Tales of Troy and Greece — Themes and Context

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In Category - Myths Legends
Lang, Andrew, 1844-1912, Ford, H. J. (Henry Justice), 1860-1941 [Illustrator] Project Gutenberg 2010 Not confirmed
Mythology, Greek; Trojan War -- Literature and the war; Troy (Extinct city) -- Legends Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 97,383
Reading time 424 min
Text sections 9

The catalog record for Tales of Troy and Greece — Themes and Context provides practical reading context through 97,383 words, 7 hr 4 min estimated reading time, and 9 detected text sections.

The text analysis averages about 27.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Mythology, Greek,” connecting these edition facts with the source record’s subject description.

Andrew Lang retells Greek myths and Trojan War episodes, focusing on Ulysses, Theseus, Perseus, and the Argonauts. The excerpts show a narrative voice that blends Homeric sources with invented backstories, such as the swineherd Eumaeus's Phoenician origin, and emphasizes disguise, cunning, and divine intervention.
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Editorial Edition Score 4.8/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

Ulysses was told about this, so, when he was a tall lad, he crossed the sea and drove in his chariot to the old man's house on Mount Parnassus. Everybody welcomed him, and next day his uncles and cousins and he went out to hunt a fierce wild boar, early in the morning. Probably Ulysses took his own dog, named Argos, the best of hounds, of which we shall hear again, long afterwards, for the dog lived to be very old. Soon the hounds came on the scent of a wild boar, and after them the men went, with spears in their hands, and Ulysses ran foremost, for he was already the swiftest runner in Greece.

He came on a great boar lying in a tangled thicket of boughs and bracken, a dark place where the sun never shone, nor could the rain pierce through. Then the noise of the men's shouts and the barking of the dogs awakened the boar, and up he sprang, bristling all over his back, and with fire shining from his eyes. In rushed Ulysses first of all, with his spear raised to strike, but the boar was too quick for him, and ran in, and drove his sharp tusk sideways, ripping up the thigh of Ulysses. But the boar's tusk missed the bone, and Ulysses sent his sharp spear into the beast's right shoulder, and the spear went clean through, and the boar fell dead, with a loud cry. The uncles of Ulysses bound up his wound carefully, and sang a magical song over it, as the French soldiers wanted to do to Joan of Arc when the arrow pierced her shoulder at the siege of Orleans. Then the blood ceased to flow, and soon Ulysses was quite healed of his wound. They thought that he would be a good warrior, and gave him splendid presents, and when he went home again he told all that had happened to his father and mother, and his nurse, Eurycleia. But there was always a long white mark or scar above his left knee, and about that scar we shall hear again, many years afterwards.

HOW PEOPLE LIVED IN THE TIME OF ULYSSES

When Ulysses was a young man he wished to marry a princess of his own rank. Now there were at that time many kings in Greece, and you must be told how they lived. Each king had his own little kingdom, with his chief town, walled with huge walls of enormous stone. Many of these walls are still standing, though the grass has grown over the ruins of most of them, and in later years, men believed that those walls must have been built by giants, the stones are so enormous. Each king had nobles under him, rich men, and all had their palaces, each with its courtyard, and its long hall, where the fire burned in the midst, and the King and Queen sat beside it on high thrones, between the four chief carved pillars that held up the roof. The thrones were made of cedar wood and ivory, inlaid with gold, and there were many other chairs and small tables for guests, and the walls and doors were covered with bronze plates, and gold and silver, and sheets of blue glass. Sometimes they were painted with pictures of bull hunts, and a few of these pictures may still be seen. At night torches were lit, and placed in the hands of golden figures of boys, but all the smoke of fire and torches escaped by a hole in the roof, and made the ceiling black. On the walls hung swords and spears and helmets and shields, which needed to be often cleaned from the stains of the smoke. The minstrel or poet sat beside the King and Queen, and, after supper he struck his harp, and sang stories of old wars. At night the King and Queen slept in their own place, and the women in their own rooms; the princesses had their chambers upstairs, and the young princes had each his room built separate in the courtyard.

Andrew Lang's Tales of Troy and Greece retells episodes from Homer and Greek mythology, but the excerpts reveal a narrative approach that freely expands on classical sources. The book opens with Ulysses as 'the Sacker of Cities,' and the text quickly moves beyond the Iliad and Odyssey to include the stories of Theseus, Perseus, and the Golden Fleece. Lang does not simply translate or abridge; he adds invented backstories, such as the Phoenician kidnapping of the swineherd Eumaeus, and includes details like the 'luck of Troy' that are absent from Homer. The illustrations by H. J. Ford, listed in the contents, provide visual counterparts to key scenes.

Expanding the Homeric Frame

The catalog subjects list 'Mythology, Greek' and 'Trojan War,' but the excerpts show that Lang's retellings go well beyond the Homeric epics. The table of contents includes sections on the Fleece of Gold, Theseus, and Perseus, which are not part of the Trojan War cycle. Even within the Ulysses narrative, Lang adds episodes like 'How Ulysses Stole the Luck of Troy,' a detail not found in the Iliad or Odyssey. The text also includes a map of Greece and a frontispiece captioned 'The Stealing of Helen,' indicating a visual and geographical framing. Readers expecting a strict Homeric translation will find instead a compilation that blends multiple myth cycles into a single narrative sequence.

Voice and Characterization

Lang's narrative voice is conversational and explanatory, often addressing the reader directly. For example, he describes Eumaeus as 'a very honest man, and, though he was a slave, he was the son of a prince in his own country.' This moralizing tone extends to the characterization of the wooers as 'proud' and 'insolent.' The excerpts also show a tendency to rationalize or expand on mythological details: the disguise of Ulysses is described in physical terms—'his skin seemed wrinkled, and his hair thin, and his eyes dull'—and the text includes a long backstory for Eumaeus that is not in the Odyssey. Lang's Ulysses is resourceful and cunning, but the narrative also emphasizes his piety, as when he 'prayed to the Naiads of the cave.'

The Role of Divine Intervention

Gods and goddesses play an active role in the excerpts, often guiding the plot directly. Athena (spelled 'Athênê') disguises Ulysses and fetches Telemachus from Lacedaemon. The text notes that 'the Goddess helped him to hide all his gold' and 'taught him how, being lonely as he was, he might destroy the proud wooers.' This divine machinery is presented without skepticism, as a natural part of the story world. Lang also includes supernatural elements like the 'luck of Troy' and the enchantress Circe, but the excerpts focus more on practical cunning than on magic. The balance between human agency and divine will is a recurring feature, with characters often praying or receiving direct aid from the gods.

The excerpts from Tales of Troy and Greece show a work that is both a retelling and an expansion of classical myths. Lang's additions, such as the backstory of Eumaeus and the episode of the luck of Troy, suggest a creative approach to the source material. Readers familiar with Homer will notice divergences, while newcomers may find the narrative accessible and self-contained. The illustrations by H. J. Ford, listed in the contents, offer a visual dimension that complements the text.

I found myself thinking of the old Seneca tales again while reading about Eumaeus’s Phoenician childhood, that quiet backstory woven into the Trojans’ noise. Both collections share a fondness for the unspoken life beneath the familiar, the stranger’s hidden history. It’s a gentle feeling of meeting old friends in unexpected places, as with Seneca Fiction, Legends, and Myths Thirty-Second Annual Report of the Bureau of American Ethnology; 1910-1911 — Context and Discussion, whose legends murmur just as softly.

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