Athena is above all the goddess of war, and she plays a large part in both the Iliad and Odyssey. In the latter poem she is the special guardian of Odysseus, whose ready mind wins her admiration. She is also the most skilled of all divinities, the patroness of every handicraft.[25] She is perhaps the chief divinity of Troy; on the Trojan citadel stands her temple to which the noble matrons bring a gift of a beautiful robe with the promise of generous sacrifice if the goddess will give them her protection against Diomedes.[26] She also has a home on the acropolis at Athens.[27]
Apollo, the archer god, is a patron of war and of bowmen. In the Iliad he is a violent enemy of the Achaeans and gives most effective aid to the Trojans; but in the Odyssey he plays no active part. He also inspires seers and prophets; and he is the god of the lyre and the teacher of bards. In prayers he is named with Zeus and Athena when an object is most earnestly desired.[28]
These three are the greatest of the Homeric divinities, although there is no close connection among them. Apollo’s virgin sister, Artemis, plays a part much inferior to that of her brother, but in many ways she is similar to him. Her arrows bring a quick and peaceful end to women as Apollo’s do to men. In the chase she is preëminent: she is the fair goddess of wood and mountain.
Ares and Aphrodite also belong to a lower rank. In function they are limited to an appeal to a single passion each, Ares to rage for slaughter, Aphrodite to the passion of love. They are both treated with a certain contempt and are mocked by the other gods.
Hephaestus is the god of fire, the lame craftsman of Olympus. It was he who built the homes of the gods; but his skill was especially shown in the wondrous works he wrought in gold and silver. Such were the mixing-bowl which Phaedimus, the Sidonian king, gave to Menelaus;[29] wonderful automata, twenty golden tripods, which on occasion would go of their own accord to the assemblage of the gods and then return;[30] or the gold and silver dogs which guarded the palace of Alcinous.[31] Still more marvellous were the golden maidens endowed with reason, speech, and cunning knowledge, which supported their maker as he limped from his forge to his chair;[32] and above all the splendid armor wrought for Achilles.[33]
Poseidon, the brother of Zeus, has as his special province the sea; but he appears on Olympus at the councils of the gods. In the Iliad he supports the Achaeans vigorously; no doubt from anger at the Trojans whose king Laomedon had once cheated him of the pay which was his due for building the walls of Troy;[34] in the Odyssey, angry at the blinding of his son, Polyphemus, he holds Odysseus far from Ithaca, until at last the Phaeacians bring him home. Then in wrath he turns their vessel into stone.[35]
Such in brief are the eight great gods of the Homeric poems. Of these Zeus is easily the first, but in the first rank also are Athena and Apollo; Hera and Poseidon hold a second place; and Hephaestus, Ares, and Aphrodite belong to the third class. Many other divinities there are, but all of lesser rank, like Hermes whose duties are those of a higher servant or messenger. He is sent to escort King Priam to the tent of Achilles to ransom Hector’s body,[36] and he is despatched to Calypso’s isle to bid her let Odysseus go.[37] There are some indications that he is already the patron of thieves, as he is of servants. Dionysus and Demeter, so prominent in later Greece, have not yet won a place in the Olympic circle. There is no hint in the epics of the mysteries and the orgiastic cults which were afterwards of great significance. Hades, the brother of Zeus and Poseidon, holds as his realm the dark abode of the dead, where he reigns with Persephone as queen. His murky kingdom is now represented as beneath the earth, again as far out on the bounds of Oceanus. But Hades takes no active part in either poem.
Besides these there is a host of divinities, some named but most unnamed, who cause all the phenomena of the visible world. In fact, the Homeric man could not conceive of a natural world obeying laws whose operation was fixed; on the contrary, he could only think of animated beings as the causes of all events. For him every occurrence was the manifestation of the will of some divinity; the natural and the miraculous were one.
It is evident from this hasty review of the Homeric gods that we have in the epics no complete and fully organized pantheon. Zeus is regarded as supreme but he is thwarted and outwitted by lesser members of the Olympic circle, even as they block one another. In fact Homer’s view of the gods abounds in contradictions of which however only the scholar and the critic have ever been very conscious. From our modern standpoint we notice the moral inconsistencies above all. Although Zeus is the guardian of justice, he is deceitful and treacherous if occasion arises, as when at the request of Thetis he sends a delusive dream to Agamemnon to urge him to give battle, in spite of the fact that he cannot be successful.[38] It is Zeus also who is responsible for the faithless breaking of the truce between the Achaeans and Trojans[39]; and many other instances might be cited to illustrate his utter untrustworthiness. On his lack of domestic morality I need hardly dwell.
Yet we must remind ourselves that to the Homeric Age there was little connection, if any, between morals and religion. Religion is concerned with man’s relation to the gods, morality with his relation to his fellow men. Morality is therefore developed through the social relations first of all, and only later is brought into relation to religion. In Homer the sense of social obligations is much more keenly realized than is that of religious sanctions. The cardinal virtues are bravery, wisdom, love of home and family, and regard for hospitality. In a life of action, filled with war, bravery is of prime importance; by it wealth, power, and honor are won. Proper to such a life are practical wisdom and even cunning. The highest praise is to be called “first in council and first in battle.”[40] Agamemnon is lauded by Helen as “both a good king and a mighty warrior.”[41] The standing epithets of Odysseus, “very crafty” (πολύμητις) and “the man of many devices” (πολυμήχανος), show the qualities which were deemed praiseworthy. Yet Odysseus had won this distinction by his skill in lying and deceiving—practices still deemed highly laudable in our own world if employed against a foe, or sometimes even when used as acts of caution. Yet if our modern views do not wholly coincide with the ancient on these points, we can feel only admiration for the regard for home and family, the unselfish generosity, and the universal hospitality toward strangers which the epic heroes display.