By Mursi Saad El-Din The Greek prime minister's visit to Cairo brought back pleasant memories. Holidays spent on beautiful Greek islands remain among the most memorable. Memories take me even farther back, to the university years when as students of English language and literature we were required to learn about Greek mythology. For English poetry is studded with so many references to Greek myths, that it is difficult, almost impossible, to understand or enjoy it without such grounding. The poems of Milton, Byron, Spenser and many others are abound with mythological references. Milton's "Comus" has over 30 such references, and "On the Morning of the Nativity" must have at least half that number. In his Paradise Lost Greek myths are scattered profusely. Meanings that were mysterious to us when we first read Milton became clear after studying Greek mythology. Mythology is described as the handmaid of literature. Greek myths are stories of gods and heroes. Yet these stories have lost their divinity to become part of literature. There they have over the ages, held their place and will, I am sure, continue to do so. I don't intend to trace the history or significance of Greek mythology here. This is a task best left to academics. Instead I shall endeavour to remember how our professors explained English poets' use of this mythological tradition and give some examples from their poetry. It is amazing how we continue to refer to the nine muses, the daughters of Zeus (Jupiter) who presided over song. Each of the nine muses was assigned the presidency over some particular department of literature, art or science. Years ago, as a ministerial adviser, my office was at the Aisha Fahmi Palace, now an art gallery. Its walls were decorated with the paintings of the muses. I still remember Calliope the muse of epic poetry, Euterpe the muse of lyric poetry, Erato of love poetry and Cleo, the muse of history. Then, of course, there were the three graces who presided over the banquet, the dance and all social enjoyment and elegant art. And there were the three fates whose task was to spin the thread of human destiny. Greek myths also included the three furies who punished the crimes of those who escaped or defied public justice, and Nemesis, the avenging goddess, Pan, the god of flocks and shepherds who resided in Arcadia and the Satyrs, the deities of the woods and fields. By studying Greek mythology we came to know what was meant by Pandora's box. Milton in Paradise Lost compared Eve to Pandora: More lovely than Pandora, whom the gods Endowed with all their gifts We also got to know about Prometheus a Titan who became a favourite subject with the poets. He is represented as a friend of mankind who interposed in their behalf. Byron and Shelly have both treated the theme in their poems. Apollo too was the subject of poetry. In "Childe Harold" Byron refers to the famous statute of Apollo called the "Belvedere" which represents Apollo after his victory over Python the serpent: The lord of the unerring bow, The God of Life, and poetry and light The Sun, in human limbs arrayed, and brow All radiant from the triumph of the fight Apollo's first love was Daphne and both were the victims of Cupid's arrows. The story of Apollo and Daphne is often alluded to by the poets. Similarly, the story of Cupid and the beautiful Psyche was a subject for many poems by TK Harvey and Moore, but the most famous is Keats's "Ode to Psyche": O latest born and loveliest vision far Of all Olympus' faded hierarchy Fairer than Phoebe's sapphire-regioned star Or Vesper, amorous glow-worm of the sky Fairer than these, though temple thou hast none Nor altar heaped with flowers No voice, no lute, no pipe, no incense sweet Going through these beautiful stories I am reminded of Taha Hussein's dictum that knowledge of ancient Greek thought is essential for any cultured man.
