Tale and Mythology

The Camenæ were prophetic nymphs held in high veneration by the ancient Italians. They were four in number, the best known of whom are Carmenta and Egeria. Carmenta was celebrated as being the mother of Evander, who led an Arcadian colony into Italy, and founded a town on the river Tiber, which became afterwards incorporated with the city of Rome. Evander is said to have been the first who introduced Greek art and civilization into Italy, and also the worship of Greek divinities. A temple was erected to Carmenta on the Capitoline Hill, and a festival, called the Carmentalia, was celebrated in her honour on the 11th of January. Egeria is said to have initiated Numa Pompilius in the forms of religious worship, which he introduced among his people. She was regarded as the giver of life, and was therefore invoked by women before the birth of their children. The Camenæ are frequently identified by Roman writers with the Muses.

Laverna Laverna was the presiding goddess of thieves, and of all artifice and fraud. There was an altar erected to her near the Porta Lavernalis, which was called after her, and she possessed a sacred grove on the Via Salavia. Comus Comus was the presiding genius of banquets, festive scenes, revelry, and all joyous pleasures and reckless gaiety. He is represented as a young man crowned with flowers, his face heated and flushed with wine, leaning against a post in a half-sleepy and drunken attitude, with a torch falling from his hand.

Libitina was the goddess who presided over funerals. This divinity was identified with Venus, possibly because the ancients considered that the power of love extended even to the realms of death. Her temple in Rome, which was erected by Servius Tullius, contained all the requisites for funerals, and these could either be bought or hired there. A register of all deaths which occurred in the city of Rome was kept in this temple, and in order to ascertain the rate of mortality, a piece of money was paid by command of Servius Tullius, on the demise of each person.

Consus was the god of secret counsel. The Romans believed that when an idea developed itself spontaneously within the mind of an individual, it was Consus who had prompted the suggestion. This applied, however, more particularly to plans which resulted satisfactorily. An altar was erected to this divinity on the Circus Maximus, which was kept always covered, except during his festival, the Consualia, which was cel- ebrated on the 18th of August.

Terminus was the god who presided over all boundaries and landmarks. He was originally represented by a simple block of stone, which in later times became surmounted by a head of this divinity. Numa Pompilius, the great benefactor of his people, anxious to inculcate respect for the rights of property, specially enjoined the erection of these blocks of stone, as a durable monument to mark the line dividing one property from another. He also caused altars to be raised to Terminus, and instituted his festival (the Terminalia), which was celebrated on the 23rd of February. Upon one occasion, when Tarquin wished to remove the altars of several deities, in order to build a new temple, it is said that Terminus and Juventas alone objected to being displaced. This obstinate refusal on their part was interpreted as a good omen, signifying that the city of Rome would never lose her boundaries, and would remain ever young and vigorous.

Silvanus was a woodland divinity, who, like Faunus, greatly resembled the Greek Pan. He was the presiding deity of plantations and forests, and specially protected the boundaries of fields. Silvanus is represented as a hale old man, carrying a cypress-tree, for, ac- cording to Roman mythology, the transformation of the youth Cyparissus into the tree which bears his name was attributed to him. His sacrifices consisted of milk, meat, wine, grapes, wheat-ears, and pigs.

Picumnus and Pilumnus were two household divinities of the Romans, who were the special presiding deities of new-born infants.

Picus, the son of Saturn and father of Faunus, was a woodland divinity, gifted with prophetic powers. An ancient myth relates that Picus was a beautiful youth, united to a nymph called Canens. The sorceress Circe, infatuated by his beauty, endeavoured to secure his love, but he rejected her advances, and she, in revenge, changed him into a woodpecker, under which form he still retained his powers of prophecy. Picus is represented as a youth, with a woodpecker perched upon his head, which bird became henceforth regarded as possessed of the power of prophecy.

Pales, a very ancient Italian divinity, is represented sometimes as a male, sometimes as a female power. As a male divinity he is more particularly the god of shepherds and flocks. As a female deity, Pales presides over husbandry and the fruitfulness of herds. Her festivals, the Palilia, were celebrated on the 21st of April, the day on which the city of Rome was founded. During this festival it was customary for shepherds to ignite a mass of straw, through which they rushed with their flocks, believing that this ordeal would purify them from sin. The name Palatine, which originally signified a pastoral colony, is derived from this divinity. Her offerings were cakes and milk.

Vertumnus was the god of garden and field produce. He personifies the change of seasons, and that process of transformation in nature by means of which the leaf-buds become developed into blossoms, and the blossoms into fruit. The change of seasons is symbolized in a myth which represents Vertum- nus as metamorphosing himself into a variety of different forms in order to gain the affection of Pomona, who so loved her vocation that she abjured all thoughts of marriage. He first appears to her as a ploughman, typifying Spring; then as a reaper, to represent Summer; afterwards as a vine-gatherer, to indi- cate Autumn; and finally as a gray-haired old woman, symbolical of the snows of Winter; but it was not until he assumed his true form, that of a beautiful youth, that he succeeded in his suit. Vertumnus is generally represented crowned with wheat-sheaves, and bear- ing in his hand a cornucopia.

ORIGIN  OF  THE WORLD Uranus and Gæa (Cœlus and Terra) The ancient Greeks had several different theories with regard to the origin of the world, but the generally accepted notion was that before this world came into existence, there was in its place a confused mass of shapeless elements called Chaos. These elements becoming at length consolidated (by what means does not appear), resolved themselves into two widely different substances, the lighter portion of which, soaring on high, formed the sky or firmament, and constituted itself into a vast, overarching vault, which protected the firm and solid mass beneath. Thus came into being the two first great primeval deities of the Greeks, Uranus and Ge or Gæa. Uranus, the more refined deity, represented the light and air of heaven, possessing the distinguishing qualities of light, heat, purity, and omnipresence, whilst Gæa, the firm, flat, life-sustaining earth, was worshipped as the great all-nourishing mother. Her many titles

According to the oldest accounts, Æolus was a king of the Æolian Islands, to whom Zeus gave the command of the winds, which he kept shut up in a deep cave, and which he freed at his pleasure, or at the command of the gods. In later times the above belief underwent a change, and the winds came to be regarded as distinct divinities, whose aspect accorded with the respective winds with which they were identified. They were depicted as winged youths in full vigour in the act of flying through the air. The principal winds were: Boreas (the north wind), Eurus (the east wind), Zephyrus (the west wind), and Notus (the south wind), who were said to be the children of Eos and Astræus. There are no myths of interest connected with these divinities. Zephyrus was united to Chloris (Flora), the goddess of flowers. Of Boreas it is related that while flying over the river Ilissus, he beheld on the banks Oreithyia, the charming daughter of Erechtheus, king of Athens, whom he carried off

The Napææ were the kind and gentle nymphs of the valleys and glens who appear in the train of Artemis. They are represented as lovely maidens with short tunics, which, reaching only to the knee, do not impede their swift and graceful movements in the exercise of the chase. Their pale brown tresses are fastened in a knot at the back of the head, whence a few stray curls escape over their shoulders. The Napææ are shy as the fawns, and quite as frolicsome. The O, or mountain nymphs, who are the principal and constant companions of Artemis, are tall, graceful maidens, attired as huntresses. They are ardent followers of the chase, and spare neither the gentle deer nor the timid hare, nor indeed any animal they meet with in their rapid course. Wherever their wild hunt goes the shy Napææ are represented as hiding behind the leaves, whilst their favourites, the fawns, kneel tremblingly beside them, looking up beseechingly for protection from the wild huntresses; and even the bold S

Pomona was the goddess of orchards and fruit-trees, who, according to Ovid, cares not for woods or streams, but loves her gardens and the boughs that bear the thriving fruit. Pomona, who typifies Autumn, is represented as a lovely maiden, laden with branches of fruit-trees.

From the earliest ages Janus was regarded by the Romans with the utmost affection and veneration, as a divinity who ranked only second to Jupiter himself, and through whom all prayers and petitions were transmitted to the other gods. He was believed to preside over the beginnings of all things, hence it was he who inaugurated the years, months, and seasons, and in course of time came to be considered as specially protecting the beginnings of all human enterprises. The great importance which the Romans attached to an auspicious commencement, as contributing to the ultimate success of an enterprise, accounts for the high estimation in which Janus was held as the god of beginnings. This divinity would appear to have been the ancient sun-god of the Italian tribes, in which capacity he opens and closes the gates of heaven every morning and evening. Hence he was regarded as the door-keeper of heaven, and also as the presiding deity over all gates, entrances, &c., on earth. The

Asclepias, the god of the healing art, was the son of Apollo and the nymph Coronis. He was educated by the noble Centaur Chiron, who instructed him in all knowledge, but more especially in that of the properties of herbs. Asclepias searched out the hidden powers of plants, and discovered cures for the various diseases which afflict the human body. He brought his art to such perfection, that he not only succeeded in warding off death, but also restored the dead to life. It was popularly believed that he was materially assisted in his wonderful cures by the blood of the Medusa, given to him by Pallas-Athene. It is well to observe that the shrines of this divinity, which were usually built in healthy places, on hills outside the town, or near wells which were believed to have healing powers, offered at the same time means of cure for the sick and suffering, thus combining religious with sanitary influences. It was the custom for the sufferer to sleep in the temple, when, if he had b

Priapus, the son of Dionysus and Aphrodite, was regarded as the god of fruit- fulness, the protector of flocks, sheep, goats, bees, the fruit of the vine, and all garden produce. His statues, which were set up in gardens and vineyards, acted not only as objects of worship, but also as scarecrows, the appearance of this god being es- pecially repulsive and unsightly. These statues were formed of wood or stone, and from the hips downwards were merely rude columns. They represent him as having a red and very ugly face; he bears in his hand a pruning knife, and his head is crowned with a wreath of vine and laurel. He usually carries fruit in his garments or a cornucopia in his hand, always, however, retaining his sin- gularly revolting aspect. It is said that Hera, wishing to punish Aphrodite, sent her this misshapen and unsightly son, and that when he was born, his mother was so horrified at the sight of him, that she ordered him to be exposed on the mountains, where he was found by

The Satyrs were a race of woodland spirits, who evidently personified the free, wild, and untrammelled life of the forest. Their appearance was both grotesque and repulsive; they had flat broad noses, pointed ears, and little horns sprouting from their foreheads, a rough shaggy skin, and small goat’s tails. They led a life of pleasure and self-indulgence, followed the chase, revelled in every description of wild music and dancing, were terrible wine-bibbers, and addicted to the deep slumbers which follow heavy potations. They were no less dreaded by mortals than by the gentle woodland nymphs, who always avoided their coarse rough sports. The Satyrs were conspicuous figures in the train of Dionysus, and, as we have seen, Silenus their chief was tutor to the wine god. The older Satyrs were called Silens, and are represented in antique sculpture, as more nearly approaching the human form. In addition to the ordinary Satyrs, artists delighted in depicting little Satyrs, young i

Pan was the god of fertility, and the special patron of shepherds and huntsmen; he presided over all rural occupations, was chief of the Satyrs, and head of all rural divinities. According to the common belief, he was the son of Hermes and a wood nymph, and came into the world with horns sprouting from his forehead, a goat’s beard and a crooked nose, pointed ears, and the tail and feet of a goat, and presented altogether so repulsive an appearance that, at the sight of him, his mother fled in dismay. Hermes, however, took up his curious little offspring, wrapt him in a hare skin, and carried him in his arms to Olympus. The grotesque form and merry antics of the little stranger made him a great favourite with all the immortals, especially Dionysus; and they bestowed upon him the name of Pan (all), because he had delighted them all. His favourite haunts were grottoes, and his delight was to wander in uncontrolled freedom over rocks and mountains, following his various pursuits

The tree nymphs partook of the distinguishing characteristics of the particular tree to whose life they were wedded, and were known collectively by the name of the Dryades. The H, or oak nymphs, represent in their peculiar individuality the quiet, self-reliant power which appears to belong essentially to the grand and lordly king of the forest. The B N is a melancholy maiden with floating hair, resembling the branches of the pale and fragile-looking tree which she inhabits. The B N is strong and sturdy, full of life and joyousness, and appears to give promise of faithful love and undisturbed repose, whilst her rosy cheeks, deep brown eyes, and graceful form bespeak health, vigour, and vitality. The nymph of the L T is represented as a little coy maiden, whose short silver-gray dress reaches a little below the knee, and displays to advan- tage her delicately formed limbs. The sweet face, which is partly averted, reveals a pair of large blue eyes,

The worship of water-deities is common to most primitive nations. The streams, springs, and fountains of a country bear the same relation to it which the blood, coursing through the numberless arteries of a human being, bears to the body; both represent the living, moving, life-awakening element, without which existence would be impossible. Hence we find among most nations a deep feeling of attachment to the streams and waters of their native land, the remembrance of which, when absent in foreign climes, is always treasured with peculiar fondness. Thus among the early Greeks, each tribe came to re- gard the rivers and springs of its individual state as beneficent powers, which brought blessing and prosperity to the country. It is probable also that the charm which ever accompanies the sound of running water exercised its power over their imagination. They heard with delight the gentle whisper of the fountain, lulling the senses with its low, rippling tones; the soft purling of the b

The graceful beings called the Nymphs were the presiding deities of the woods, grottoes, streams, meadows, &c. These divinities were supposed to be beautiful maidens of fairy-like form, and robed in more or less shadowy garments. They were held in the greatest veneration, though, being minor divinities, they had no temples dedicated to them, but were worshipped in caves or grottoes, with libations of milk, honey, oil, &c. They may be divided into three distinct classes, viz., water, mountain, and tree or wood nymphs.