(2) (Greek word omitted); compare Harpokration on this word.
(3) These are the features in myth which provoke, for example, the wonder of Emeric-David. "The lizard, the wolf, the dog, the ass, the frog, and all the other brutes so common on religious monuments everywhere, do they not all imply a THOUGHT which we must divine?" He concludes that these animals, plants, and monsters of myths are so many "enigmas" and "symbols" veiling some deep, sacred idea, allegories of some esoteric religious creed. Jupiter, Paris, 1832, p. lxxvii.
We have offered examples—Savage, Indian, and Greek—of that element in mythology which, as all civilised races have felt, demands explanation.
To be still more explicit, we may draw up a brief list of the chief problems in the legendary stories attached to the old religions of the world—the problems which it is our special purpose to notice. First we have, in the myths of all races, the most grotesque conceptions of the character of gods when mythically envisaged. Beings who, in religion, leave little to be desired, and are spoken of as holy, immortal, omniscient, and kindly, are, in myth, represented as fashioned in the likeness not only of man, but of the beasts; as subject to death, as ignorant and impious.
Most pre-Christian religions had their "zoomorphic" or partially zoomorphic idols, gods in the shape of the lower animals, or with the heads and necks of the lower animals. In the same way all mythologies represent the gods as fond of appearing in animal forms. Under these disguises they conduct many amours, even with the daughters of men, and Greek houses were proud of their descent from Zeus in the shape of an eagle or ant, a serpent or a swan; while Cronus and the Vedic Tvashtri and Poseidon made love as horses, and Apollo as a dog. Not less wild are the legends about the births of gods from the thigh, or the head, or feet, or armpits of some parent; while tales describing and pictures representing unspeakable divine obscenities were frequent in the mythology and in the temples of Greece. Once more, the gods were said to possess and exercise the power of turning men and women into birds, beasts, fishes, trees, and stones, so that there was scarcely a familiar natural object in the Greek world which had not once (according to legend) been a man or a woman. The myths of the origin of the world and man, again, were in the last degree childish and disgusting. The Bushmen and Australians have, perhaps, no story of the origin of species quite so barbarous in style as the anecdotes about Phanes and Prajapati which are preserved in the Orphic hymns and in the Brahmanas. The conduct of the earlier dynasties of classical gods towards each other was as notoriously cruel and loathsome as their behaviour towards mortals was tricksy and capricious. The classical gods, with all their immortal might, are, by a mythical contradiction of the religious conception, regarded as capable of fear and pain, and are led into scrapes as ludicrous as those of Brer Wolf or Brer Terrapin in the tales of the Negroes of the Southern States of America. The stars, again, in mythology, are mixed up with beasts, planets and men in the same embroglio of fantastic opinion. The dead and the living, men, beasts and gods, trees and stars, and rivers, and sun, and moon, dance through the region of myths in a burlesque ballet of Priapus, where everything may be anything, where nature has no laws and imagination no limits.
Such are the irrational characteristics of myths, classic or Indian, European or American, African or Asiatic, Australian or Maori. Such is one element we find all the world over among civilised and savage people, quod semper, quod ubique, quod ab omnibus. It is no wonder that pious and reflective men have, in so many ages and in so many ways, tried to account to themselves for their possession of beliefs closely connected with religion which yet seemed ruinous to religion and morality.
The explanations which men have given of their own sacred stories, the apologies for their own gods which they have been constrained to offer to themselves, were the earliest babblings of a science of mythology. That science was, in its dim beginnings, intended to satisfy a moral need. Man found that his gods, when mythically envisaged, were not made in his own moral image at its best, but in the image sometimes of the beasts, sometimes of his own moral nature at its very worst: in the likeness of robbers, wizards, sorcerers, and adulterers. Now, it is impossible here to examine minutely all systems of mythological interpretation. Every key has been tried in this difficult lock; every cause of confusion has been taken up and tested, deemed adequate, and finally rejected or assigned a subordinate place. Probably the first attempts to shake off the burden of religious horror at mythical impiety were made by way of silent omission. Thus most of the foulest myths of early India are absent, and presumably were left out, in the Rig-Veda. "The religious sentiment of the hymns, already so elevated, has discarded most of the tales which offended it, but has not succeeded in discarding them all."(1) Just as the poets of the Rig-Veda prefer to avoid the more offensive traditions about Indra and Tvashtri, so Homer succeeds in avoiding the more grotesque and puerile tales about his own gods.(2) The period of actual apology comes later. Pindar declines, as we have seen, to accuse a god of cannibalism. The Satapatha Brahmana invents a new story about the slaying of Visvarupa. Not Indra, but Trita, says the Brahmana apologetically, slew the three-headed son of Tvashtri. "Indra assuredly was free from that sin, for he is a god," says the Indian apologist.(3) Yet sins which to us appear far more monstrous than the peccadillo of killing a three-headed Brahman are attributed freely to Indra.
(1) Les Religions de l'Inde, Barth, p. 14. See also postea, "Indian Myths".
(2) The reasons for Homer's reticence are probably different in different passages. Perhaps in some cases he had heard a purer version of myth than what reached Hesiod; perhaps he sometimes purposely (like Pindar) purified a myth; usually he must have selected, in conformity with the noble humanity and purity of his taste, the tales that best conformed to his ideal. He makes his deities reluctant to drag out in dispute old scandals of their early unheroic adventures, some of which, however, he gives, as the kicking of Hephaestus out of heaven, and the imprisonment of Ares in a vessel of bronze. Compare Professor Jebb's Homer, p. 83: "whatever the instinct of the great artist has tolerated, at least it has purged these things away." that is, divine amours in bestial form.
(3) Satapatha Brahmana, Oxford, 1882, vol. i. p. 47.