there was, in all probability, in those ancient times before the
Pelasgians were known as Ionians and the Hellenes as Dorians, a mystical
and indefinite idea of supreme power,--as among the Persians, the
Hindus, and the esoteric priests of Egypt. In all the ancient religions
the farther back we go the purer and loftier do we find the popular
religion. Belief in supreme deity underlies all the Eastern theogonies,
which belief, however, was soon perverted or lost sight of. There is
great difference of opinion among philosophers as to the origin of
myths,--whether they began in fable and came to be regarded as history,
or began as human history and were poetized into fable. My belief is
that in the earliest ages of the world there were no mythologies. Fables
were the creations of those who sought to amuse or control the people,
who have ever delighted in the marvellous. As the magnificent, the
vast, the sublime, which was seen in Nature, impressed itself on the
imagination of the Orientals and ended in legends, so did allegory in
process of time multiply fictions and fables to an indefinite extent;
and what were symbols among Eastern nations became impersonations in the
poetry of Greece. Grecian mythology was a vast system of impersonated
forces, beginning with the legends of heroes and ending with the
personification of the faculties of the mind and the manifestations of
Nature, in deities who presided over festivals, cities, groves, and
mountains, with all the infirmities of human nature, and without calling
out exalted sentiments of love or reverence. They are all creations of
the imagination, invested with human traits and adapted to the genius of
the people, who were far from being religious in the sense that the
Hindus and Egyptians were. It was the natural and not the supernatural
that filled their souls. It was art they worshipped, and not the God who
created the heavens and the earth, and who exacts of his creatures
obedience and faith.
In regard to the gods and goddesses of the Grecian Pantheon, we observe
that most of them were immoral; at least they had the usual infirmities
of men. They are thus represented by the poets, probably to please the
people, who like all other peoples had to make their own conceptions of
God; for even a miraculous revelation of deity must be interpreted by
those who receive it, according to their own understanding of the
qualities revealed. The ancient Romans, themselves stern, earnest,
practical, had an almost Oriental reverence for their gods, so that
their Jupiter (Father of Heaven) was a majestic, powerful, all-seeing,
severely just national deity, regarded by them much as the Jehovah of
the Hebrews was by that nation. When in later times the conquest of
Eastern countries and of Macedon and Greece brought in luxury, works of
art, foreign literature, and all the delightful but enervating
influences of aestheticism, the Romans became corrupted, and gradually
began to identify their own more noble deities with the beautiful but
unprincipled, self-indulgent, and tricky set of gods and goddesses of
the Greek mythology.
The Greek Zeus, with whom were associated majesty and dominion, and who
reigned supreme in the celestial hierarchy,--who as the chief god of the
skies, the god of storms, ruler of the atmosphere, was the favorite
deity of the Aryan race, the Indra of the Hindus, the Jupiter of the
Romans,--was in his Grecian presentment a rebellious son, a faithless
husband, and sometimes an unkind father. His character was a combination
of weakness and strength,--anything but a pattern to be imitated, or
even to be reverenced. He was the impersonation of power and dignity,
represented by the poets as having such immense strength that if he had
hold of one end of a chain, and all the gods held the other, with the
earth fastened to it, he would be able to move them all.
Poseidon (Roman Neptune), the brother of Zeus, was represented as the
god of the ocean, and was worshipped chiefly in maritime States. His
morality was no higher than that of Zeus; moreover, he was rough,
boisterous, and vindictive. He was hostile to Troy, and yet
persecuted Ulysses.
Apollo, the next great personage of the Olympian divinities, was more
respectable morally than his father. He was the sun-god of the Greeks,
and was the embodiment of divine prescience, of healing skill, of
musical and poetical productiveness, and hence the favorite of the
poets. He had a form of ideal beauty, grace, and vigor, inspired by
unerring wisdom and insight into futurity. He was obedient to the will
of Zeus, to whom he was not much inferior in power. Temples were erected
to this favorite deity in every part of Greece, and he was supposed to
deliver oracular responses in several cities, especially at Delphos.
Hephaestus (Roman Vulcan), the god of fire, was a sort of jester at the
Olympian court, and provoked perpetual laughter from his awkwardness and
lameness. He forged the thunderbolts for Zeus, and was the armorer of
heaven. It accorded with the grim humor of the poets to make this clumsy
blacksmith the husband of Aphrodite, the queen of beauty and of love.
Ares (Roman Mars), the god of war, was represented as cruel, lawless,
and greedy of blood, and as occupying a subordinate position, receiving
orders from Apollo and Athene.
Hermes (Roman Mercury) was the impersonation of commercial dealings, and
of course was full of tricks and thievery,--the Olympian man of
business, industrious, inventive, untruthful, and dishonest. He was also
the god of eloquence.
Besides these six great male divinities there were six goddesses, the
most important of whom was Hera (Roman Juno), wife of Zeus, and hence
the Queen of Heaven. She exercised her husband's prerogatives, and
thundered and shook Olympus; but she was proud, vindictive, jealous,
unscrupulous, and cruel,--a poor model for women to imitate. The Greek
poets, however, had a poor opinion of the female sex, and hence
represent this deity without those elements of character which we most
admire in woman,--gentleness, softness, tenderness, and patience. She
scolded her august husband so perpetually that he gave way to complaints
before the assembled deities, and that too with a bitterness hardly to
be reconciled with our notions of dignity. The Roman Juno, before the
identification of the two goddesses, was a nobler character, being the
queen of heaven, the protectress of virgins and of matrons, and was also
the celestial housewife of the nation, watching over its revenues and
its expenses. She was the especial goddess of chastity, and loose women
were forbidden to touch her altars.
Athene (Roman Minerva) however, the goddess of wisdom, had a character
without a flaw, and ranked with Apollo in wisdom. She even expostulated
with Zeus himself when he was wrong. But on the other hand she had few
attractive feminine qualities, and no amiable weaknesses.
Artemis (Roman Diana) was "a shadowy divinity, a pale reflection of her
brother Apollo." She presided over the pleasures of the chase, in which
the Greeks delighted,--a masculine female who took but little interest
in anything intellectual.
Aphrodite (Roman Venus) was the impersonation of all that was weak and
erring in the nature of woman,--the goddess of sensual desire, of mere
physical beauty, silly, childish, and vain, utterly odious in a moral
point of view, and mentally contemptible. This goddess was represented
as exerting a great influence even when despised, fascinating yet
revolting, admired and yet corrupting. She was not of much importance
among the Romans,--who were far from being sentimental or
passionate,--until the growth of the legend of their Trojan origin.
Then, as mother of Aeneas, their progenitor, she took a high rank, and
the Greek poets furnished her character.
Hestia (Roman Vesta) presided over the private hearths and homesteads of
the Greeks, and imparted to them a sacred character. Her personality was
vague, but she represented the purity which among both Greeks and Romans
is attached to home and domestic life.
Demeter (Roman Ceres) represented Mother Earth, and thus was closely
associated with agriculture and all operations of tillage and
bread-making. As agriculture is the primitive and most important of all
human vocations, this deity presided over civilization and law-giving,
and occupied an important position in the Eleusinian mysteries.
These were the twelve Olympian divinities, or greater gods; but they
represent only a small part of the Grecian Pantheon. There was Dionysus
(Roman Bacchus), the god of drunkenness. This deity presided over
vineyards, and his worship was attended with disgraceful orgies,--with
wild dances, noisy revels, exciting music, and frenzied demonstrations.
Leto (Roman Latona), another wife of Zeus, and mother of Apollo and
Diana, was a very different personage from Hera, being the impersonation
of all those womanly qualities which are valued in woman,--silent,
unobtrusive, condescending, chaste, kindly, ready to help and tend, and
subordinating herself to her children.
Persephone (Roman Proserpina) was the queen of the dead, ruling the
infernal realm even more distinctly than her husband Pluto, severely
pure as she was awful and terrible; but there were no temples erected to
her, as the Greeks did not trouble themselves much about the
future state.
The minor deities of the Greeks were innumerable, and were identified
with every separate thing which occupied their thoughts,--with
mountains, rivers, capes, towns, fountains, rocks; with domestic
animals, with monsters of the deep, with demons and departed heroes,
with water-nymphs and wood-nymphs, with the qualities of mind and
attributes of the body; with sleep and death, old age and pain, strife
and victory; with hunger, grief, ridicule, wisdom, deceit, grace; with
night and day, the hours, the thunder the rainbow,---in short, all the
wonders of Nature, all the affections of the soul, and all the qualities
of the mind; everything they saw, everything they talked about,
everything they felt. All these wonders and sentiments they
impersonated; and these impersonations were supposed to preside over the
things they represented, and to a certain extent were worshipped. If a
man wished the winds to be propitious, he prayed to Zeus; if he wished
to be prospered in his bargains, he invoked Hermes; if he wished to be
successful in war, he prayed to Ares.
He never prayed to a supreme and eternal deity, but to some special
manifestation of deity, fancied or real; and hence his religion was
essentially pantheistic, though outwardly polytheistic. The divinities
whom he invoked he celebrated with rites corresponding with those traits
which they represented. Thus, Aphrodite was celebrated with lascivious
dances, and Dionysus with drunken revels. Each deity represented the
Grecian ideal,--of majesty or grace or beauty or strength or virtue or
wisdom or madness or folly. The character of Hera was what the poets
supposed should be the attributes of the Queen of heaven; that of Leto,
what should distinguish a disinterested housewife; that of Hestia, what
should mark the guardian of the fireside; that of Demeter, what should
show supreme benevolence and thrift; that of Athene, what would
naturally be associated with wisdom, and that of Aphrodite, what would
be expected from a sensual beauty. In the main, Zeus was serene,
majestic, and benignant, as became the king of the gods, although he was
occasionally faithless to his wife; Poseidon was boisterous, as became
the monarch of the seas; Apollo was a devoted son and a bright
companion, which one would expect in a gifted poet and wise prophet,
beautiful and graceful as a sun-god should be; Hephaestus, the god of
fire and smiths, showed naturally the awkwardness to which manual labor
leads; Ares was cruel and bloodthirsty, as the god of war should be;
Hermes, as the god of trade and business, would of course be sharp and
tricky; and Dionysus, the father of the vine, would naturally become
noisy and rollicking in his intoxication.
Thus, whatever defects are associated with the principal deities, these
are all natural and consistent with the characters they represent, or
the duties and business in which they engage. Drunkenness is not
associated with Zeus, or unchastity with Hera or Athene. The poets make
each deity consistent with himself, and in harmony with the interests he
represents. Hence the mythology of the poets is elaborate and
interesting. Who has not devoured the classical dictionary before he has
learned to scan the lines of Homer or of Virgil? As varied and romantic
as the "Arabian Nights," it shines in the beauty of nature. In the
Grecian creations of gods and goddesses there is no insult to the
understanding, because these creations are in harmony with Nature, are
consistent with humanity. There is no hatred and no love, no jealousy
and no fear, which has not a natural cause. The poets proved themselves
to be great artists in the very characters they gave to their
divinities. They did not aim to excite reverence or stimulate to duty or
point out the higher life, but to amuse a worldly, pleasure-seeking,
good-natured, joyous, art-loving, poetic people, who lived in the
present and for themselves alone.
As a future state of rewards and punishments seldom entered into the
minds of the Greeks, so the gods are never represented as conferring
future salvation. The welfare of the soul was rarely thought of where
there was no settled belief in immortality. The gods themselves were fed
on nectar and ambrosia, that they might not die like ordinary mortals.
They might prolong their own existence indefinitely, but they were
impotent to confer eternal life upon their worshippers; and as eternal
life is essential to perfect happiness, they could not confer even
happiness in its highest sense.
On this fact Saint Augustine erected the grand fabric of his theological
system. In his most celebrated work, "The City of God," he holds up to
derision the gods of antiquity, and with blended logic and irony makes
them contemptible as objects of worship, since they were impotent to
save the soul. In his view the grand and distinguishing feature of
Christianity, in contrast with Paganism, is the gift of eternal life and
happiness. It is not the morality which Christ and his Apostles taught,
which gave to Christianity its immeasurable superiority over all other
religions, but the promise of a future felicity in heaven. And it was
this promise which gave such comfort to the miserable people of the old
Pagan world, ground down by oppression, injustice, cruelty, and poverty.
It was this promise which filled the converts to Christianity with joy,
enthusiasm, and hope,--yea, more than this, even boundless love that
salvation was the gift of God through the self-sacrifice of Christ.
Immortality was brought to light by the gospel alone, and to miserable
people the idea of eternal bliss after the trials of mortal life were
passed was the source of immeasurable joy. No sooner was this sublime
expectation of happiness planted firmly in the minds of pagans, than
they threw their idols to the moles and the bats.
But even in regard to morality, Augustine showed that the gods were no
examples to follow. He ridicules their morals and their offices as
severely as he points out their impotency to bestow happiness. He shows
the absurdity and inconsistency of tolerating players in their
delineation of the vices and follies of deities for the amusement of the
people in the theatre, while the priests performed the same obscenities
as religious rites in the temples which were upheld by the State; so
that philosophers like Varro could pour contempt on players with
impunity, while he dared not ridicule priests for doing in the temples
the same things. No wonder that the popular religion at last was held in
contempt by philosophers, since it was not only impotent to save, but
did not stimulate to ordinary morality, to virtue, or to lofty
sentiments. A religion which was held sacred in one place and ridiculed
in another, before the eyes of the same people, could not in the end but
yield to what was better.
If we ascribe to the poets the creation of the elaborate mythology of
the Greeks,--that is, a system of gods made by men, rather than men made
by gods,--whether as symbols or objects of worship, whether the religion
was pantheistic or idolatrous, we find that artists even surpassed the
poets in their conceptions of divine power, goodness, and beauty, and
thus riveted the chains which the poets forged.
The temple of Zeus at Olympia in Elis, where the intellect and the
culture of Greece assembled every four years to witness the games
instituted in honor of the Father of the gods, was itself calculated to
impose on the senses of the worshippers by its grandeur and beauty. The
image of the god himself, sixty feet high, made of ivory, gold, and gems
by the greatest of all the sculptors of antiquity, must have impressed
spectators with ideas of strength and majesty even more than any
poetical descriptions could do. If it was art which the Greeks
worshipped rather than an unseen deity who controlled their destinies,
and to whom supreme homage was due, how nobly did the image before them
represent the highest conceptions of the attributes to be ascribed to
the King of Heaven! Seated on his throne, with the emblems of
sovereignty in his hands and attendant deities around him, his head,
neck, breast, and arms in massive proportions, and his face expressive
of majesty and sweetness, power in repose, benevolence blended with
strength,--the image of the Olympian deity conveyed to the minds of his
worshippers everything that could inspire awe, wonder, and goodness, as
well as power. No fear was blended with admiration, since his favor
could be won by the magnificent rites and ceremonies which were
instituted in his honor.
Clarke alludes to the sculptured Apollo Belvedere as giving a still more
elevated idea of the sun-god than the poets themselves,--a figure
expressive of the highest thoughts of the Hellenic mind,--and quotes
Milman in support of his admiration:--
"All, all divine! no struggling muscle glows,
Through heaving vein no mantling life-blood flows;
But, animate with deity alone,
In deathless glory lives the breathing stone."
If a Christian poet can see divinity in the chiselled stone, why should
we wonder at the worship of art by the pagan Greeks? The same could be
said of the statues of Artemis, of Pallas-Athene, of Aphrodite, and
other "divine" productions of Grecian artists, since they represented
the highest ideal the world has seen of beauty, grace, loveliness, and
majesty, which the Greeks adored. Hence, though the statues of the gods
are in human shape, it was not men that the Greeks worshipped, but those
qualities of mind and those forms of beauty to which the cultivated
intellect instinctively gave the highest praise. No one can object to
this boundless admiration which the Greeks had for art in its highest
forms, in so far as that admiration became worship. It was the divorce
of art from morals which called out the indignation and censure of the
Christian fathers, and even undermined the religion of philosophers so
far as it had been directed to the worship of the popular deities, which
were simply creations of poets and artists.
It is difficult to conceive how the worship of the gods could have been
kept up for so long a time, had it not been for the festivals. This wise
provision for providing interest and recreation for the people was also
availed of by the Mosaic ritual among the Hebrews, and has been a part
of most well-organized religious systems. The festivals were celebrated
in honor not merely of deities, but of useful inventions, of the seasons
of the year, of great national victories,--all which were religious in
the pagan sense, and constituted the highest pleasures of Grecian life.
They were observed with great pomp and splendor in the open air in front
of temples, in sacred groves, wherever the people could conveniently
assemble to join in jocund dances, in athletic sports, and whatever
could animate the soul with festivity and joy. Hence the religious
worship of the Greeks was cheerful, and adapted itself to the tastes and
pleasures of the people; it was, however, essentially worldly, and
sometimes degrading. It was similar in its effects to the rural sports
of the yeomanry of the Middle Ages, and to the theatrical
representations sometimes held in mediaeval churches,--certainly to the
processions and pomps which the Catholic clergy instituted for the
amusement of the people. Hence the sneering but acute remark of Gibbon,
that all religions were equally true to the people, equally false to
philosophers, and equally useful to rulers. The State encouraged and
paid for sacrifices, rites, processions, and scenic dances on the same
principle that they gave corn to the people to make them contented in
their miseries, and severely punished those who ridiculed the popular
religion when it was performed in temples, even though it winked at the
ridicule of the same performances in the theatres.
Among the Greeks there were no sacred books like the Hindu Vedas or
Hebrew Scriptures, in which the people could learn duties and religious
truths. The priests taught nothing; they merely officiated at rites and
ceremonies. It is difficult to find out what were the means and forms of
religious instruction, so far as pertained to the heart and conscience.
Duties were certainly not learned from the ministers of religion. From
what source did the people learn the necessity of obedience to parents,
of conjugal fidelity, of truthfulness, of chastity, of honesty? It is
difficult to tell. The poets and artists taught ideas of beauty, of
grace, of strength; and Nature in her grandeur and loveliness taught the
same things. Hence a severe taste was cultivated, which excluded
vulgarity and grossness in the intercourse of life. It was the rule to
be courteous, affable, gentlemanly, for all this was in harmony with the
severity of art. The comic poets ridiculed pretension, arrogance,
quackery, and lies. Patriotism, which was learned from the dangers of
the State, amid warlike and unscrupulous neighbors, called out many
manly virtues, like courage, fortitude, heroism, and self-sacrifice. A
hard and rocky soil necessitated industry, thrift, and severe punishment
on those who stole the fruits of labor, even as miners in the Rocky
Mountains sacredly abstain from appropriating the gold of their
fellow-laborers. Self-interest and self-preservation dictated many laws
which secured the welfare of society. The natural sacredness of home
guarded the virtue of wives and children; the natural sense of justice
raised indignation against cheating and tricks in trade. Men and women
cannot live together in peace and safety without observing certain
conditions, which may be ranked with virtues even among savages and
barbarians,--much more so in cultivated and refined communities.
The graces and amenities of life can exist without reference to future
rewards and punishments. The ultimate law of self-preservation will
protect men in ordinary times against murder and violence, and will lead
to public and social enactments which bad men fear to violate. A
traveller ordinarily feels as safe in a highly-civilized pagan community
as in a Christian city. The "heathen Chinee" fears the officers of the
law as much as does a citizen of London.