An illustrated anthology of classical myths, based on Bulfinch's nineteenth-century "Age of Fable," examining myths of divinities and heroes, and including commentary.

Purpose of the Study. Interwoven with the fabric of our English literature, of our epics, dramas, lyrics, and novels, of our essays and orations, like a golden warp where the woof is only too often of silver, are the myths of certain ancient nations. It is the purpose of this work to relate some of these myths, and to illustrate the uses to which they have been put in English literature, and, incidentally, in art. The Fable and the Myth. Careful discrimination must be made between the fable and the myth. A fable is a story, like that of King Log, or the Fox and the Grapes, in which characters and plot, neither pretending to reality nor demanding credence, are fabricated confessedly as the vehicle of moral or didactic instruction. Dr. Johnson narrows still further the scope of the fable: "It seems to be, in its genuine state, a narrative in which beings irrational, and sometimes inanimate, are, for the purpose of moral instruction, feigned to act and speak with human interests and passions." Myths, on the other hand, are stories of anonymous origin, prevalent among primitive peoples and by them accepted as true, concerning supernatural beings and events, or natural beings and events influenced by supernatural agencies. Fables are made by individuals; they may be told in any stage of a nation's history,—by a Jotham when the Israelites were still under the Judges, 1200 years before Christ, or by Christ himself in the days of the most critical Jewish scholarship; by a Menenius when Rome was still involved in petty squabbles of plebeians and patricians, or by Phædrus and Horace in the Augustan age of Roman imperialism and Roman letters; by an Æsop, well-nigh fabulous, to fabled fellow-slaves and Athenian tyrants, or by La Fontaine to the Grand Monarch and the most highly civilized race of seventeenth-century Europe. Fables are vessels made to order into which a lesson may be poured. Myths are born, not made. They are born in the infancy of a people. They owe their features not to any one historic individual, but to the imaginative efforts of generations of story-tellers. The myth of Pandora, the first woman, endowed by the immortals with heavenly graces, and of Prometheus, who stole fire from heaven for the use of man; the myth of the earthborn giants that in the beginning contested with the gods the sovereignty of the universe; of the moon-goddess who, with her buskined nymphs, pursues the chase across the azure of the heavens, or descending to earth cherishes the youth Endymion,—these myths, germinating in some quaint and childish interpretation of natural events or in some fireside fancy, have put forth unconsciously, under the nurture of the simple folk that conceived and tended them, luxuriant branches and leaves of narrative, and blossoms of poetic comeliness and form. The myths that we shall relate present wonderful accounts of the creation, histories of numerous divine beings, adventures of heroes in which magical and ghostly agencies play a part, and where animals and inanimate nature don the attributes of men and gods. Many of these myths treat of divinities once worshiped by the Greeks and the Romans, and by our Norse and German forefathers in the dark ages. Myths, more or less like these, may be found in the literatures of nearly all nations; many are in the memories and mouths of savage races at this time existent. But the stories here narrated are no longer believed by any one. The so-called divinities of Olympus and of Asgard have not a single worshiper among men. They dwell only in the realm of memory and imagination; they are enthroned in the palace of art.

In 'The Classic Myths in English Literature and in Art,' edited by Thomas Bulfinch and Charles Mills Gayley, the reader is introduced to a meticulously curated anthology that explores the enduring allure and profound impact of classical myths on English literature and art. Through a diverse array of literary styles, the collection offers a comprehensive examination of how ancient myths have been reimagined and reinterpreted across different periods, highlighting the transformative power of mythology in shaping cultural narratives. The anthology stands out for its rich tapestry of perspectives, weaving together seminal works that underscore the contemporaneous relevance of these age-old stories. This scholarly compilation benefits immensely from the diverse backgrounds of Thomas Bulfinch and Charles Mills Gayley, whose collective expertise in mythology and literature provides an unparalleled insight into the interplay between myth and artistic expression. Aligning with various historical and cultural movements, their curation underscores the timeless nature of these myths, demonstrating how classical stories have continually adapted to reflect, critique, and influence societal values and human experiences across ages. 'The Classic Myths in English Literature and in Art' is an essential read for those intrigued by the symbiotic relationship between mythology, literature, and art. It offers readers a unique portal to explore the myriad ways in which myth has permeated English literature and art, fostering a deeper appreciation for the ingenuity with which these tales have been retold. The anthology not only enriches ones understanding of literary and artistic tradition but also invites an engaging dialogue between the past and the present, making it an invaluable resource for both scholars and enthusiasts alike.