THE BOOK OF GREEK & ROMAN FOLKTALES, LEGENDS & MYTHS
Edited, translated and introduced by William Hansen
ISBN 978-0-691-17015-2
Princeton
£35
reviewed by Alan Dent
Divided into eight
chapters, each one subdivided, with a thorough, erudite introduction
an appendix, notes and bibliography, this is an excellent compendium
and reference book. Chapter 1,
Kings and Princesses,
begins with the story of Cupid and Psyche and includes the perhaps
less well-known story of the treasury of Rhampsinitos, told by
Herodotus. Grisly and somewhat bawdy it illustrates both the
impossibility of keeping great wealth safe and the wiliness of those
who would steal it. Like many ancient tales concerning wealth it
points to its negative influence on behaviour. The following seven
chapters are Gods and Ghosts,
Legends on Various Themes,
Tricksters and Lovers,
Artists and Athletes,
Memorable Words
and Notable
Actions,
Sages and Philosophers
and Numskulls and Sybarites.
Hansen’s introduction offers a panorama of the kinds of
ancient stories: myth, heroic legend, historic legend, religious
legend and so on. Knowing which category a story falls into doesn’t
necessarily enhance the pleasure in reading, but Hansens’ thorough
knowledge and intelligent taxonomy does make orientation in the
potentially confusing world of clashing genres easier.
The story of Narcissus is included in Chapter 2 under the
designation of Lower Mythology. It’s sometimes neglected that
Narcissus disdained Eros. He had no interest in love objects.
Ameinais pursues him in spite of rebuffs, but Narcissus refuses his
love. Only after this did he see his own reflection and become
enamoured. Confused and fearing his dismissal of Ameinais was the
cause of his distress, he kills himself. The story is much more
complicated than is often remembered. Narcissus is destroyed by his
inability to love rather than by falling for his own image.
Pythagoras is included as a wonder-worker not a
mathematician. This is not the figure every schoolgirl knows, but
the man who displayed his golden thigh and believed he had
super-human powers. Porphyry tells of the boy who could understand
the birds. His mother urinates in his ears to destroy his gift out
of fear that he will be handed over as a gift to the ruler.
Theramenes escapes death when a house collapses and responds by
asking “Zeus, why me?” Subsequently he is put to death by the
Thirty, the junta which ruled Athens. Clement of Alexandria recounts
the tale of Pygmalion, who apparently, was not alone in falling for
the statue of Aphrodite and having sexual relations with it. The
moral is taken to be that powerful art can lead people astray.
Perhaps a better interpretation is that a naïve approach to art is
potentially disastrous. Taking a work of art for reality is the
problem. The people who send condolences when a character in
The Archers dies haven’t
understood that what they are listening to is factitious. Diodorus
of Sicily treats sexual transformation, a common theme in ancient
legends. His story is set in the fourth century BC and tells, as
they all do, of the transformation from female to male,
precipitating a crisis of sexual identity. Another recurring theme
is the need to cure someone of the inability to laugh. The example
here is from Athenaios. Parmeniskos is robbed of laughter after
visiting the oracle of Trophonios, whicb involves the terror of
descent into a subterranean vault. His faculty is restored when he
sees the statue of the mother of Apollon, which he expects to be
magnificent but which turns out to be no more than a misshapen piece
of wood. Fear of life stops us laughing, the surprise of absurdity
restores us to health. According to the
Life of Aristophanes,
when Plato sought to teach the dictator Dionysios about democracy,
he sent him Aristophanes’ work and advised him to stage his plays.
Good advice to this day. Perhaps someone should introduce Trump and
Putin to Aristophanes. Zeus’s ledger, in which human misdeeds pile
up and await retribution, suggests that sooner or later nefarious
behaviour will bring negative consequences, but sometimes there
is a long delay. Plutarch’s story of the young man who hires
a prostitute only to dream of her the night before and achieve in
his sleep what was he looking forward to, resolves into the couple
appearing before a judge as the courtesan demands her payment. The
judge tells the man to hold his purse out in the sun
so it casts a shadow and the woman to take a shadow coin from the
shadow purse. Don’t confuse dreams with reality. Sophocles comments
that he portrays people as they ought to be while Aristophanes
portrays them as they are; perhaps an enduring distinction between
tragedy and comedy. According to the
Etymologicum Magnum, the
origin of nude athletes among the Greeks was Orsippos whose
loincloth fell while he was competing and he won. Many nude
athletes, of course, didn’t. Don’t take a correlation for a cause.
Plutarch tells of the Spartan claim that there were no adulterers
among them. When asked what would happen to one if he or she
existed, the Spartan replies the sinner would be required to provide
a bull which could span the Taygetos mountain and drink from the
Eurotas river. As this would be impossible, so it is impossible
there are adulterers among the Spartans. Peoples always see
themselves as more virtuous than they are.
Many of the entries are short, which is a delight. This is a
book to be dipped into and returned to over and over. It has many
items suitable for the young. Plenty of bedtime reading. In an age
short of irony in which our public figures seem to speak in inverted
commas it’s good to be reminded of myths, legends and tales which
work by not saying what they seem to say. Perhaps apposite to our
sound-bite culture is the example of the attentive donkey. Zenobios
writes of the man who told his donkey a story and it wiggled its
ears. The response you get to what you say doesn’t always mean it’s
been understood.
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