Near the spot where the cow lay down there was a small stream which issued from a fountain not far distant, called the fountain of Dirce. Cadmus sent some of his men to the place to obtain some water which it was necessary to use in the ceremonies of the sacrifice. It happened, however, that this fountain was a sacred one, having been consecrated to Mars—and there was a great dragon, a son of Mars, stationed there to guard it. The men whom Cadmus sent did not return, and accordingly Cadmus himself, after waiting a suitable time, proceeded to the spot to ascertain the cause of the delay. He found that the dragon had killed his men, and at the time when he arrived at the spot, the monster was greedily devouring the bodies. Cadmus immediately attacked the dragon and slew him, and then tore his teeth out of his head, as trophies of his victory. Minerva had assisted Cadmus in this combat, and when it was ended she directed him to plant the teeth of the dragon in the ground. Cadmus did so, and immediately a host of armed men sprung up from the place where he had planted them. Cadmus threw a stone among these armed men, when they immediately began to contend together in a desperate conflict, until at length all but five of them were slain. These five then joined themselves to Cadmus, and helped him to build his city.
Thebes built.
Cadmia.
He went on very successfully after this. The city which he built was Thebes, which afterward became greatly celebrated. The citadel which he erected within, he called, from his own name, Cadmia.
Ancient ideas of probability.
Belief in supernatural tales.
Final recording of the ancient tales.
Such were the legends which were related in ancient poems and tales; and it is obvious that such narratives must have been composed to entertain groups of listeners whose main desire was to be excited and amused, and not to be instructed. The stories were believed, no doubt, and the faith which the hearer felt in their truth added of course very greatly to the interest which they awakened in his mind. The stories are amusing to us; but it is impossible for us to share in the deep and solemn emotion with which the ancient audiences listened to them, for we have not the power, as they had, of believing them. Such tales related in respect to the great actors on the stage in modern times, would awaken no interest, for there is too general a diffusion both of historical and philosophical knowledge to render it possible for any one to suppose them to be true. But those for whom the story of Europa was invented, had no means of knowing how wide the Mediterranean sea might be, and whether a bull might not swim across it. They did not know but that Mars might have a dragon for a son, and that the teeth of such a dragon might not, when sown in the ground, spring up in the form of a troop of armed men. They listened therefore to the tale with an interest all the more earnest and solemn on account of the marvelousness of the recital. They repeated it word for word to one another, around their camp-fires, at their feasts, in their journeyings—and when watching their flocks at midnight, among the solitudes of the mountains. Thus the tales were handed down from generation to generation, until at length the use of the letters of Cadmus became so far facilitated, that continuous narrations could be expressed by means of them; and then they were put permanently upon record in many forms, and were thus transmitted without any farther change to the present age.
Chapter II.
Cadmus's Letters.
B.C. 1500
Two modes of writing.
There are two modes essentially distinct from each other, by which ideas may be communicated through the medium of inscriptions addressed to the eye. These two modes are, first, by symbolical, and secondly, by phonetic characters. Each of these two systems assumes, in fact, within itself, quite a variety of distinct forms, though it is only the general characteristics which distinguish the two great classes from each other, that we shall have occasion particularly to notice here.
Symbols.
Example.
Symbol of the Deity.
Symbolical writing consists of characters intended severally to denote ideas or things, and not words. A good example of true symbolical writing is to be found in a certain figure often employed among the architectural decorations of churches, as an emblem of the Deity. It consists of a triangle representing the Trinity with the figure of an eye in the middle of it. The eye is intended to denote the divine omniscience. Such a character as this, is obviously the symbol of an idea, not the representative of a word. It may be read Jehovah, or God, or the Deity, or by any other word or phrase by which men are accustomed to denote the Supreme Being. It represents, in fine, the idea, and not any particular word by which the idea is expressed.
Ancient symbols.
The Egyptian hieroglyphics phonetic.
The first attempts of men to preserve records of facts by means of inscriptions, have, in all ages, and among all nations, been of this character. At first, the inscriptions so made were strictly pictures, in which the whole scene intended to be commemorated was represented, in rude carvings. In process of time substitutions and abridgments were adopted in lieu of full representations, and these grew at length into a system of hieroglyphical characters, some natural, and others more or less arbitrary, but all denoting ideas or things, and not the sounds of words. These characters are of the kind usually understood by the word hieroglyphics; though that word can not now with strict accuracy be applied as a distinctive appellation, since it has been ascertained in modern times that a large portion of the Egyptian hieroglyphics are of such a nature as brings them within the second of the two classes which we are here describing, that is, the several delineations represent the sounds and syllables of words, instead of being symbols of ideas or things.
Natural symbols.
It happened that in some cases in this species of writing, as used in ancient times, the characters which were employed presented in their form some natural resemblance to the thing signified, and in other cases they were wholly arbitrary. Thus, the figure of a scepter denoted a king, that of a lion, strength; and two warriors, one with a shield, and the other advancing toward the first with a bow and arrow, represented a battle. We use in fact a symbol similar to the last-mentioned one at the present day, upon maps, where we often see a character formed by two swords crossed, employed to represent a battle.
Mexican record.
The ancient Mexicans had a mode of writing which seems to have been symbolical in its character, and their characters had, many of them at least, a natural signification. The different cities and towns were represented by drawings of such simple objects as were characteristic of them respectively; as a plant, a tree, an article of manufacture, or any other object by which the place in question was most easily and naturally to be distinguished from other places. In one of their inscriptions, for example, there was a character representing a king, and before it four heads. Each of the heads was accompanied by the symbol of the capital of a province, as above described. The meaning of the whole inscription was that in a certain tumult or insurrection the king caused the governors of the four cities to be beheaded.
Arbitrary symbols.
But though, in this symbolical mode of writing, a great many ideas and events could be represented thus, by means of signs or symbols having a greater or less resemblance to the thing signified, yet in many cases