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Talfourd Ely - The Gods of Greece and Rome

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I ZEUS Marble Bust from Otricoli in the Vatican Museum Rome - photo 1
I ZEUS Marble Bust from Otricoli in the Vatican Museum Rome - photo 2
I. ZEUS.
Marble Bust from Otricoli in the Vatican Museum, Rome.
Bibliographical Note This Dover edition first published in 2003 is an - photo 3
Bibliographical Note
This Dover edition, first published in 2003, is an unabridged republication of Olympos: Tales of the Gods of Greece and Rome, which was originally published by G. P. Putnams Sons, New York, and H. Grevel & Co., London, in 1891. That work was based on, and partly translated from, Der Olymp by Hans Dtschke (n.d.).

Library of Congress Cataloging-in-Publication Data
Ely, Talfourd
[Olympos]
The gods of Greece and Rome / Talfourd Ely. p. cm.
Includes bibliographical references and index.
9780486120348
1. Mythology, Classical. I. Title.
BL730 .E52 2003
292.21 1dc21
2002041126

Manufactured in the United States of America
Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501
PREFACE.
S OME knowledge of Classical Mythology is needed to understand even our own literature from Dan Chaucer to Shelley and Swinburne ; nor are mythological books wanting, from the Lemprire of our youth to the Golden Bough of last year and Mr. Dyers Studies of the Gods published only a month or two ago. Of these works, however, few are systematic treatises, and of these few still fewer are readable.
The present volume claims then a right to exist. It is based on, and partly translated from, Dr. Dtschkes Der Olymp ; but several chapters (as that on Athena) are my own work, and none are without some addition or alteration by me.
Virginibus puerisque canto ; in a book intended for the youth of both sexes much must be passed over in silence. Nor is there place here for cumbrous learning; and in a volume of avowedly popular character no list of authorities need be given. Suffice it to say that in ancient literature I have borrowed most from the Homeric Poems and from Apollodoros ; while, among the moderns, Roschers Ausfhrliches Lexikon has proved of the greatest value. Nor have I failed to draw on my notes of the lectures on Griechische Kunstmythologie, delivered at Berlin by Professor Ernst Curtius in the Summer Semester of 1887.
The renderings of passages from the Classics are mostly taken from standard translations ; the few to which no name is attached are my own. I have added references to the originals, which may be of service to students.
Old-fashioned people will not perhaps easily bring themselves to recognise the Olympian family as composed, for the most part, of deities, each originally the supreme god of one of the many branches of the Hellenic stock. Nor will they be pleased with the constant suggestion of the elemental origin of heathen worship. Yet the elemental idea is constantly cropping up in such stories as those of Dana and Semele. Moreover, Pausanias has preserved many hints of early beast stories ; to say nothing of the well-known disguises of Zeus as bull, swan, etc., and the metamorphoses of Io and Kallisto.
These earlier views underwent a redaction at the hands of the poets. It was Homer and Hesiod, according to the Greek historian, who put the stories of the gods into poetic shape, provided the means of distinguishing between the various deities, and assigned to each his special functions. Not only were the forms of these gods described as those of mortal men, but their passions and their moral weaknesses closely reflected those that had full play among their earthly counterparts. The gods of Olympos, originally twelve in number, were in such respects no better than their humbler fellows who peopled every glade and every sparkling spring. Yet their special powers and characters, distinctly marked out for all time in Grecian poetry and Grecian art, entitle them to a precedence over the rank and file of supernatural folk.
Dr. Dtschke has well observed that the Roman differed from the Greek in nothing more widely than in religion. The Romans were essentially a practical people ; and this was reflected in their religious ideas. Eventually, however, foreign conquest brought them into contact with new forms of belief ; Grcia capta ferum victovem cepit; and Apollo and Athena elbowed out the old homely deities of the Italian husbandman.

TALFOURD ELY.
HAMPSTEAD,
August, 1891.
Table of Contents

Table of Figures

PART I.
THE GREATER GODS AND THEIR FOLLOWING.
CHAPTER I.
ZEUSJUPITER.
(A) ZEUS.
I. ZEUS LYKAIOS ; THE CRETAN ZEUS ; KRONOS.
WHEN earth in springtime clothed herself afresh with herbage and with flowers ; when summers glow withered alike the foliage and the grass ; when the refreshing storm burst forth from the hills, or winters grim tempests wrapped the land in snow,then knew the Greeks full well that a mightier power than mans guided nature on her path,a heavenly power, whose name was Zeus. Unseen of mortal eye, he yet was known by his works ; and his presence was often felt very near,aye ! nearer and nearer the higher men climbed the mountain-side. For there on the mountaintop he mostly had his dwelling. So lofty and so awful did the nature of Zeus appear in olden time that in such places ordinary men cared not to draw too nigh to him. So, amidst Arcadias mountains the lonely towering Wolfs Peak, or Lykaios, was a specially sacred abode of the god of heaven ; Lykaios, from which men gazed over the whole Peloponnese, and in whose forests wolves, bears, and wild boars had their home. Here the pious of olden times had established a holy place for Zeus, the wolf-god (Lykaios). For was it not a destructive frenzy as of a ravening wolf, if in mid-summer the scorching heat of heaven blasted natures blossoming life, and spread death and barrenness over the fields ? So raged, then, Zeus Lykaios against nature and against man. Him to appease, nought else but human sacrifice availed, and thus horrid rites lingered here on the lonely peak of Arcadias highlands, perhaps even till Christian times. He who tasted of the victims flesh, that the god alone had a right to taste, was changed for nine years space into a were-wolf, wandering in loneliness, and shunning the company of human kind. He who, unbidden, burst into this holy place of Zeus lost his shadow ; that is, he vanished from the number of the living, for the disembodied dead alone no shadows cast.
Yet the gods wrath was not without end; nay, twas the same Zeus that sent, too, the refreshing shower. The priest need only stir with an oak twig the waters of the mountain-stream, and mists came forth and rolled together into the cloud teeming with rain.
And as on Arcadias Wolf-mount, so, too, in Crete men had to tell of a god of heaven, destroying what he had brought into being; only here such deeds were portioned out between two persons, and it was not Zeus that was regarded as the destroyer, but his father Kronos. He devoured, so ran the tale, all the children his wife Rhea bore him, save the youngest, Zeus. In his stead shrewd Rhea gave her husband a stone, wrapped in swaddling clothes, to swallow, while she carried the young Zeus, fair as springtime, to a cave on Mount Ida, where he was reared by honey-laden bees, and by the nymph Amaltheia, who nurtured the boy with goats milk. But when the little fellow cried, then the youths (Kouretes) would begin their war-dance, and by striking together spears and shields raised such a din that the father heard not his childs cries, and could do him no harm. Long did they in Crete celebrate this festival of the birth of Zeus with such armed dances, and struck upon their shields as though they would frighten away evil spirits, and keep them off from the child awakening with the spring.
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