Bulfinch's Mythology

Bulfinch's Mythology

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Can’t keep all your gods and goddesses straight? Wondering about mythological references in classic literature? Bulfinch’s Mythology offers approachable accounts of ancient legends in a compilation of the works of Thomas Bulfinch, banker and Latinist. This volume includes all three of Bulfinch’s original titles: The Age of Fable, The Age of Chivalry, and The Legends of Charlemagne. Bulfinch states his purpose for the book clearly: “Our work is not for the learned, nor for the theologian, nor for the philosopher, but for the reader of English literature…who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets, and those which occur in polite conversation.” This compilation was widely used as the authoritative text on mythology in schools for over a century.

Lexile score: 1190L

Product Details

ISBN-13: 9781626862777
Publisher: Canterbury Classics
Publication date: 10/01/2014
Series: Leather-bound Classics
Format: NOOK Book
Pages: 720
Lexile: 1190L (what's this?)
File size: 2 MB

About the Author

Thomas Bulfinch was an American writer born in Newton, Massachusetts.
University of Pennsylvania: M.A., Ph.D. Graduate Group in Ancient History. Dissertation Title: “The Origins of Aphrodite.” 1991–2000


Read an Excerpt

Bulfinch's Mythology

The Age of Fable
By Thomas Bulfinch

Doubleday Books

Copyright ©1990 Thomas Bulfinch
All right reserved.

ISBN: 1568650604


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 easylearning 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 "honours 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 book 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 endeavoured 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 parlour.

Most of the classical legends in this book 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 abridgement 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 endeavoured 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 book 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.

We trust our young readers will find it a source of entertainment; those more advanced a useful companion in their reading; those who travel, and visit museums and galleries of art, an interpreter of paintings and sculptures; those who mingle in cultivated society a key to allusions which are occasionally made; and last of all, those in advanced life pleasure in retracing a path of literature which leads them back to the days of their childhood, and revives at every step the associations of the morning of life.

The permanency of those associations is beautifully expressed in the well-known lines of Coleridge, in "The Piccolomini," Act ii, Scene 4:

"The intelligible forms of ancient poets,
The fair humanities of old religion,
The Power, the Beauty, and the Majesty
That had their haunts in dale or piny mountain,
Or forest, by slow stream, or pebbly spring,
Or chasms and watery depths; all these have vanished;
They live no longer in the faith of reason;
But still the heart doth need a language; still
Doth the old instinct bring back the old names;
Spirits or gods that used to share this earth
With man as with their friend; and at this day
'Tis Jupiter who brings whate'er is great,
And Venus who brings every thing that's fair."


Excerpted from Bulfinch's Mythology by Thomas Bulfinch Copyright ©1990 by Thomas Bulfinch. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

The age of fable — The age of chivalry — Legends of Charlemagne.

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Bulfinch's Mythology (Barnes & Noble Classics Series) 4.2 out of 5 based on 0 ratings. 113 reviews.
Guest More than 1 year ago
Bulfinch's Mythology, one of the tools used when creating my novel, Grecian Rune, is a cornerstone in the understanding of modern story-telling. Simple to understand, and decorated with acute illustrations, this mythology compilation is the one for all ages. Needless to say, it is as definitive as the works of Isaac Asimov and J.R.R. Tolkien. I strongly recomend this for anyone interested in Greek Mythology and other myths and legends.
ClassicReaderBW More than 1 year ago
Bulfinch does a great job of retelling the classic Greek/Roman myths of antiquity as well as the myths of Old Europe including, among others, Arthur, Charlemange, Orlando, and Thor. One part that stands out is the Mabinogeon which (and this is noted on page 561 of the Modern Library edition) has a Thousand and One Nights fell to it. One part that appeared to not fit into the book at all was Chapter 37 of The Age of Fable, which hastily describes a portion of Eastern Mythology. Although this section has no true faults with the information, one gets the sense that Bulfinch quickly threw the myths together and since he didn't have room for them anywhere else he put them in this chapter. Although it does not take away from the quality of the book it might have been better had Bulfinch chosen either to elaborate slightly on the myths or to not include them altogether. However, for an introduction to classical mythology for the reader who is having trouble understanding Byron or Milton or Shakespeare or a hundred other classical European and American writers this book is a godsend. Bulfinch tailored this book to just this kind of reader. At times it may seem a bit dry, but Bulfinch intended his work to be used as a reference mainly (which is why he included a great index in the back of The Age of Fable). For those readers who are interested in mythology as an end unto itself, I recommend this work as your main road map through this sometimes confusing trail. Robert Graves and Edith Hamilton's works are good also but in my opinion Bulfinch outdoes both of them. From here you will definitely want to look at the Madrus and Mathers 4 vol. edition of the Thousand Nights and One Night (that is the full title) if you liked the Eastern feel that you get in Chapter 37 in the Age of Fable and the Mabinogeon. If you are interested in the Greek and Roman myths mainly go straight to the horses mouth and read Ovid, Homer, and Virgil. For more European mythology, Malory's Le Morte D'Arthur is indespensable. I recommend Penguin's two volume edition but with some hesitation, as the annotation is a bit strange, making you flip back and forth between the front of the book and the back of the book. However, Penguin prints out almost every major mythological story, ranging from the Medieval French Romances to the Icelandic Sagas. As stated before, let Bulfinch lead you through this mass of myths, he knows what he's doing.
Anonymous More than 1 year ago
The material is timeless and interesting. Although the book is very inexpensive, the editing is atrocious. There many misspellings, words, phrases and in some cases, entire sentences simply missing. I would suggest that if you are going to do it, take the time to do it correctly.
Anonymous More than 1 year ago
I liked all the myths I can't get enough of them
Anonymous More than 1 year ago
Perfect for Nook Simple Touch, true to book
Anonymous More than 1 year ago
Who ever said that this book wasn't good because no kid likes history is W-R-O-N-G WRONG!!!!!!!!!!!!!!!!
Anonymous More than 1 year ago
Just aswome
Jerry Stevens More than 1 year ago
its good
Guest More than 1 year ago
This masterpiece is great for all ages. It is easy enough to read for say an eighth grader but true enough for a woman say at the age of 50. It is truly inspiring and worth reading. Greek Mythology is incredible and entertaining. It is worth reading.
Anonymous More than 1 year ago
Poseidon's other daughter... hmmm my room is small compared to Cadmus's cabin i wonder why...
Anonymous More than 1 year ago
Citizenjoyce on LibraryThing More than 1 year ago
Bullfinch has written a sort of crib notes for The Iliad, The Odyssey, The Aeneid, The Upanishads, The Vedas, plus information about myths without primary books, like the Druids. The information is fascinating, and the amount of work put into the project is overwhelming. Gods and goddesses throughout the ages are shown to be just and unjust, proud, vain, supportive, vengeful, faithful and arbitrary. It's a little amusing to see him use Christianity as the basis of truth while he refers to all the other religions as superstitions, but what a wealth of information never the less. He gives both the stories of gods and heroes and how they have been referred to in literature, up to that time. Now when I hear of someone's reading Stones For Ibarra, I know who Ibarra was.I recommend this book to anyone interested in classics, literature, religion or geography.
laudemgloriae on LibraryThing More than 1 year ago
I was having trouble analyzing British poetry in English senior year, but I picked up an illusion here and there to what little I knew of Greek and Roman mythology. So I got myself a used copy of this book, and I was amazed at how mythology is the key to understanding so much literature! I fell in love.
Mendoza on LibraryThing More than 1 year ago
THE reference book for mythology. I may have gone on to other works as the years pass but I still come back to this work. It is very reminisent of high school and all that angst for me. I believe I had all the answers back then....THis book is definitely a must.
jwl on LibraryThing More than 1 year ago
A great all around resource for a variety of myths, mostly focused in Greek and Roman mythology but with some medieval ones as well.
rampaginglibrarian on LibraryThing More than 1 year ago
This along with Edith Hamilton's Mythology is one of THE classic texts of mythology (in fact this is probably considered THE ONE to most basic college mythology (read Old White Men --No Offense)professors) i know this was mine. And it does cover the basics and i still refer to it from time to time but i find it a little dry. (and really--mythology should be anything but dry!!!)
Anonymous More than 1 year ago
She sat by a tree nd burried her facr in her paws 'Firepelt i miss you...i wish you were here' she meowed to herself as a tear slipped from her eye
Anonymous More than 1 year ago
She looked to firepelt meowing "hello"
Anonymous More than 1 year ago
Anonymous More than 1 year ago
How many chapters does this edition have.
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Anonymous More than 1 year ago
really captivates your imagination, well written.
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