without classical prepossession, mythology presents a system of crimes and absurdities, which no allegorical, metaphysical, or literal interpreters of modern times, can perfectly reconcile to common sense, or common morality; but our poets have naturalized ancient fables, so that mythology is become essential even to modern literature. The associations of taste, though arbitrary, are not easily changed in a nation whose literature has attained to a certain pitch of refinement, and whose critical judgments must consequently have been for some generations traditional. There are subjects of popular allusion, which poets and orators regard as common property; to dispossess them of these, seems impracticable, after time has sanctioned the prescriptive right. But new knowledge, and the cultivation of new sciences, present objects of poetic allusion which, skilfully managed by men of inventive genius, will oppose to the habitual reverence for antiquity, the charms of novelty united to the voice of philosophy.7
In education we must, however, consider the actual state of manners in that world in which our pupils are to live, as well as our wishes or our hopes of its gradual improvement.8 With a little care, preceptors may manage so as to teach mythology without in the least injuring their pupils. Children may be familiarized to the strange manners and strange personages of ancient fable, and may consider them as a set of beings who are not to be judged by any rules of morality, and who have nothing in common with ourselves. The caricatura of some of the passions, perhaps, will not shock children who are not used to their natural appearance; they will pass over the stories of love and jealousy, merely because they do not understand them. We should rather leave them completely unintelligible, than attempt, like Mr. Riley, in his mythological pocket dictionary for youth, to elucidate the whole at once, by assuring children that Saturn was Adam, that Atlas is Moses, and his brother Hesperus, Aaron; that Vertumnus and Pomona were Boaz and Ruth; that Mars corresponds with Joshua; that Apollo accords with David, since they both played upon the harp; that Mercury can be no other than our Archangel Michael, since they both have wings on their arms and feet; that, in short, to complete the concordance, Momus is a striking likeness of Satan. The ancients, Mr. Riley allows, have so much disfigured these personages, that it is hard to know many of the portraits again at first sight; however, he is persuaded that "the young student will find a peculiar gratification in tracing the likeness," and he has kindly furnished us with a catalogue to explain the exhibition, and to guide us through his new pantheon.
As books of reference, the convenient size, and compressed information, of pocket mythological dictionaries, will recommend them to general use; but we object to the miserable prints with which they are sometimes disgraced. The first impression made upon the imagination9 of children, is of the utmost consequence to their future taste. The beautiful engravings10 in Spence's Polymetis, will introduce the heathen deities in their most graceful and picturesque forms to the fancy. The language of Spence, though classical, is not entirely free from pedantic affectation, and his dialogues are, perhaps, too stiff and long winded for our young pupils. But a parent or preceptor can easily select the useful explanations; and in turning over the prints, they can easily associate some general notion of the history and attributes of the gods and goddesses with their forms: the little eager spectators will, as they crowd round the book, acquire imperceptibly all the necessary knowledge of mythology, imbibe the first pleasing ideas of taste, and store their imagination with classic imagery. The same precautions that are necessary to educate the eye, are also necessary to form the ear and understanding of taste. The first mythological descriptions which our pupils read, should be the best in their kind. Compare the following account of Europa in a pocket dictionary, with her figure in a poetical gem – "Europa, the daughter of Agenor, king of the Phœnicians, and sister of Cadmus. This princess was so beautiful, that, they say, one of the companions of Juno had robbed her of a pot of paint to bestow on this lady, which rendered her so handsome. She was beloved of Jupiter, who assumed the shape of a bull to run away with her, swam over the sea with her on his back, and carried her into that part of the world now called Europe, from her name." So far the dictionary; now for the poet.
"Now lows a milk-white bull on Afric's strand,
And crops with dancing head the daisy'd land;
With rosy wreathes Europa's hand adorns
His fringed forehead and his pearly horns;
Light on his back the sportive damsel bounds,
And, pleas'd, he moves along the flowery grounds;
Bears with slow step his beauteous prize aloof,
Dips in the lucid flood his ivory hoof;
Then wets his velvet knees, and wading laves
His silky sides, amid the dimpling waves.
While her fond train with beckoning hands deplore,
Strain their blue eyes, and shriek along the shore:
Beneath her robe she draws her snowy feet,
And, half reclining on her ermine seat,
Round his rais'd neck her radiant arms she throws,
And rests her fair cheek on his curled brows;
Her yellow tresses wave on wanton gales,
And high in air her azure mantle sails."11
CHAPTER XIV
The usual manner of teaching Geography and Chronology, may, perhaps, be necessary in public seminaries, where a number of boys are to learn the same thing at the same time; but what is learned in this manner, is not permanent; something besides merely committing names and dates to the memory, is requisite to make a useful impression upon the memory. For the truth of this observation, an appeal is made to the reader. Let him recollect, whether the Geography and Chronology which he learned whilst a boy, are what he now remembers – Whether he has not obtained his present knowledge from other sources than the tasks of early years. When business, or conversation, calls upon us to furnish facts accurate as to place and time, we retrace our former heterogeneous acquirements, and select those circumstances which are connected with our present pursuit, and thus we form, as it were, a nucleus round which other facts insensibly arrange themselves. Perhaps no two men in the world, who are well versed in these studies, connect their knowledge in the same manner. Relation to some particular country, some favourite history, some distinguished person, forms the connection which guides our recollection, and which arranges our increasing nomenclature. By attending to what passes in our own minds, we may learn an effectual method of teaching without pain, and without any extraordinary burden to the memory, all that is useful of these sciences. The details of history should be marked by a few chronological æras, and by a few general ideas of geography. When these have been once completely associated in the mind, there is little danger of their being ever disunited: the sight of any country will recall its history, and even from representations in a map, or on the globe, when the mind is wakened by any recent event, a long train of concomitant ideas will recur.
The use of technical helps to the memory, has been condemned by many, and certainly, when they are employed as artifices to supply the place of real knowledge, they are contemptible; but when they are used as indexes to facts that have been really collected in the mind; when they serve to arrange the materials of knowledge in appropriate classes, and to give a sure and rapid clue to recollection, they are of real advantage to the understanding. Indeed, they are now so common, that pretenders cannot build the slightest reputation upon their foundation. Were an orator to attempt a display of long chronological accuracy, he might be wofully confounded by his opponent's applying at the first pause,
12Elsluk he would have said!
Ample materials are furnished in Gray's Memoria Technica, from which a short and useful selection may be made, according to the purposes which are in view. For children, the little ballad of the
V. Darwin's Poetry.
Since the above was written, we have seen a letter from Dr. Aikin to his son on the
Chapter on Imagination.
We speak of these engravings as
Darwin. V. Botanic Garden.
V. Gray's Memoria Technica, and the Critic.
