History of Religion / A Sketch of Primitive Religious Beliefs and Practices, and of the Origin and Character of the Great Systems

by Allan Menzies

The Poets and the Working Religion.—The work of these poets proves that the Greeks in their days were anxious to arrive at clear and harmonious conceptions about the gods. The movement on which Homer and Hesiod set their seal, of fixing the characters and attributes of the various deities, must have been long going on; and it led, as we see, to different results in different places. That labour when accomplished endowed Greece with a new religion. The local rite still went on, which acknowledged no central authority and presented the spectacle of an infinite diversity. Each city carried on in grave and solemn fashion the traditional worship of its own gods, on whose favour its prosperity depended. The other gods of the Pantheon the city did not need to worship; and moreover local worship was addressed to a large extent to the Chthonian or earth-gods, as Demeter and Dionysus, of whom the epic poems know but little. The poets were of little assistance therefore to the working religion; but on the other hand the happy and beautiful deities of Homer found entrance wherever poetry was loved. This was a religion for all Greece; these gods were national; though some of them belonged originally to Æolia, they had become national by being enshrined in poetry which the whole nation regarded as its own. The Homeric conception of deity acted therefore on the whole Greek mind; all gods rose in rank by the example, a subject was set before the mind of the people, which the closely succeeding development of religious art shows to have been studied in the noblest way.

Rise of Religious Art.—The seventh century B.C. was a period of rapid development and of great prosperity in Greece. It was the age of colonisation; manufacture and trade were active, and though the Phenicians were not now in the Egean, Greeks sailed to the East and brought home with them many ideas. It was a time like the sixteenth century in Europe, when the world of geography was quickly opening out, and views and sentiments were also widening. Worship could not fail to share in the upward movement of such a period, and it is here that we find the appearance of the ideas in religious art which have made Greece the envy of the world. Architecture received a new impulse from Egypt and Babylon; dwellings were built, not for human rulers, as in the Mycenæan period, but for the gods. In country districts or small towns the wooden shed might still suffice to shelter the rude image, but in large towns, where the higher conception of the gods and the artistic impulse were both present in many minds, temples of more durable material were built. This came to be a universal practice; among the first tasks of a new colony was always that of erecting on a commanding site in the rising town, splendid temples to the gods of the mother city. The Greek temple is not a place to accommodate a large body of worshippers, but a dwelling for the god. It is of oblong shape, and is placed on a raised platform which is ascended by steps. It is generally surrounded by pillars, is roofed, and has a low gable at each end. The most important chamber in it is that containing the image of the god. From his dim chamber the god looks out to the east through the doorway facing him, which opens on the pillared portico in front. Here the worshipper stands when praying, his face turned westward to the god. As it was essential that the smoke of the sacrifice should ascend freely to heaven, the god's real dwelling, the altar stood outside. In some cases the roof was partly open, and the altar could stand under the sky in the cella of the god.

In the building and adornment of the temples Greek art found its highest exercise. The architecture of those specimens which can still be seen or described is of a dignity and beauty never before attained; the beings must have been lofty and reverend indeed for whom such dwellings were formed. The gable spaces and the flat surfaces between the tops of the pillars and the roof gave opportunity for sculpture; and the archæologist traces on these metopes (spaces between the beam-ends under the roof) and friezes, the progress of Greek sculpture from a rude stage to that in which the sculptor has gained complete mastery over his material, and can give an imposing representation of a myth, or place on the marble a complete religious procession of brave men and fair women. The images of the gods to be placed in the temples called forth the artist's highest skill; even when the rude old god was retained, a fine work of art could also find place. It is the ideal gods of poetry that are coming to be worshipped; the conception of the poet is expressed in marble. Sculpture, however, came to its highest point in Greece somewhat later than architecture. And offerings were made to the temples of just such rare and costly things as men loved then and love still to store up in their houses,—bowls and cups wrought curiously in precious metals, statues and tapestries and all kinds of treasure.

Festivals and Games.—The temple for which so much was done, formed the centre of the city where it stood. In it the town deposited its treasure and its documents; there oaths and agreements were ratified. There also at certain times, such as the annual festival of the god or the anniversary of some happy event in the history of the town,—and as time went on such occasions tended to multiply,—the town kept holiday. Women escaped from their monotonous confinement and joined the procession to the holy place, perhaps carrying a new dress for the deity. A sacrifice was offered, the god received his share of the victim or victims, and the worshippers feasted on what remained. But before this part of the proceedings arrived there was a pause, which was filled up with various exercises all connected with the act of worship, but tending also in a high degree to the delight of those taking part in it. Dancing formed a part of every rite, accompanied of course with music, and consisting not of a careless exercise of the limbs, but of a measured and carefully trained set of movements expressive of the emotions connected with the occasion. This part of the religious act is obviously capable of great expansion. We find the art of poetry also making its contributions to religious art; poems are recited bearing on the history of the god. The sacrifice is followed by contests of various kinds; the singers compete for a prize, and athletic sports also take place, the competitors for which have long been in training for them. The winners are crowned with a wreath or branch of the plant sacred to the god. The games of Greece, which thus arose out of acts of worship, and some of which became so famous and attracted competitors from every Greek-speaking land, are a notable sign of the spirit of Greek piety. There is no asceticism in Greek religion; the god is represented as a beautiful human person, and his worshippers appear before him naked, in the fulness of their youthful beauty and of their well-trained vigour, and offer him their strength and skill in highest exercise;—the whole city, or a crowd much larger than the city, rejoicing in the spectacle.

Thus does Greek religion enlist in its service all the arts, and increase as they increase. At this period irrational manifestations of piety tend to disappear, human sacrifice and the worship of animals are heard of afterwards only in remote quarters. The religion which now prevails is a bright and happy self-identification with a being conceived as a type of human beauty and excellence, by being as far as possible beautiful oneself, creating beautiful objects, composing beautiful verse, training the body to its highest pitch of strength and agility, and displaying its powers in manly contests. This conception of religion, for a short time realised in Greece, still haunts the mind as a vision which once seen can never be forgotten. No one whose eyes have opened to that vision can regard any religious acts in which the effort after harmony and beauty forms no part, as other than degraded and unworthy.

Zeus and Apollo.—It is impossible here to enter specially on the worship of the individual gods. Two of the gods, however, the same who even in Homer stand above the level of the rest, still maintain that superiority. Zeus draws to himself more and more all the attributes of pure deity; his name comes more and more to stand simply for "God," as if there were no other. He is the father of gods and men; goodness and love are natural to him. He is the supreme Ruler and Disposer, whose word is fate and whose ways pious thought feels called to justify; but he is also the Saviour, to whom every one may appeal. He is the source of all wisdom; all revelations come from him. The other god who occupies a marked position is Apollo, the god of light and the prophet of his father Zeus. His oracle at Delphi was the most important in Greece; it was held to be the centre of the earth, and was a meeting-place for Greeks from every quarter. His priests exercised through the oracle a great influence on Greek life, and as their god required strict purity and truthfulness and was the inspirer of every kind of art and of none but noble purposes, the worship of Apollo is one of the highest forms of Greek religion.

Change of the Greek Spirit in the Sixth Century B.C.—But the time was at hand when the worship of the gods of the poets was to prove, in spite of all that art had done for it, inadequate to meet the spiritual needs of Greece. Civilisation advances in the sixth century B.C. with immense rapidity; the Greeks, no longer prompted by any foreign influence, quickly learn to exercise their own powers, and to apply them in new directions. Life grows richer and deeper, new modes of sentiment appear, the nation grows more conscious of its unity, and at the same time the individual learns to value himself more highly and to assert himself more strongly. On one side thought awakes to an independent career and traditional beliefs are subjected to criticism; on the other spiritual needs are felt which the old worship does not satisfy, and for which religion has to find new outlets.

It is far beyond our scope to deal with the religious movements of a people thus passing into the self-conscious stage, and unfolding with unparalleled freshness and power all the various activities of the human mind. We can only point out a few of the lines of development which become prominent at this period. And firstly we notice the rise of rationalism, that is of the impulse to criticise belief and to ask for that element in it which approves itself to the reflecting mind. Reason asserts its right to judge of tradition; the doubter suggests emendations in the legend; the piously inclined turn their attention to those parts only which are capable of lofty treatment. This tendency is fatal to polytheism. As reason knows not gods but only God, the gods can only hold their place on condition that they are what God must be, and so they all tend to become alike in their character; attention is turned most of all to Zeus, the highest god, and when others are worshipped, it is as his prophets or delegates. The poets of the fifth century reflect the conviction which all the higher minds of their country were now coming to hold, that the world is under the rule of one god. From this they are led to take up the questions of theodicy or of the principles of the divine government. Æschylus and Sophocles, writing perhaps about the same time as the author of the Book of Job, are full of problems of this nature. Why is Prometheus, though the noblest benefactor of the human race, doomed to undergo such sufferings? Why does a curse cleave to a certain house, evil producing evil from generation to generation? What is the relation between the divine laws which are written in the hearts of all men, and human laws which sometimes contradict these older ones? Thus to the educated Greeks of the fifth century the old religion had in its essence passed away. With unexampled rapidity had the journey here been traced which India made more slowly, which Egypt made at a very early period, but was not able to maintain, and which every people starting from polytheism must make if their religion is to prosper.

New Religious Feeling; the Mysteries.—But the conscience as well as the mind of Greece awakes at this period, and Greek religion becomes inspired with a deeper feeling. The simple objectivity of the Homeric spirit is gone in which man could frankly worship beings like himself and not very far above himself. God at this time is growing greater and more awful, and man, less certain of himself, is beginning to feel a new sense of mystery and of shortcoming. Whether it was due to the anxiety and depression felt in Greece during the century before the Persian wars, or to foreign influences, or mainly to the natural growth of the Greek mind itself, religious phenomena of a new kind now appear. Sacrifices are heard of, which are not merely social reunions with the deity, but are intended to expiate some guilt or to remove some pollution. The sense of sin has arisen, which the Homeric world knows not, and gives a new colour to man's converse with the deity. Another new feature is the rise into prominence of cults in which man feels himself taken possession of and inspired by his god. Some of these belonged to Asia Minor, the great centre of worships accompanied with ecstasy and frenzy, but some were of native growth. In these the common man found a satisfaction which the stately ceremonial of the temples did not afford. The official religion had grown cold and distant; but in the worship of Demeter or Dionysus, as afterwards of the Phrygian Cybele, the "Great Mother" whom the Romans imported, the least educated could feel the joy of enthusiasm and of self-forgetting under the influence of the god, and could be closely identified with the object of worship by performing acts in which the experience of the god was symbolically repeated.

The rapid rise of the worships of Demeter and Dionysus thus furnishes an instance of the law that a religion of intellect and of art is apt to be confronted, even when it appears to have overcome all obstacles, by a religion of feeling, in which all the fair progress that was made appears to be entirely set at naught. When the worship of Zeus, Apollo, and Athene was coming to its highest splendour, these cults began to spread rapidly. They were originally peasant rites of unknown antiquity in Attica and Boeotia, in which, after the manner of rustic festivals, the coming of spring or the dying of the year were celebrated amid jest and song, and with certain prescribed actions in which the fortune of the god, corresponding to the season, was dramatically set forth. In spring Demeter, the mother goddess, received her daughter Persephone, who had left her for the winter; or in autumn Dionysus, the god of vegetation, was defeated by his enemies and driven away or torn in pieces. These worships, when developed and forming a prominent part of Greek religion, were called "mysteries," not because the knowledge of them was confined to few, but because some parts of them were transacted in deep silence, and were the objects of such awe and reverence that they were not spoken of. No one, moreover, could assist at these rites without being solemnly initiated after a period of probation and purification. Of the Eleusinian mysteries at least, which were the most widely diffused and which formed part of the state religion of Athens, ancient writers agree in their report that the course of training before admission was powerfully elevating and solemnising, so that the period of initiation was the highest point of the religious life. It was a condition that the candidate should be pure in heart and not conscious of any crime. There was apparently no doctrinal instruction; everything was to be inferred from the spectacle. The mind was kept in a state of intense and devout expectation, knowledge and insight growing, it was held, as the time of admission came near. Before the final act there came a period of fasting, then a march from Athens to Eleusis along the sacred way, which was studded with shrines; then a search for the lost goddess in the dark of a moonless night on the plains of Eleusis, and then at last admission to the brightly-lighted building. Here all the arts were enlisted to furnish a spectacle of unparalleled magnificence, during which the candidate was allowed to touch and kiss certain sacred objects of a simple nature, and repeated a solemn formula at his admission.