Ten Great Religions Part 24

The Earth, Gaia, became more and more important to the h.e.l.lenic mind.

Pa.s.sing through various stages of development, she became, successively, Gaia in the first generation, Rhea in the second, and Demeter (G? ?t??), Mother Earth, in the third. In like manner the Sun is successively Hyperion, son of Heaven and Earth; Helios, son of Hyperion and Theia; and Phoebus-Apollo, son of Zeus and Latona. The Moon is first Phoebe, sister of Hyperion; then Selene, sister of Helios; and lastly Artemis, sister of Apollo. Pallas, probably meaning at first "the virgin," became afterward identified with Athene, daughter of Zeus, as Pallas-Athene. The Urania Pontus, the salt sea, became the t.i.tan Oceanos, or Ocean, and in another generation Poseidon, or Neptune.

The early G.o.ds are symbolical, the later are personal. The turning-point is reached when Kronos, Time, arrives. The children of Time and Earth are no longer vast shadowy abstractions, but become historical characters, with biographies and personal qualities. Neither Time nor History existed before Homer; when Time came, History began.

The three male children of Time were Zeus, Poseidon, and Hades; representing the three dimensions of s.p.a.ce. Height, Breadth, and Depth; Heaven, Ocean, and h.e.l.l. They also represented the threefold progress of the human soul: its aspiration and ascent to what is n.o.ble and good, its descent to what is profound, and its sympathy with all that is various: in other words, its religion, its intelligence, and its affection.

The fable of Time devouring his children, and then reproducing them, evidently means the vicissitudes of customs and the departure and return of fas.h.i.+ons. Whatever is born must die; but what has been will be again.

That Eros, Love, should be at the origin of things from chaos, indicates the primeval attraction with which the order of the universe begins. The mutilation of Uranos, Heaven, so that he ceased to produce children, suggests the change of the system of emanation, by which the G.o.ds descend from the infinite, into that of evolution, by which they arise out of the finite. It is, in fact, the end of Asia, and the beginning of Europe; for emanation is the law of the theologies of Asia, evolution that of Europe.

Aphrodite, Beauty, was the last child of the Heavens, and yet born from the Ocean. Beauty is not the daughter of the Heavens and the Earth, but of the Heavens and the Ocean. The lights and shadows of the sky, the tints of dawn, the tenderness of clouds, unite with the toss and curve of the wave in creating Beauty. The beauty of outline appears in the sea, that of light and color in the sky.[227]

-- 4. The G.o.ds of the Poets.

Herodotus says (II. 53), "I am of opinion that Hesiod and Homer lived four hundred years before my time, and not more, and these were they who framed a theogony for the Greeks, and gave names to the G.o.ds, and a.s.signed to them honors and arts, and declared their several forms. But the poets, said to be before them, in my opinion, were after them."

That two poets should create a theology and a wors.h.i.+p for a great people, and so unite its separate tribes into a commonwealth of united states, seems to modern minds an absurdity. But the poets of Greece were its prophets. They received, intensified, concentrated, the tendencies of thought already in the air. All the drift was toward Pan-h.e.l.lenic wors.h.i.+p and to a humanized theology, when the Homeric writers sang their song.

The Greeks must be conceived of as a nation of poets; hence all their mythology was poetry. Poetry was their life and joy, written or unwritten, sung or spoken. They were poets in the deeper sense of the word; not by writing verses, but by looking at all nature and all life from its poetic side. Their exquisite mythology arose out of these spontaneous instincts.

The tendency of the Greek mind was to vitalize and harmonize nature.[228]

All the phenomena of nature, all the powers of the human soul, and all the events of life, became a marvellous tissue of divine story. They walked the earth, surrounded and overshadowed by heavenly attendants and supernatural powers. But a striking peculiarity of this immense spiritualism was that it was almost without superst.i.tion. Their G.o.ds were not their terror, but their delight. Even the great G.o.ds of Olympus were around them as invisible companions. Fate itself, the dark Moira, supreme power, mistress of G.o.ds and men, was met manfully and not timorously. So strong was the human element, the sense of personal dignity and freedom, that the Greek lived in the midst of a supernatural world on equal terms.

No doubt the elements of mythology are in all nations the same, consisting of the facts of nature and the facts of life. The heavens and the earth, day and night, the sun and moon, storms, fire, ocean, and rivers, love and beauty, life and progress, war, wisdom, doom, and chance,--these, among all nations, supply the material for myths. But while, with some races, these powers remain solemn abstractions, above and behind nature, among the Greeks they descended into nature and turned to poetry, illuminating all of life.

Let us imagine a Greek, possessed by the spirit of his nation and acquainted with its legendary history, visiting the holy places of that ideal land. On the northern boundary he sees the towering summit of Olympus, on whose solemn heights reside the twelve great G.o.ds of his country. When the dark clouds roll along its defiles, and the lightning flashes from their black depths, it is Zeus, striking with his thunderbolt some impious offender. There was held the great council of the Immortals.

When the ocean was quiet, Poseidon had left it to visit Olympus. There came Hephaestos, quitting his subterranean fires and gloomy laborers, to jest and be jested with, sitting by his beautiful queen. There, while the sun hung motionless in mid-heaven, Apollo descended from his burning chariot to join the feast. Artemis and Demeter came from the woods and fields to unite in the high a.s.sembly, and war was suspended while Ares made love to the G.o.ddess of Beauty. The Greek looked at Parna.s.sus, "soaring snow-clad through its native sky," with its Delphic cave and its Castalian fount, or at the neighboring summits of Helicon, where Pegasus struck his hoof and Hippocrene gushed forth, and believed that hidden in these sunny woods might perhaps be found the muses who inspired Herodotus, Homer, Aeschylus, and Pindar. He could go nowhere without finding some spot over which hung the charm of romantic or tender a.s.sociation. Within every brook was hidden a Naiad; by the side of every tree lurked a Dryad; if you listen, you may hear the Oreads calling among the mountains; if you come cautiously around that bending hill, you may catch a glimpse of the great Pan himself. When the moonlight showers filled the forests with a magical light, one might see the untouched Artemis gliding rapidly among the mossy trunks. Beneath, in the deep abysses of earth, reigned the gloomy Pluto with the sad Persephone, home-sick for the upper air. By the sea-sh.o.r.e Proteus wound his horn, the Sirens sang their fatal song among the rocks, the Nereids and Oceanides gleamed beneath the green waters, the vast Amphitrite stretched her wide-embracing arms, and Thetis with her water-nymphs lived in their submarine grottos. When the morning dawned, Eos, or Aurora, went before the chariot of the Sun, dropping flowers upon the earth. Every breeze which stirred the tree-tops was a G.o.d, going on some errand for Aeolus. The joy of inspired thought was breathed into the soul by Phoebus; the genial glow of life, the festal mirth, and the glad revel were the gift of Dionysos. All nature was alive with some touch of a divine presence. So, too, every spot of h.e.l.las was made interesting by some legend of Hercules, of Theseus, of Prometheus, of the great Dioscuri, of Minos, or Daedalus, of Jason and the Argonauts. The Greeks extended their own bright life backward through history, and upward through heroes and demiG.o.ds to Zeus himself.

In Homer, the G.o.ds are very human. They have few traits of divinity, scarcely of dignity. Their ridicule of Vulcan is certainly coa.r.s.e; the threats of Zeus are brutal.

As a family, they live together on Olympus, feasting, talking, making love, making war, deceiving each other, angry, and reconciled. They feed on nectar and ambrosia, which makes them immortal; just as the Amrita makes the Hindoo G.o.ds so. So in the Iliad we see them at their feast, with Vulcan handing each the cup, pouring out nectar for them all. "And then inextinguishable laughter arose among the immortal G.o.ds, when they saw Vulcan bustling through the mansion. So they feasted all day till sundown; nor did the soul want anything of the equal feast, nor of the beautiful harp which Apollo held, nor of the Muses, who accompanied him, responding in turn with delicious voice."

"But when the splendid light of the sun was sunk, they retired to repose, each one to his house, which renowned Vulcan, lame of both legs, had built. But Olympian Zeus went to his couch, and laid down to rest beside white-armed Here."[229]

Or sometimes they fight together, or with mortals; instances of both appear in the Iliad. It must be admitted that they do not appear to advantage in these conflicts. They usually get the worst of it, and go back to Zeus to complain. In the Twenty-first Book they fight together, Ares against Athene, Athene also against his helper, Aphrodite; Poseidon and Here against Apollo and Artemis, Vulcan against the river G.o.d, Scamander. Ares called Athene impudent, and threatened to chastise her.

She seized a stone and struck him on the neck, and relaxed his knees.

Seven acres he covered falling, and his back was defiled with dust; but Pallas-Athene jeered at him; and when Aphrodite led him away groaning frequently, Pallas-Athene sprang after, and smote her with her hand, dissolving her knees and dear heart. Apollo was afraid of Poseidon, and declined fighting with him when challenged, for which Artemis rebuked him.

On this, Here tells her that she can kill stags on the mountains, but is afraid to fight with her betters, and then proceeds to punish her, holding both the hands of Artemis in one of hers, and beating her over the head with her own bow. A disgraceful scene altogether, we must confess, and it is no wonder that Plato was scandalized by such stories.

Thus purely human were these G.o.ds; spending the summer's day in feasting beneath the open sky; going home at sundown to sleep, like a parcel of great boys and girls. They are immortal indeed, and can make men so sometimes, but cannot always prevent the death of a favorite. Above them all broods a terrible power, mightier than themselves, the dark Fate and irresistible Necessity. For, after all, as human G.o.ds they were like men, subject to the laws of nature. Yet as men, they are free, and in the feeling of their freedom sometimes resist and defy fate.

The Homeric G.o.ds move through the air like birds, like wind, like lightning. They are stronger than men, and larger. Ares, overthrown by Pallas, covers seven acres of ground; when wounded by Diomedes he bellowed as loud as nine or ten thousand men, says the accurate Homer. The bodies of the G.o.ds, inexpressibly beautiful, and commonly invisible, are, whenever seen by men, in an aureola of light. In Homer, Apollo is the G.o.d of archery, prophecy, and music. He is the far-darter. He shoots his arrows at the Greeks, because his prophet had been ill-treated. "He descended from Olympus," says Homer, "enraged in heart, having his bow and quiver on his shoulders. But as he moved the shafts rattled on the shoulders of him enraged; and he went onward like the night. Then he sat near the s.h.i.+ps, and sent an arrow, and dreadful was the clangor of the silver bow."

Later in the Iliad he appears again, defending the Trojans and deceiving Achilles. In the Homeric Hymn his birth on Delos is sweetly told; and how, when he was born, Earth smiled around, and all the G.o.ddesses shouted.

Themis fed him on nectar and ambrosia; then he sprang up, called for a lyre and bow, and said he would declare henceforth to men the will of Jove; and Delos, exulting, became covered with flowers.[230]

The Second Book of the Iliad begins thus: "The rest, both G.o.ds and horse-arraying men, slept all the night; but Jove sweet sleep possessed not; but he pondered how he might destroy many at the Greek s.h.i.+ps, and honor Achilles. But this device appeared best to his mind, to send a fatal dream to Agamemnon. And he said, 'Haste, pernicious dream, to the swift s.h.i.+ps, and bid Agamemnon arm the Achaeans to take wide-streeted Troy, since Juno has persuaded all the G.o.ds to her will.'"

This was simply a lie, sent for the destruction of the Greeks.

In the First Book, Jupiter complains to Thetis that Juno is always scolding him, and good right had she to do so. Presently she comes in and accuses him of plotting something secretly with Thetis, and never letting her know his plans. He answers her by accusations of perversity: "Thou art always suspecting; but thou shalt produce no effect, but be further from my heart." He then is so ungentlemanly as to threaten her with corporal punishment. The G.o.ds murmur; but Vulcan interposes as a peacemaker, saying, "There will be no enjoyment in our delightful banquet if you twain thus contend." Then he arose and placed the double cup in her hands and said, "Be patient, my mother, lest I again behold thee beaten, and cannot help thee."

He here refers to a time when Jupiter hung his wife up in mid-heaven with anvils tied to her heels; and when Vulcan untied them he was pitched from Olympus down into the island of Lemnos, whence came his lameness. A rude and brutal head of a household was the poetic Zeus.

No doubt other and much more sublime views of the G.o.ds are to be found in Homer. Thus (Il. XV. 80) he compares the motion of Juno to the rapid thought of a traveller, who, having visited many countries, says, "I was here," "I was there." Such also is the description (Il. XIII. 17) of Neptune descending from the top of Samothrace, with the hills and forests trembling beneath his immortal feet. Infinite power, infinite faculty, the G.o.ds of Homer possessed; but these were only human faculty and power pushed to the utmost. Nothing is more beautiful than the description of the sleep of Jupiter and Juno, "imparadised in each other's arms" (Il.

XIV. 350), while the divine earth produced beneath them a bed of flowers, softly lifting them from the ground. But the picture is eminently human; quite as much so as that which Milton has imitated from it.

After Homer and Hesiod, among the Greek poets, come the lyrists. Callinus, the Ephesian, made a religion of patriotism. Tyrtaeus (B.C. 660), somewhat later, of Sparta, was devoted to the same theme. Pindar, the Theban, began his career (B.C. 494) in the time of the conquests of Darius, and composed one of his Pythian odes in the year of the battle of Marathon. He taught a divine retribution on good and evil; taught that "the bitterest end awaits the pleasure that is contrary to right,"[231] taught moderation, and that "a man should always keep in view the bounds and limits of things."[232]

He declared that "Law was the ruler of G.o.ds and men." Moreover, he proclaimed that G.o.ds and men were of one family, and though the G.o.ds were far higher, yet that something divine was in all men.[233] And in a famous fragment (quoted by Bunsen[234]) he calls mankind the majestic offspring of earth; mankind, "a gentle race, beloved of heaven."

The tragic poet, Aeschylus, is a figure like that of Michael Angelo in Italian art, grand, sombre, and possessed by his ideas. The one which rules him and runs darkly through all his tragedies is the supreme power of Nemesis, the terrible destiny which is behind and above G.o.ds and men.

The favorite theme of Greek tragedy is the conflict of fate and freedom, of the inflexible laws of nature with the pa.s.sionate longings of man, of "the emergency of the case with the despotism of the rule." This conflict appears most vividly in the story of Prometheus, or Forethought; he, "whose G.o.dlike crime was to be kind"; he who resisted the torments and terrors of Zeus, relying on his own fierce mind.[235] In this respect, Prometheus in his suffering is like Job in his sufferings. Each refuses to say he is wrong, merely to pacify G.o.d, when he does not see that he is wrong. As Prometheus maintains his inflexible purpose, so Job holds fast his integrity.

Sophocles is the most devout of the Greek tragedians, and reverence for the G.o.ds is constantly enjoined in his tragedies. One striking pa.s.sage is where Antigone is asked if she had disobeyed the laws of the country, and replies, "Yes; for they were not the laws of G.o.d. They did not proceed from Justice, who dwells with the Immortals. Nor dared I, in obeying the laws of mortal man, disobey those of the undying G.o.ds. For the G.o.ds live from eternity, and their beginning no man knows. I know that I must die for this offence, and I die willingly. I must have died at some time, and a premature death I account a gain, as finis.h.i.+ng a life filled with sorrows."[236] This argument reminds us of the higher-law discussions of the antislavery conflict, and the religious defiance of the fugitive slave law by all honest men.

Euripides represents the reaction against the religious tragedy. His is the anti-religious tragedy. It is a sneering defiance of the religious sentiment, a direct teaching of pessimism. Bunsen ("G.o.d in History") goes at length into the proof of this statement, showing that in Euripides the theology of the poets encountered and submitted to the same sceptical reaction which followed in philosophy the divine teachings of Plato.[237]

After this time Greek poetry ceased to be the organ of Greek religion. It is true that we have subsequent outbreaks of devout song, as in the hymn of Cleauthes, the stoic, who followed Zeno as teacher in the Porch (B.C.

260). Though this belongs rather to philosophy than to poetry, yet on account of its truly monotheistic and also devout quality, I add a translation here:[238]--

Greatest of the G.o.ds, G.o.d with many names, G.o.d ever-ruling and ruling all things!

Zeus, origin of nature, governing the universe by law, All hail! For it is right for mortals to address thee; Since we are thy offspring, and we alone of all That live and creep on earth have the power of imitative speech.

Therefore will I praise thee, and hymn forever thy power.

Thee the wide heaven, which surrounds the earth, obeys; Following where thou wilt, willingly obeying thy law.

Thou holdest at thy service, in thy mighty hands, The two-edged, flaming, immortal thunderbolt, Before whose flash all nature trembles.

Thou rulest in the common reason, which goes through all, And appears mingled in all things, great or small, Which, filling all nature, is king of all existences.

Nor without thee, O Deity, does anything happen in the world, From the divine ethereal pole to the great ocean, Except only the evil preferred by the senseless wicked.

But thou also art able to bring to order that which is chaotic, Giving form to what is formless, and making the discordant friendly; So reducing all variety to unity, and even making good out of evil.

Thus, through all nature is one great law, Which only the wicked seek to disobey,-- Poor fools! who long for happiness, But will not see nor hear the divine commands.

But do thou, O Zeus, all-bestower, cloud-compeller!

Ruler of thunder! guard men from sad error.

Father! dispel the clouds of the soul, and let us follow The laws of thy great and just reign!

That we may be honored, let us honor thee again, Chanting thy great deeds, as is proper for mortals.

For nothing can be better for G.o.ds or men Than to adore with perpetual hymns the law common to all.

The result of our investigation thus far is, that beside all the polytheistic and anthropomorphic tendencies of the old religion, there yet lingered a faith in one supreme G.o.d, ruler of all things. This is the general opinion of the best writers. For example, Welcker thus speaks of the original substance of Greek religion:[239]--

"In the remotest period of Greek antiquity, we meet the words ?e?? and da???, and the names ?e?? and ???????; anything older than which is not to be found in this religion. Accordingly, the G.o.ds of these tribes were from the first generally, if not universally, heavenly and spiritual beings. Zeus was the immortal king of heaven, in opposition to everything visible and temporal. This affords us a permanent background of universal ideas, behind all special conceptions or local appellations. We recognize as present in the beginnings of Greek history the highest mental aspirations belonging to man. We can thus avoid the mistaken doubts concerning this religion, which came from the influence of the subsequent manifestations, going back to the deep root from which they have sprung. The Divine Spirit has always been manifested in the feelings even of the most uncultivated peoples.

Afterwards, in trying to bring this feeling into distinct consciousness, the various childish conceptions and imperfect views of religious things arise."

-- 5. The G.o.ds of the Artists.