, and thereof 
 ryseth the sonne, whome the Poetes [see Fast. 1. 617] call Titan." 
 
 TITHONU8. F. Q. 1. 2. 7 ; 1. 11. 61; 3. 3. 20. See Aurora. 
 TITYUS. F. Q. 1. 6. 35; T. G. 48. 
 
 Both of these passages refer to the form of punishment in- 
 flicted upon Tityus: a vulture fed upon his liver, which was 
 never consumed, but constantly renewed. The second passage 
 hints at the crime of which Tityus was guilty : he had, for some 
 reason, incurred the displeasure of Latona. Od. 11. 576 ff. ex- 
 plains the case in full : " And I saw Tityos, son of renowned 
 Earth, lying on a leveled ground, and he covered nine roods as 
 he lay, and vultures twain beset him, one on either side, and 
 gnawed at his liver, piercing even to the caul, but he drave them 
 not away with his hands. For he had dealt violently with Leto 
 
SPENSER'S CLASSICAL MYTHOLOGY. Ill 
 
 the famous bedfellow of Zeus, as she went up to Pytho through 
 
 the fair lawns of Panopeus." See also ^En. 6. 595 ; Met. 4. 457 ; 
 
 10. 43. 
 
 TRIPTOLEMUS. V. 6. 26. See Ceres. 
 
 TKITON. F. Q. 3. 4. 33; Co. Cl. 246. 
 
 Triton is a sea-divinity. In the first passage he appears as a 
 charioteer, driving his dolphins over the waves; in the second, 
 Spenser calls him, like Proteus, a shepherd, and speaks also of 
 his wreathed horn. 
 
 Triton is mentioned by Hesiod (Theog. 931) as one of the 
 sons of Neptune and Amphitrite; Virgil (Mn. 10. 209 if.) de- 
 scribes him as of hairy front, displaying a human form down to 
 the waist, and terminating in a ' pristis.' He mentions, also, his 
 shell trumpet, as other writers usually do among them Ovid, 
 who thus describes it (Met. 1. 333 ff.) : " The hollow-mouthed 
 trumpet is taken up by him, which grows to a great width from 
 its lowest twist ; the trumpet, which, soon as it receives the air in 
 the middle of the sea, fills with its notes the shores lying under 
 either sun." In this typical passage, Triton appears as the atten- 
 dant of Neptune, whom he usually accompanied. 
 
 TRITONIAN (goddess). -Mui. 265. 
 
 Authorities differ as to the origin of this name by which 
 Minerva is often called : some say it is from Lake Tritonis in 
 Libya, for, according to Herodotus 1. 180, the nymph of that lake 
 was believed by the Libyans to be the mother of Minerva by 
 Neptune ; others say the name is derived from the Cretan word 
 meaning " head," the reference being to the birth of Minerva 
 from the head of Jove, as referred to in Horn. Hymn to Pallas. 
 Compare " Tritonia " in Met. 2. 783 ; 5. 270 ; Claudian, Gigant. 91. 
 
 TRYPHON. - F. Q. 3. 4. 43; 4. 11. 6. 
 
 For Tryphon of sea gods the soveraine leach is hight. 
 
 This statement is original with Spenser ; for while the name 
 itself was a common one, it is nowhere used by the ancients to 
 designate a mythical surgeon of the divinities of the sea. Among 
 the Tryphons of antiquity, however, was at least one celebrated 
 
118 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 physician, a fact which may have suggested the name in the 
 connection in which Spenser uses it. 
 
 TUKNTJS. V. B. 9. See Latinus. 
 TYPHAON. F. Q. 6. 6. 11; 7. 6. 16; 7. 6. 29. 
 
 For Typhaon as father of Orthrus by Echidna (F. Q. 5. 10. 
 10), see Echidna. 
 
 His blustering character, referred to in F. Q. 6. 6. 11, is 
 mentioned by Hesiod, Theoy. 306 ff. 
 
 F. Q. 7. 6. 15 ; 29 are instances of the confusion of the 
 names Typhoeus and Typhaon, for which see Typhoeus. 
 
 TYPHOEUS. 
 
 In F. Q. 3. 7. 47 we learn that Typhoeus was a son of Earth 
 and one of the Titans or rather Giants (see Jove). His belli- 
 gerent character, also, is hinted at. All this is consistent with 
 Theog. 821 ft'., and Apoll. 1. 6. 3, where he is described as the son 
 of Tartarus and Gsea a giant of most blustering aspect, who 
 dared aspire even to usurp" the sway of gods and men. Jove, 
 however, met him in single combat, felled him with his thunder- 
 bolts, and heaped Mt. vEtna upon him. 
 
 It should be noticed that, with Hesiod, Typhoeus and Ty- 
 phaon are perfectly distinct, while with later authors the names 
 are used interchangeably. (See F. Q. 7. 6. 15 ; 29.) 
 
 In F. Q. 1. 5. 35 Spenser says that Typhoeus was in the 
 Lower World, stretched upon a gin (an engine of torture). 
 The nearest approach to this in the classics is the statement 
 of Antoninus Liberalis that, after Typhoeus had been given over 
 to Vulcan under jEtna, that god placed his anvils upon his neck. 
 
 In V. B. 15 a sister of Typhoeus is mentioned; but who is 
 referred to is not evident. 
 
 ULYSSES. -V. G. 67; 68. 
 
 That Ulysses was the son of Laertes is evident from Od. 16. 
 118 ff. 
 
 For his part in the death of Ajax, see JEacides ; and for the 
 other references to his adventures during and after the Trojan 
 War, see the several headings. 
 URANUS F. Q. 7. 6. 27. See Titan. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 119 
 
 VENUS. 
 
 Under the names of Venus and Cytherea, the goddess of love 
 and beauty is a prominent figure in the mythology of Spenser. 
 She evidently charmed our poet, as she had all others, both of gods 
 and men, from her very birth. F. Q. 3. 6. 2 describes how : 
 
 Jove laught on Venus from his soverayne see, 
 And Phcebus with faire beanies did her adorne, 
 And all the Graces rockt her cradle being borne. 
 
 This is but a particularizatioii of the following lines from the 
 minor Homeric Hymn to Venus : 
 
 Graced at all parts, they brought to heaven her graces, 
 Whose first sight seen, all fell into embraces; 
 Hugged her white hands, saluted, wishing all 
 To wear her maiden flower in festival 
 Of sacred Hymen, and to lead her home. 
 
 The same hymn says that she was born of the sea-foam, as 
 does Hesiod (Theog. 197). Spenser (F. Q. 4. 12. 2) alludes to 
 this invention of the " antique wisards," and thinks it a wise one. 
 
 For that the seas by her are most augmented, 
 Witnesse th' exceeding fry which there are fed, 
 And wondrous sholes which may of none be red. 
 
 These lines may have been suggested by those from the Horn, 
 Hymn to Venus : 
 
 Through pathless air and boundless ocean's space 
 She rules the feathered kind and finny race. 
 
 Both poets thus recognize the power of love over all animate 
 nature, as does Ovid (Fast. 4. 90 ff.), and Lucretius, when he ap- 
 propriately invokes this goddess at the beginning of his De Rerum 
 Natura. Spenser has translated this invocation (F. Q. 4. 10. 44), 
 where, in the temple of Venus, a tormented lover addresses the 
 goddess. This is but a part of a long passage, which describes 
 the temple of Venus, the aspect and dress of the goddess, and the 
 character of her attendants. As a whole, this passage, while 
 marked by originality, shows a judicious assimilation of the 
 ancients. 
 
 Thus the description of the inmost temple (4. 10. o7 ff.) is 
 
120 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 evidently an amplification of JEn. 1. 415 ff. : "She herself in 
 mid air departs to Paphos, and glad of heart revisits her own 
 shrines, where is a temple in her honour, and where a hundred 
 altars smoke with Sabsean frankincense, breathing with the fra- 
 grance of garlands ever fresh." 
 
 We know from the Hero and Leander of Musseus that the 
 priests of Venus were damsels, for Hero herself was such a one ; 
 but the linen garb which Spenser assigns them (F. Q. 4. 10. 38) 
 was probably suggested by that of the priests of Isis (see Isis), 
 between whom and Venus there is a certain similarity, although 
 it does Tiot appear that they were identified by the ancients. And 
 again in 4. 10. 41, Spenser seems to have Isis in mind when he 
 describes the image of Venus as veiled. It should be noticed that 
 Spenser makes a mistake in saying that the statue with which the 
 young man fell in love was the work of Phidias : it was executed 
 by Praxiteles rather (see Lucian Imag. 15 and 16). 
 
 In 4. 10. 42 Venus is described as accompanied by little 
 loves, etc. : with which passage compare Horace Carm. 1. 2 : 
 
 Sive tu mavis, Erycina ridens, 
 Quam Jocus circum volat et Cupido. 
 
 The love of Scudamour for Amoret, the priestess of Venus, 
 his speech, etc., were evidently suggested by the Hero and Leander 
 of Musseus. 
 
 Throughout the whole passage Venus is the goddess of love 
 and beauty, as also in F. Q. 1. 1. 48 ; T. M. 397 ; Pro. 96 ; //. B. 
 
 The well-known story of the triumph of Venus in receiving the 
 apple from the hands of Paris as a recognition of her surpassing 
 beauty, and her bestowal upon Paris of the " fayrest dame," as a 
 reward for his judgment, is referred to in F. Q. 2. 7. 55 ; 3. 9. 34. 
 If lines 23-30 of //. 24 are genuine, they furnish the earliest men- 
 tion of the judgment of Paris, a myth which became a favorite 
 with the ancients. Hyg- Fab. 92 furnishes a clear statement of 
 the judgment and its reward. 
 
 Various ones among gods and men were honored with the 
 love of Venus. Among these was Vulcan, whose wife she became, 
 and whp, Spenser says, made for her the famous girdle (F. Q. 4. 
 5. 3 ff.). See Vulcan. 
 
SPENSER'S CLASSICAL MYTHOLOGY. 121 
 
 Her husband's skill was further exhibited by the snare which 
 he made for betraying the love of Mars and Venus. This affair 
 is related at some length in Od. 8. 266 ff., and is referred to by 
 Spenser in F. Q. 2. 6. 35 ; 3. 11. 44. 
 
 The affection of the goddess for Adonis is mentioned in F. 
 Q. 3. 1. 31 ; 3. 6. 4G, for which see Adonis. 
 
 But her love was not confined to immortals only : Anchises, 
 a mortal, became by her the father of ^Eneas (F. Q. 3. 9. 41). 
 The Horn. Hymn to Venus dwells upon their union ; and the brood- 
 ing care of Venus for her son is one of the beauties of the .ZEneid. 
 
 It is by the grace of Venus that hearts are united in wedlock. 
 Zeus enjoins this office upon her (//. 5. 429), and in V. G. Gl we 
 read that it was through the favor of this goddess that Peleus and 
 Telamon were " renown'd in choyce of happie marriage." The 
 same idea is expressed in H. L. 284 : " With Hercules and Hebe, 
 and the rest Of Venus dearlings, through her bountie blest." 
 See Hebe. 
 
 There are many references to Venus as the mother of Cupid, 
 the god of love : F. Q. 1. Int. 3 ; 4. Int. 5 ; 4. 12. 13 ; 6. 7. 37 ; 
 Mui. 98 ; Co. Cl. 801 ff. ; Pro. 90 : Epigrams 1. 3. 4 ; H. L. 
 passim. See Cupid. 
 
 The later poets extended the number of loves : Horace (Carm. 
 4. 1) addresses Venus as the mother of sweet loves, and Spenser 
 expresses the same idea in Ep. 364. 
 
 For the story of the search of Venus for Cupid related in F. 
 Q. 3. 6. 11 ff., see Cupid. 
 
 For Venus as the mother of the Graces (T. M. 403) and as 
 attended by them (F. Q. 6. 10. 9 ; 6. 10. 15 ; 6. 10. 21 ; Ep. 108), 
 see Graces. 
 
 Spenser is true to classical mythology when, in Pro. 63, he 
 speaks of the swans " Which through the Skie draw Venus silver 
 Teeme." Horace (Carm. 4. 1) mentions the "bright swans" of 
 the goddess, and Ovid (Met. 10. 708) pictures Venus as harnessing 
 her swans and winging her way through the air. 
 
 Although Venus is the laughter-loving goddess (compare F. 
 Q. 1. 6. 16 with //. 5. 375), yet upon occasion she can give way 
 to anger and jealousy. The story of her treatment of Psyche is 
 touched upon in F. Q. 3. 6. 50 ; Mui. 131, for which see Psyche. 
 
122 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Spenser further uses the story as a suggestion for an original 
 myth, in which Venus is represented as angry with the nymph 
 Asteria, whom she transforms to a butterfly (MuL 113 if.). 
 
 Various flowers were sacred to the goddess of love among 
 them the rose, which Spenser says was white before it was dyed 
 with the blood of Venus (Daph. 109), an idea suggested by 
 Bion Idyl. 1 or Anili. Lat. 85 ; 366. Natalis Comes, also, tells the 
 following story : " Mars was in love with Venus, while Venus 
 cared only for Adonis. The god of war thought that if Adonis 
 were not in the way, he could win the love of Venus to himself ; 
 accordingly, he sent a boar to kill Adonis. Venus, hastening to 
 bear help to the beloved youth, was wounded in the foot with the 
 thorn of a rose, and from that time the rose, which had been 
 white, was dyed red with her blood." 
 
 Certain haunts of Venus are mentioned in F. Q. 2. 8. 6 ; 3. 
 6. 29 ; 4. 5. 6 ; 6. 10. 9 among them the Idsean hill. This refers 
 to Mt. Idalion in Cyprus, on which were " Idalia's lofty groves," 
 sacred to Venus. (See JLn. 1. 681.) The " Cytheron hill" 
 of the second passage is a mistake : it should be the island of 
 Cythera, where, according to Theog. 192, Venus landed after her 
 birth from the sea, and from which she is called by the ancients 
 "Cytherea" (Hor. Carm. 1. 4). With the third passage com- 
 pare jEn. 1. 720, where Venus is referred to as Cupid's Acidalian 
 mother. Paphos is mentioned as one of her haunts in ;En. 1. 
 415. At Cnidus in Caria she had several temples, and the place 
 was a favorite with her (Hor. Carm. 1. 30 ; 3. 28). 
 
 The planet of Venus is mentioned in F. Q. 7. 7. 51 ; S. C. 
 Dec. 60. 84; Daph. 483; Ast. 56. 
 
 There are further references to her bower (T. M. 362) ; to 
 her chain (F. Q. 1. 2. 4) ; to her sting (F. Q. 2. 12. 39) ; to her 
 looking-glass (F. Q. 3. 1. 8) ; and to certain representations of the 
 goddess (Ver. 17 ; H. H. B. 212). 
 VESPER. F. Q. 7. 6. 9; V. 6. 40. See Hesperus. 
 VESTA. P. Q. 7. 7. 26. 
 
 Spenser declares Vesta to be the goddess of ethereal fire, in 
 distinction from Vulcan, the god "of this with us so usuall." 
 " Ethereal " is here used in the sense of " celestial," " spiritual," 
 
SPENSER'S CLASSICAL MYTHOLOGY. 123 
 
 and the line, therefore, means that Vesta was the goddess of con- 
 secrated, holy fire, while Vulcan was the divinity of fire in its 
 ordinary, practical uses ; and this is consistent with classical 
 authority. 
 
 The origin of the name Vesta (Greek Hestia) from co-no, 
 a hearth, reveals the fact that she was the divinity of the hearth. 
 We know from Ovid Fast. 6. 305 ff., as well as from other author- 
 ities, that the hearth was the center of the life of the home 
 a sacred spot : " Before the hearths," says Ovid, " it was the cus- 
 tom formerly to sit together on long benches, and to believe that 
 the gods were there at the board." In both Greece and Rome 
 the idea was extended, and there were public hearths, or sanctu- 
 aries of Vesta. The Romans believed that the sacred flame of 
 Vesta had been brought from Troy (^n. 2. 296). It was consid- 
 ered to be the symbol of the goddess herself, and was kept con- 
 tinually burning in the temple of Vesta. Ovid (Fast. 6. 295 ff.) 
 says : " Long did I, in my simplicity, imagine that there were 
 statues of Vesta, but afterwards ascertained that there were none 
 under her concave dome. The fire that has never been extin- 
 guished lies hidden in that temple." 
 
 VULCAN. 
 
 The Roman Vulcan was identified with the Greek Hephaes- 
 tus : he was, as Spenser says, the sovereign of the fire " with us 
 so usuall " (F. Q. 7. 7. 26), that is, of fire as a means in manu- 
 factures. Thus does he appear in the works of Homer as the 
 artificer of the gods. Iliad 18. 369 ff. may be referred to as a 
 typical passage, describing, as it does, the Olympic workshop of 
 Vulcan, with anvil, bellows, etc. Here he made the celebrated 
 armor of Archilles, also described, as well as other wonderful 
 works. Cf. JEn. 8. 407 ff. See Mui. 63. 
 
 Later authors, however, place his workshop on earth, in vari- 
 ous volcanic regions : thus, Spenser says in F. Q. 4. 5. 4 that it 
 was on Lemnos that Vulcan wrought the girdle of Venus. This 
 is quite classical, since Homer (Od. 8. 283) says that island was 
 a favorite with him, and others place his workshop there. The 
 reason for this may be found in 77. 1. 593 : it was on Lemnos 
 that Vulcan fell when he was thrown from heaven, and the 
 people of that island then received him kindly. 
 
124 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 Since, according to Homer (77. 14. 214 ff.), the cestus of 
 Venus was a piece of embroidery, Spenser is not consistent with 
 the classics in speaking of it as wrought with fire by Vulcan. 
 That Vulcan was the husband of Venus appears from Od. 8. 266 
 ff. the passage describing the means by which Vulcan assured 
 himself of the unfaithfulness of Venus. It is possible that the 
 net described there may have suggested to Spenser the girdle of 
 Venus as the work of Vulcan. 
 
 In F. Q. 2. 7. 36 ; 3. 9. 19 ; V. G. 66, Vulcan is used for fire 
 itself, with which compare Met. 7. 104, and many other passages. 
 
 ZEPHYBUS. F. Q. 2. 5. 29; Pro. 2. 
 
 In these passages Spenser personifies the gentle west wind, 
 after the manner of the ancients. See Fast. 5. 201 ff. 
 
INDEX OF AUTHORITIES. 
 
 This Index is intended to assist students in discovering Spenser's indebtedness 
 to individual authors. 
 
 AESCHYLUS: Prometheus. 
 ANACREON: Lyaeus. 
 ANGELUS POLITIA 
 
 ANTHOLOGIA LATINA: 
 Fates. 
 Lyaeus. 
 
 ANTIMACHUS: Graces. 
 
 ANTONINUS LIBERALIS: 
 Hylas. 
 
 APOLLODORUS: 
 Adonis. 
 j-Egina. 
 Alcmena. 
 Amphion. 
 Andromeda. 
 Antiope. 
 Apollo. 
 Argo. 
 Argus. 
 Asteria. 
 Atalanta. 
 Bacchus. 
 Bellona. 
 Cadmus. 
 Danae. 
 
 Erichthonian (tower). 
 Erigone. 
 Europa. 
 Eurytion. 
 Pounders of Nations. 
 
 APOLLONIUS RHODIUS: 
 Amphion. 
 Argonautic Expe- 
 dition. 
 Celseno. 
 
 of Nations. 
 
 APULEIUS: Psyche. 
 
 eus. 
 
 ARATUS: Astrsea. 
 
 
 ARISTJENETUS : Acontius. 
 
 US: Cupid. 
 
 ARISTOPHANES: Adonis. 
 
 A: 
 
 BION : Adonis. Venus. 
 
 Muses. 
 
 BOCCACCIO: Graces. 
 
 Venus. 
 
 CALLIMACHUS: 
 
 
 Ceres. Hercules. Jove. 
 
 LIS: 
 
 CATULLUS: Hymen. Peleus. 
 
 Typhoeus. 
 
 CENTURY DICTIONARY: 
 
 
 Neptune. 
 
 Hebe. 
 
 CHILD: Phao. 
 
 Helle. 
 
 CICERO: Fates. 
 
 Hercules. 
 
 CLAUDIAN : 
 
 Hesione. 
 
 Jove. Semiramis. 
 
 Hydra. 
 Hyperion. 
 Iphiniedia. 
 
 Proserpina. Tritonian (goddess). 
 CTESIAS: Semiramis. 
 
 Jove. 
 
 DARES: Amazon. 
 
 Leda. 
 
 DIODORUS SICULUS: 
 
 Linus. 
 
 .aSolus. Linus. 
 
 Medusa. 
 
 Arne. Mercury. 
 
 Nereids. 
 
 Atlas. Ninus. 
 
 GEnone. 
 
 Bacchus. Penthesilea. 
 
 Orion. 
 
 Founders of Procrustes. 
 
 Pasiphae. 
 
 Nations. Pythias. 
 
 Peleus. 
 
 Hercules. Semiramis. 
 
 Sea-Gods. 
 
 Hydra. Theseus. 
 
 Talus. 
 
 Hyperion. Titan. 
 
 Typhoeus. 
 
 Jove. 
 
 
 EURIPIDES: 
 
 US: 
 
 Alcestis. Inachus. 
 
 Erigone. 
 
 Apollo. Msenades. 
 
 Hecate. 
 
 Cassiopea. Nemesis. 
 
 Juno. 
 
 Cupid. Orestes. 
 
 Sea-Gods. 
 
 Hippolytus. 
 
 125 
 
126 
 
 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 FULGENTIUS: 
 
 HOMERIC HYMNS Continued. 
 
 Prometheus. Thetis. 
 
 Cybele. Muses. 
 
 HERODOTUS : Tritonian (goddess). 
 
 Diana. Pan. 
 
 
 Graces. Proserpina. 
 
 HESIOD: 
 
 Amphitrite. Jove. 
 
 Hebe. Tritonian (god- 
 Jove, dess). 
 
 Apollo. Litse. 
 
 Mars. Venus. 
 
 Atalanta. Muses. 
 
 Mercury. 
 
 Ate. Nereids. 
 
 
 Cupid. Nereus. 
 
 HORACE : 
 
 Cybele. Pandora. 
 
 Apollo. Muses. 
 
 Doris. Prometheus. 
 
 Atlas. Nereus. 
 
 Echidna. Saturn. 
 
 Bacchus. 'Orcus. 
 
 Erebus. Sea-Gods. 
 
 Graces. Prometheus. 
 
 Fates. Tethys. 
 
 Hesperus. Saturn. 
 
 Graces. Triton. 
 
 Inachus. Venus, 
 
 Hebe. Typhaon. 
 
 Jove. 
 
 Hecate. Typhoeus. 
 
 
 Hours. Venus. 
 
 HYGINUS : 
 
 Hyperion. 
 
 Adonis. Hector. 
 
 
 jEacides. Helle. 
 
 HOLINSHED : Founders of Nations. 
 
 .^Egina. Hesperus. 
 
 HOMER: 
 
 Alcmena. Hydra. 
 
 Achilles. Juno. 
 
 Andromeda. Ixion. 
 
 Adonis. Litse. 
 
 Apollo. Jove. 
 
 j3acides. Mars. 
 
 Ariadne. Mars. 
 
 j?Eacus. Mercury. 
 
 Astrsea. Mercury. 
 
 .^Egide (shield). Nepenthe 
 
 Ate. Orion. 
 
 .lEolus. Neptune. 
 
 Cassiopea. Orpheus. 
 
 Agamemnon. Nereids. 
 
 Coronis. f Pasiphae. 
 
 Apollo. Orcus. 
 
 Dsemogorgon. Procrustes. 
 
 Ate. Orion. 
 
 Demophoon. Sthenobo3a. 
 
 Atlas. Penelope. 
 
 Diana. Styx. 
 
 Aurora. Pluto. 
 
 Ephialtes. Tantalus. 
 
 Bacchus. Podalirius. 
 
 Erebus. Venus. 
 
 Chimsera. Priam. 
 
 Europa. 
 
 Cicones. Proserpina. 
 
 Founders of 
 
 Cimmerians. Proteus. 
 
 Nations. 
 
 Diana. Pylian (sire). 
 Dolon. Rhesus. 
 
 JORTIN : Dsemogorgon. 
 
 Ephialtes. Scylla. 
 
 JUSTIN : Semiramis. 
 
 Erinnys. Sea-Gods. 
 Graces. Sisyphus. 
 
 LACTANTIUS : Dremogorgon. 
 
 Hebe. Tantalus. 
 
 LUCAN : Dsemogorgon. Orion. 
 
 Hesperus. Thetis. 
 
 
 Hours. Tityus. 
 
 LUCIAN : 
 
 Inachus. Ulysses. 
 
 Alcmena. Juno. 
 
 Iphimedia. Venus. 
 
 Bellona. Mercury. 
 
 Jove. Vulcan. 
 
 Ixion. Venus. 
 
 HOMERIC HYMNS: 
 
 LUCRETIUS : 
 
 Amphitrite. Aurora. 
 
 Aurora. Neptune. 
 
 Apollo. Bacchus. 
 
 Jove. Venus. 
 
INDEX OF AUTHORITIES REFERRED TO. 127 
 
 MACROBIUS : 
 
 1 OVID Continued. 
 
 Juno. 
 
 Ops. 
 
 Morpheus. Sea-Gods. 
 
 Maia. 
 
 Palici. 
 
 Myrrha. Semele. 
 
 Mars. 
 
 Saturn. 
 
 Narcissus. Silvanus. 
 
 MAROT: Cupid. 
 
 
 Niobe. Sisyphus. 
 
 
 
 CEnone. Tantalus. 
 
 MARTIAL : Thetis. 
 
 
 Orion. Tethys. 
 
 MOSCHUS: Cupid. 
 
 Europa. 
 
 Orpheus. Thaumas. 
 
 MUS^EUS . Pales. Tliracian (maid). 
 Pan. Titan. 
 Graces. Leander. Venus. 
 ^ +t ^iJuJb-*^* 1 *- Tityrus. 
 NATALIS COMES: LcvOH V** ' Phaeton. Triton. 
 
 Geryon. 
 
 Titan. 
 
 Pholoe. Tritonian 
 
 Sea-Gods. 
 
 Venus. 
 
 Pirithous. (goddess). 
 
 ORPHEUS : 
 
 
 Podalirius. Venus. 
 
 
 
 Prometheus. Vesta. 
 
 Alcmena. Cupid. 
 Argonautic Expedition. Jove. 
 
 Saturn. Vulcan. 
 
 
 
 FAMPHUS: Graces. 
 
 OVID: 
 
 
 
 Acontius. 
 
 Cyparissus. 
 
 PA US AN I AS: 
 
 Adonis. 
 
 Danae. 
 
 Founders of Muses. 
 
 ^Eacus. 
 
 .Daphne. 
 
 Nations. Neptune. 
 
 JEgeria. 
 
 Deucalion. 
 
 Graces, Nereids. 
 
 .angina. 
 
 Diana. 
 
 Hercules. Pegasus. 
 
 .SColus. 
 
 Erebus. 
 
 PHILOSTRATUS: Neptune. 
 
 Alcmena. 
 
 Erigone. 
 
 PINDAR: 
 
 Andromeda. 
 Antiopa. 
 
 Erinnys. 
 Europa. 
 
 Apollo. Litae. 
 Argo. Pan. 
 
 -Apollo. 
 
 Hector. 
 
 
 Arachne. 
 
 Helen. 
 
 PLATO : 
 
 Argonautic 
 
 Helle. 
 
 Achilles. Helen. 
 
 Expedition. 
 
 Hercules. 
 
 Adonis. Muses. 
 
 Argus. 
 
 Hesione. 
 
 Apollo. Talus. 
 
 Ariadne. 
 
 Hesperus. 
 
 Cupid. 
 
 Arion. 
 
 Hippolytus. 
 
 PLINY: Adonis. 
 
 Arne. 
 
 Hyacinthus. </ 
 
 PLUTARCH: 
 
 Asteria. 
 
 Hyperion. 
 
 Isis. Sea-Gods. Jove. 
 
 Atalanta. 
 
 Ino. 
 
 
 Atlas. 
 Aurora. 
 
 Iphimedia. 
 Iris. 
 
 PROPERTIUS: 
 Cupid. Founders of Nations. 
 
 Bacchus. 
 
 Issa. 
 
 QUINTUS CALABER: Penthesilea. 
 
 Biblis. 
 
 Itys. 
 
 SCHOLIAST (Ap. Rh.): Erigone. 
 
 Bisaltis. 
 
 Ixion. 
 
 SCHOLIAST (Statius): Daemogorgon. 
 
 Cadmus. 
 
 Janus. 
 
 
 Cerberus. 
 
 Jove. 
 
 SCHOLIAST (Theoc.): Pan. 
 
 Ceres. 
 
 Juno. 
 
 SENECA: Graces. Hippolytus. 
 
 Chloris. 
 
 Lapith. 
 
 SERVIUS: 
 
 Cimmerian. 
 
 Leda. 
 
 Atlas. Nyctelius. 
 
 Clymene. 
 
 Lucina. 
 
 Cupid. Orion. 
 
 Coronis. 
 
 Mars. 
 
 Cybele. Penthesilea. 
 
 Cupid. 
 
 Medusa. 
 
 Demophoon. Titan. 
 
 Cybele. 
 
 Mnemosyne. 
 
 Hercules. 
 
128 
 
 SPENSER'S CLASSICAL MYTHOLOGY. 
 
 SOPHOCLES: 
 
 
 VIRGIL Continue 
 
 d. 
 
 Cassiopea. 
 
 Nemesis. 
 
 Avernus. 
 
 Lethe. 
 
 SPOLETINUS: Sea-Gods. 
 
 Bellona. 
 
 Linus. 
 
 STATIUS: 
 
 
 Boreas. 
 
 Megsera. 
 
 Apollo. 
 
 Muses. 
 
 Brontes. 
 
 Mercury. 
 
 Dasmogorgon. 
 
 Pegasus. 
 
 Camilla. 
 
 Minos. 
 
 Founders of 
 
 Thetis. 
 
 Celaeno. 
 
 Morpheus. 
 
 Nations. 
 
 
 Cerberus. 
 
 Muses. 
 
 STRABO : 
 
 
 Charon. 
 
 Myrrha. 
 
 Founders of 
 Nations. 
 Neptune. 
 
 Sea-Gods. 
 Thracian (maid). 
 
 Chimaera. 
 Cocytus. 
 Cupid. 
 Cyparissus. 
 
 Neptune. 
 Orpheus. 
 Pan. 
 Phlegethon. 
 
 TACITUS: Flora. 
 
 
 Diana. 
 
 Pluto. 
 
 THEOCRITUS: 
 
 
 Dryope. 
 
 Priam. 
 
 Adonis. 
 
 Diana. 
 
 Elysian. 
 
 Proserpina. 
 
 Cupid. 
 
 Pan. 
 
 Erebus. 
 
 Proteus. 
 
 THEODONTIUS 
 
 : Graces. 
 
 Erinnys. 
 Hecate. 
 
 Scylla. 
 Sea-Gods. 
 
 TZETZES : 
 
 
 Helen. 
 
 Silvanus. 
 
 Deucalion. 
 
 Jove. 
 
 Hercules. 
 
 Styx. 
 
 Founders of 
 
 CEnone. 
 
 Hippolytus. 
 
 Tartarus. 
 
 Nations. 
 
 
 Hydra. 
 
 Theseus. 
 
 VIRGIL : 
 
 
 Inachus. 
 
 Tisiphone. 
 
 Acheron. 
 
 .ffineas. 
 
 Iris. 
 
 Tityus. 
 
 Achilles. 
 
 Amazon. 
 
 Ixion. 
 
 Triton. 
 
 jEgide (shield). 
 
 Atlas. 
 
 Juno. 
 
 Venus. 
 
 jEolus. 
 
 Aurora. 
 
 Latinus. 
 
 Vesta. 
 

OA r 
 
 14 DAY TTC17 
 RETURN TO DESK FROM WMCH BORROWED 
 
 LOAN DEPT. 
 
 TK- "^AIS ONLY-TEU NO. 642-3405 
 This book is due on the last date stamped below or 
 on the date to which renewed 
 d books are subjectTo^SS 
 
 ae to wc renewed 
 Renewed books are subjectTo^SSL recall. 
 
 LD21A-60m-6'69 
 (J9096slO)476-A-32 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
UNIVERSITY OF CALIFORNIA LIBRARY 
 
 .