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Discovering Diverse Content Through
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The Project Gutenberg eBook of Bulfinch's
Mythology
 This ebook is for the use of anyone anywhere in the United
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Title: Bulfinch's Mythology

Author: Thomas Bulfinch

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*** START OF THE PROJECT GUTENBERG EBOOK BULFINCH'S

MYTHOLOGY ***
 JOVE (JUPITER).
Museum at Naples. Excavated from Pompeii in 1818.
 BULFINCH’S
MYTHOLOGY

The Age of Fable

The Age of Chivalry
Legends of Charlemagne

BY
THOMAS BULFINCH

COMPLETE IN ONE VOLUME

REVISED AND ENLARGED, WITH ILLUSTRATIONS

GROSSET & DUNLAP • Publishers • NEW YORK

 Copyright, 1913,
By THOMAS Y. CROWELL COMPANY.

Printed in the United States of America

PUBLISHERS’ PREFACE
No new edition of Bulfinch’s classic work can be considered
complete without some notice of the American scholar to whose
wide erudition and painstaking care it stands as a perpetual
monument. “The Age of Fable” has come to be ranked with older
books like “Pilgrim’s Progress,” “Gulliver’s Travels,” “The Arabian
Nights,” “Robinson Crusoe,” and five or six other productions of
world-wide renown as a work with which every one must claim some
acquaintance before his education can be called really complete.
Many readers of the present edition will probably recall coming in
contact with the work as children, and, it may be added, will no
doubt discover from a fresh perusal the source of numerous bits of
knowledge that have remained stored in their minds since those
early years. Yet to the majority of this great circle of readers and
students the name Bulfinch in itself has no significance.
Thomas Bulfinch was a native of Boston, Mass., where he was
born in 1796. His boyhood was spent in that city, and he prepared
for college in the Boston schools. He finished his scholastic training
at Harvard College, and after taking his degree was for a period a
teacher in his home city. For a long time later in life he was
employed as an accountant in the Boston Merchants’ Bank. His
leisure time he used for further pursuit of the classical studies which
he had begun at Harvard, and his chief pleasure in life lay in writing
out the results of his reading, in simple, condensed form for young
or busy readers. The plan he followed in this work, to give it the
greatest possible usefulness, is set forth in the Author’s Preface.
“The Age of Fable,” First Edition, 1855; “The Age of Chivalry,”
1858; “The Boy Inventor,” 1860; “Legends of Charlemagne, or
Romance of the Middle Ages,” 1863; “Poetry of the Age of Fable,”
1863; “Oregon and Eldorado, or Romance of the Rivers,” 1860.
In this complete edition of his mythological and legendary lore
“The Age of Fable,” “The Age of Chivalry,” and “Legends of
Charlemagne” are included. Scrupulous care has been taken to
follow the original text of Bulfinch, but attention should be called to
some additional sections which have been inserted to add to the
rounded completeness of the work, and which the publishers believe
would meet with the sanction of the author himself, as in no way
intruding upon his original plan but simply carrying it out in more
complete detail. The section on Northern Mythology has been
enlarged by a retelling of the epic of the “Nibelungen Lied,” together
with a summary of Wagner’s version of the legend in his series of
music-dramas. Under the head of “Hero Myths of the British Race”
have been included outlines of the stories of Beowulf, Cuchulain,
Hereward the Wake, and Robin Hood. Of the verse extracts which
occur throughout the text, thirty or more have been added from
literature which has appeared since Bulfinch’s time, extracts that he
would have been likely to quote had he personally supervised the
new edition.
Finally, the index has been thoroughly overhauled and, indeed,
remade. All the proper names in the work have been entered, with
references to the pages where they occur, and a concise explanation
or definition of each has been given. Thus what was a mere list of
names in the original has been enlarged into a small classical and
mythological dictionary, which it is hoped will prove valuable for
reference purposes not necessarily connected with “The Age of
Fable.”
Acknowledgments are due the writings of Dr. Oliver Huckel for
information on the point of Wagner’s rendering of the Nibelungen
legend, and M. I. Ebbutt’s authoritative volume on “Hero Myths and
Legends of the British Race,” from which much of the information
concerning the British heroes has been obtained.

AUTHOR’S PREFACE
If no other knowledge deserves to be called useful but that which
helps to enlarge our possessions or to raise our station in society,
then Mythology has no claim to the appellation. But if that which
tends to make us happier and better can be called useful, then we
claim that epithet for our subject. For Mythology is the handmaid of
literature; and literature is one of the best allies of virtue and
promoters of happiness.
Without a knowledge of mythology much of the elegant literature
of our own language cannot be understood and appreciated. When
Byron calls Rome “the Niobe of nations,” or says of Venice, “She
looks a Sea-Cybele fresh from ocean,” he calls up to the mind of one
familiar with our subject, illustrations more vivid and striking than
the pencil could furnish, but which are lost to the reader ignorant of
mythology. Milton abounds in similar allusions. The short poem
“Comus” contains more than thirty such, and the ode “On the
Morning of the Nativity” half as many. Through “Paradise Lost” they
are scattered profusely. This is one reason why we often hear
persons by no means illiterate say that they cannot enjoy Milton. But
were these persons to add to their more solid acquirements the easy
learning of this little volume, much of the poetry of Milton which has
appeared to them “harsh and crabbed” would be found “musical as
is Apollo’s lute.” Our citations, taken from more than twenty-five
poets, from Spenser to Longfellow, will show how general has been
the practice of borrowing illustrations from mythology.
 The prose writers also avail themselves of the same source of
elegant and suggestive illustration. One can hardly take up a number
of the “Edinburgh” or “Quarterly Review” without meeting with
instances. In Macaulay’s article on Milton there are twenty such.
But how is mythology to be taught to one who does not learn it
through the medium of the languages of Greece and Rome? To
devote study to a species of learning which relates wholly to false
marvels and obsolete faiths is not to be expected of the general
reader in a practical age like this. The time even of the young is
claimed by so many sciences of facts and things that little can be
spared for set treatises on a science of mere fancy.
But may not the requisite knowledge of the subject be acquired
by reading the ancient poets in translations? We reply, the field is
too extensive for a preparatory course; and these very translations
require some previous knowledge of the subject to make them
intelligible. Let any one who doubts it read the first page of the
“Æneid,” and see what he can make of “the hatred of Juno,” the
“decree of the Parcæ,” the “judgment of Paris,” and the “honors of
Ganymede,” without this knowledge.
Shall we be told that answers to such queries may be found in
notes, or by a reference to the Classical Dictionary? We reply, the
interruption of one’s reading by either process is so annoying that
most readers prefer to let an allusion pass unapprehended rather
than submit to it. Moreover, such sources give us only the dry facts
without any of the charm of the original narrative; and what is a
poetical myth when stripped of its poetry? The story of Ceyx and
Halcyone, which fills a chapter in our book, occupies but eight lines
in the best (Smith’s) Classical Dictionary; and so of others.
Our work is an attempt to solve this problem, by telling the
stories of mythology in such a manner as to make them a source of
amusement. We have endeavored to tell them correctly, according to
the ancient authorities, so that when the reader finds them referred
to he may not be at a loss to recognize the reference. Thus we hope
to teach mythology not as a study, but as a relaxation from study; to
give our work the charm of a story-book, yet by means of it to
impart a knowledge of an important branch of education. The index
at the end will adapt it to the purposes of reference, and make it a
Classical Dictionary for the parlor.
Most of the classical legends in “Stories of Gods and Heroes” are
derived from Ovid and Virgil. They are not literally translated, for, in
the author’s opinion, poetry translated into literal prose is very
unattractive reading. Neither are they in verse, as well for other
reasons as from a conviction that to translate faithfully under all the
embarrassments of rhyme and measure is impossible. The attempt
has been made to tell the stories in prose, preserving so much of the
poetry as resides in the thoughts and is separable from the language
itself, and omitting those amplifications which are not suited to the
altered form.
The Northern mythological stories are copied with some
abridgment from Mallet’s “Northern Antiquities.” These chapters,
with those on Oriental and Egyptian mythology, seemed necessary
to complete the subject, though it is believed these topics have not
usually been presented in the same volume with the classical fables.
The poetical citations so freely introduced are expected to
answer several valuable purposes. They will tend to fix in memory
the leading fact of each story, they will help to the attainment of a
correct pronunciation of the proper names, and they will enrich the
memory with many gems of poetry, some of them such as are most
frequently quoted or alluded to in reading and conversation.
Having chosen mythology as connected with literature for our
province, we have endeavored to omit nothing which the reader of
elegant literature is likely to find occasion for. Such stories and parts
of stories as are offensive to pure taste and good morals are not
given. But such stories are not often referred to, and if they
occasionally should be, the English reader need feel no mortification
in confessing his ignorance of them.
Our work is not for the learned, nor for the theologian, nor for
the philosopher, but for the reader of English literature, of either sex,
who wishes to comprehend the allusions so frequently made by
public speakers, lecturers, essayists, and poets, and those which
occur in polite conversation.
 ————

In the “Stories of Gods and Heroes” the compiler has endeavored

to impart the pleasures of classical learning to the English reader, by
presenting the stories of Pagan mythology in a form adapted to
modern taste. In “King Arthur and His Knights” and “The
Mabinogeon” the attempt has been made to treat in the same way
the stories of the second “age of fable,” the age which witnessed the
dawn of the several states of Modern Europe.
It is believed that this presentation of a literature which held
unrivalled sway over the imaginations of our ancestors, for many
centuries, will not be without benefit to the reader, in addition to the
amusement it may afford. The tales, though not to be trusted for
their facts, are worthy of all credit as pictures of manners; and it is
beginning to be held that the manners and modes of thinking of an
age are a more important part of its history than the conflicts of its
peoples, generally leading to no result. Besides this, the literature of
romance is a treasure-house of poetical material, to which modern
poets frequently resort. The Italian poets, Dante and Ariosto, the
English, Spenser, Scott, and Tennyson, and our own Longfellow and
Lowell, are examples of this.
These legends are so connected with each other, so consistently
adapted to a group of characters strongly individualized in Arthur,
Launcelot, and their compeers, and so lighted up by the fires of
imagination and invention, that they seem as well adapted to the
poet’s purpose as the legends of the Greek and Roman mythology.
And if every well-educated young person is expected to know the
story of the Golden Fleece, why is the quest of the Sangreal less
worthy of his acquaintance? Or if an allusion to the shield of Achilles
ought not to pass unapprehended, why should one to Excalibar, the
famous sword of Arthur?—
“Of Arthur, who, to upper light restored,
With that terrific sword,
Which yet he brandishes for future war,
Shall lift his country’s fame above the polar star.”[1]
 It is an additional recommendation of our subject, that it tends to
cherish in our minds the idea of the source from which we sprung.
We are entitled to our full share in the glories and recollections of
the land of our forefathers, down to the time of colonization thence.
The associations which spring from this source must be fruitful of
good influences; among which not the least valuable is the increased
enjoyment which such associations afford to the American traveller
when he visits England, and sets his foot upon any of her renowned
localities.

————

The legends of Charlemagne and his peers are necessary to

complete the subject.
In an age when intellectual darkness enveloped Western Europe,
a constellation of brilliant writers arose in Italy. Of these, Pulci (born
in 1432), Boiardo (1434), and Ariosto (1474) took for their subjects
the romantic fables which had for many ages been transmitted in the
lays of bards and the legends of monkish chroniclers. These fables
they arranged in order, adorned with the embellishments of fancy,
amplified from their own invention, and stamped with immortality. It
may safely be asserted that as long as civilization shall endure these
productions will retain their place among the most cherished
creations of human genius.
In “Stories of Gods and Heroes,” “King Arthur and His Knights”
and “The Mabinogeon” the aim has been to supply to the modern
reader such knowledge of the fables of classical and mediæval
literature as is needed to render intelligible the allusions which occur
in reading and conversation. The “Legends of Charlemagne” is
intended to carry out the same design. Like the earlier portions of
the work, it aspires to a higher character than that of a piece of
mere amusement. It claims to be useful, in acquainting its readers
with the subjects of the productions of the great poets of Italy. Some
knowledge of these is expected of every well-educated young
person.
 In reading these romances, we cannot fail to observe how the
primitive inventions have been used, again and again, by successive
generations of fabulists. The Siren of Ulysses is the prototype of the
Siren of Orlando, and the character of Circe reappears in Alcina. The
fountains of Love and Hatred may be traced to the story of Cupid
and Psyche; and similar effects produced by a magic draught appear
in the tale of Tristram and Isoude, and, substituting a flower for the
draught, in Shakspeare’s “Midsummer Night’s Dream.” There are
many other instances of the same kind which the reader will
recognize without our assistance.
The sources whence we derive these stories are, first, the Italian
poets named above; next, the “Romans de Chevalerie” of the Comte
de Tressan; lastly, certain German collections of popular tales. Some
chapters have been borrowed from Leigh Hunt’s Translations from
the Italian Poets. It seemed unnecessary to do over again what he
had already done so well; yet, on the other hand, those stories could
not be omitted from the series without leaving it incomplete.
Thomas Bulfinch.
 CONTENTS
STORIES OF GODS AND HEROES
CHAPTER PAGE

I. Introduction 1
II. Prometheus and Pandora 12
III. Apollo and Daphne—Pyramus and Thisbe—
Cephalus and Procris 19
IV. Juno and her Rivals, Io and Callisto—Diana and
Actæon—Latona and the Rustics 28
V. Phaëton 38
VI. Midas—Baucis and Philemon 46
VII. Proserpine—Glaucus and Scylla 52
VIII. Pygmalion—Dryope—Venus and Adonis—Apollo
and Hyacinthus 62
IX. Ceyx and Halcyone 69
X. Vertumnus and Pomona—Iphis and Anaxarete 76
XI. Cupid and Psyche 80
XII. Cadmus—The Myrmidons 91
XIII. Nisus and Scylla—Echo and Narcissus—Clytie—
Hero and Leander 98
XIV. Minerva and Arachne—Niobe 107
XV. The Grææ and Gorgons—Perseus and Medusa—
Atlas—Andromeda 115
XVI. Monsters: Giants—Sphinx—Pegasus and Chimæra
—Centaurs—Griffin—Pygmies 122
XVII. The Golden Fleece—Medea 129
XVIII. Meleager and Atalanta 138
XIX. Hercules—Hebe and Ganymede 143
XX. Theseus and Dædalus—Castor and Pollux—
Festivals and Games 150
XXI. Bacchus and Ariadne 160
XXII. The Rural Deities—The Dryads and Erisichthon—
Rhœcus—Water Deities—Camenæ—Winds 166
 XXIII. Achelous and Hercules—Admetus and Alcestis—
Antigone—Penelope 177
XXIV. Orpheus and Eurydice—Aristæus—Amphion—Linus
—Thamyris—Marsyas—Melampus—Musæus 185
XXV. Arion—Ibycus—Simonides—Sappho 194
XXVI. Endymion—Orion—Aurora and Tithonus—Acis and
Galatea 204
XXVII. The Trojan War 211
XXVIII. The Fall of Troy—Return of the Greeks—Orestes
and Electra 227
XXIX. Adventures of Ulysses—The Lotus-eaters—The
Cyclopes—Circe—Sirens—Scylla and Charybdis—
Calypso 236
XXX. The Phæacians—Fate of the Suitors 247
XXXI. Adventures of Æneas—The Harpies—Dido—
Palinurus 258
XXXII. The Infernal Regions—The Sibyl 266
XXXIII. Æneas in Italy—Camilla—Evander—Nisus and
Euryalus—Mezentius—Turnus 276
XXXIV. Pythagoras—Egyptian Deities—Oracles 288
XXXV. Origin of Mythology—Statues of Gods and
Goddesses—Poets of Mythology 300
XXXVI. Monsters (modern)—The Phœnix—Basilisk—
Unicorn—Salamander 310
XXXVII. Eastern Mythology—Zoroaster—Hindu Mythology—
Castes—Buddha—The Grand Lama—Prester
John 318
XXXVIII. Northern Mythology—Valhalla—The Valkyrior 328
XXXIX. Thor’s Visit to Jotunheim 337
XL. The Death of Baldur—The Elves—Runic Letters—
Skalds—Iceland—Teutonic Mythology—The
Nibelungen Lied—Wagner’s Nibelungen Ring 343
 XLI. The Druids—Iona 358

KING ARTHUR AND HIS KNIGHTS

CHAPTER PAGE

I. Introduction 367
II. The Mythical History of England 378
III. Merlin 389
IV. Arthur 394
V. Arthur (Continued) 405
VI. Sir Gawain 414
VII. Caradoc Briefbras; or, Caradoc with the Shrunken
Arm 418
VIII. Launcelot of the Lake 424
IX. The Adventure of the Cart 435
X. The Lady of Shalott 441
XI. Queen Guenever’s Peril 445
XII. Tristram and Isoude 449
XIII. Tristram and Isoude (Continued) 457
XIV. Sir Tristram’s Battle with Sir Launcelot 464
XV. The Round Table 467
XVI. Sir Palamedes 472
XVII. Sir Tristram 475
XVIII. Perceval 479
XIX. The Sangreal, or Holy Graal 486
XX. The Sangreal (Continued) 491
XXI. The Sangreal (Continued) 497
XXII. Sir Agrivain’s Treason 507
XXIII. Morte d’Arthur 515
 THE MABINOGEON

CHAPTER PAGE

Introductory Note 527

I. The Britons 529
II. The Lady of the Fountain 534
III. The Lady of the Fountain (Continued) 539
IV. The Lady of the Fountain (Continued) 546
V. Geraint, the Son of Erbin 553
VI. Geraint, the Son of Erbin (Continued) 564
VII. Geraint, the Son of Erbin (Continued) 572
VIII. Pwyll, Prince of Dyved 583
IX. Branwen, the Daughter of Llyr 589
X. Manawyddan 597
XI. Kilwich and Olwen 608
XII. Kilwich and Olwen (Continued) 620
XIII. Taliesin 626

HERO MYTHS OF THE BRITISH RACE

Beowulf 635
Cuchulain, Champion of Ireland 637
Hereward the Wake 641
Robin Hood 643

LEGENDS OF CHARLEMAGNE
Introduction 647
The Peers, or Paladins 656
The Tournament 664
The Siege of Albracca 672
Adventures of Rinaldo and Orlando 683
The Invasion of France 693
The Invasion of France (Continued) 702
Bradamante and Rogero 712
Astolpho and the Enchantress 721
The Orc 732
Astolpho’s Adventures continued, and Isabella’s begun 739
Medoro 745
Orlando Mad 753
Zerbino and Isabella 760
Astolpho in Abyssinia 769
The War in Africa 777
Rogero and Bradamante 788
The Battle of Roncesvalles 801
Rinaldo and Bayard 814
Death of Rinaldo 819
Huon of Bordeaux 825
Huon of Bordeaux (Continued) 832
Huon of Bordeaux (Continued) 842
Ogier, the Dane 848
Ogier, the Dane (Continued) 856
Ogier, the Dane (Continued) 863

————
Proverbial Expressions 873

List of Illustrative Passages Quoted from the Poets 875

Index and Dictionary 877

LIST OF ILLUSTRATIONS
(Added for convenience)
 1. JOVE (JUPITER). Museum at Naples. Excavated from Pompeii
in 1818.
2. Western Mediterranean Map The World of the Ancient Greeks
and Romans, showing Location of Places mentioned in
“Stories of Gods and Heroes.”
3. Eastern Mediterranean Map The World of the Ancient Greeks
and Romans, showing Location of Places mentioned in
“Stories of Gods and Heroes.”
4. THE DESCENT OF THE GODS [Greek and Roman Gods Family
Tree]
5. CIRCE. From painting by Burne-Jones.
6. THE THREE FATES. From painting by Michael Angelo. Pitti
Gallery, Florence.
7. HERCULES IN BATTLE WITH A CENTAUR. Florence. John of
Bologna.
8. PARTING OF HECTOR AND ANDROMACHE. From painting by
A. Maignan.
9. THETIS BEARING THE ARMOR OF ACHILLES. From painting
by François Gerard.
10. CIRCE AND THE FRIENDS OF ULYSSES. From painting by
Briton Rivière.
11. ÆNEAS AT THE COURT OF QUEEN DIDO. From painting by P.
Guerin. Salon of 1817.
12. A VALKYR. From painting by P. N. Arbo.
13. THE BEGUILING OF MERLIN. From painting by Sir Edwin
Burne-Jones.
14. THE ROUND TABLE. From a photograph. This supposed relic
of King Arthur and his Knights now hangs in the Great Hall
of the Castle of Winchester (Camelot).
15. SIR GALAHAD. From painting by George Frederick Watts.
16. KING ARTHUR AND QUEEN GUENEVER. Original drawing by A.
Fredericks.
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