Bulfinch’s Mythology Thomas Bulfinch (intellectual books to read TXT) 📖

with subjects designedly chosen to exhibit the failings and errors of the gods. One scene represented Leda caressing the swan, under which form Jupiter had disguised himself; and another, Danaë, in the brazen tower in which her father had imprisoned her, but where the god effected his entrance in the form of a golden shower. Still another depicted Europa deceived by Jupiter under the disguise of a bull. Encouraged by the tameness of the animal Europa ventured to mount his back, whereupon Jupiter advanced into the sea and swam with her to Crete. You would have thought it was a real bull, so naturally was it wrought, and so natural the water in which it swam. She seemed to look with longing eyes back upon the shore she was leaving, and to call to her companions for help. She appeared to shudder with terror at the sight of the heaving waves, and to draw back her feet from the water.

Arachne filled her canvas with similar subjects, wonderfully well done, but strongly marking her presumption and impiety. Minerva could not forbear to admire, yet felt indignant at the insult. She struck the web with her shuttle and rent it in pieces; she then touched the forehead of Arachne and made her feel her guilt and shame. She could not endure it and went and hanged herself. Minerva pitied her as she saw her suspended by a rope. “Live,” she said, “guilty woman! and that you may preserve the memory of this lesson, continue to hang, both you and your descendants, to all future times.” She sprinkled her with the juices of aconite, and immediately her hair came off, and her nose and ears likewise. Her form shrank up, and her head grew smaller yet; her fingers cleaved to her side and served for legs. All the rest of her is body, out of which she spins her thread, often hanging suspended by it, in the same attitude as when Minerva touched her and transformed her into a spider.

Spenser tells the story of Arachne in his Muiopotmos, adhering very closely to his master Ovid, but improving upon him in the conclusion of the story. The two stanzas which follow tell what was done after the goddess had depicted her creation of the olive tree:

“Amongst these leaves she made a Butterfly,
With excellent device and wondrous slight,
Fluttering among the olives wantonly,
That seemed to live, so like it was in sight;
The velvet nap which on his wings doth lie,
The silken down with which his back is dight,
His broad outstretched horns, his hairy thighs,
His glorious colors, and his glistening eyes.”15

“Which when Arachne saw, as overlaid
And mastered with workmanship so rare,
She stood astonied long, ne aught gainsaid;
And with fast-fixed eyes on her did stare,
And by her silence, sign of one dismayed,
The victory did yield her as her share:
Yet did she inly fret and felly burn,
And all her blood to poisonous rancor turn.”

And so the metamorphosis is caused by Arachne’s own mortification and vexation, and not by any direct act of the goddess.

The following specimen of old-fashioned gallantry is by Garrick:

“Upon a Lady’s Embroidery

“Arachne once, as poets tell,
A goddess at her art defied,
And soon the daring mortal fell
The hapless victim of her pride.

“O, then beware Arachne’s fate;
Be prudent, Chloe, and submit,
For you’ll most surely meet her hate,
Who rival both her art and wit.”

Tennyson, in his Palace of Art, describing the works of art with which the palace was adorned, thus alludes to Europa:

“… sweet Europa’s mantle blew unclasped
From off her shoulder, backward borne,
From one hand drooped a crocus, one hand grasped
The mild bull’s golden horn.”

In his Princess there is this allusion to Danaë:

“Now lies the earth all Danaë to the stars,
And all thy heart lies open unto me.”

Niobe

The fate of Arachne was noised abroad through all the country, and served as a warning to all presumptuous mortals not to compare themselves with the divinities. But one, and she a matron too, failed to learn the lesson of humility. It was Niobe, the queen of Thebes. She had indeed much to be proud of; but it was not her husband’s fame, nor her own beauty, nor their great descent, nor the power of their kingdom that elated her. It was her children; and truly the happiest of mothers would Niobe have been if only she had not claimed to be so. It was on occasion of the annual celebration in honor of Latona and her offspring, Apollo and Diana⁠—when the people of Thebes were assembled, their brows crowned with laurel, bearing frankincense to the altars and paying their vows⁠—that Niobe appeared among the crowd. Her attire was splendid with gold and gems, and her aspect beautiful as the face of an angry woman can be. She stood and surveyed the people with haughty looks. “What folly,” said she, “is this!⁠—to prefer beings whom you never saw to those who stand before your eyes! Why should Latona be honored with worship, and none be paid to me? My father was Tantalus, who was received as a guest at the table of the gods; my mother was a goddess. My husband built and rules this city, Thebes, and Phrygia is my paternal inheritance. Wherever I turn my eyes I survey the elements of my power; nor is my form and presence unworthy of a goddess. To all this let me add I have seven sons and seven daughters, and look for sons-in-law and daughters-in-law of pretensions worthy of my alliance. Have I not cause for pride? Will you prefer to me this Latona, the Titan’s daughter, with her two children? I have seven times as many. Fortunate indeed am I, and fortunate I shall remain! Will anyone deny this? My abundance is my security. I feel myself too strong for Fortune to subdue. She may take from me much; I shall still have much left. Were I to lose some of my children,