The Homeric Greeks had no butchers; they did the slaying of beasts themselves or their priests did it for them. Agamemnon kills the boar sacrificed to Zeus with his own hands, which are first uplifted in prayer. The commonest meat was the flesh of swine, as may be seen by the pig of Æsop which replied, on being asked by the sheep why he cried out when caught, “They take you for your wool or milk, but me for my life.” In Homer, however, there is much talk of fatted sheep, kids and oxen, and there is even mention of killing a cow. The Athenians had qualms about slaughtering the ox, the animal essential to agriculture—though they did it—but the Homeric Greek was not troubled by such thoughts. He was not over nice about anything; he was his own cook, and he did not lose his appetite while he roasted his bit of meat on the spit. A Greek repast of that age would have shocked the abstemious Indian as much as the Hindu reformer, Keshub Chunder Sen, confessed to have been shocked by the huge joints on English sideboards.
Putting aside his meat-eating proclivities, for which we cannot throw stones at him, the Greek of the Iliad and of the Odyssey is the friend of his beast. He does not regard it as his long-lost brother, but he sees in it a devoted servant; sometimes more than human in love if less than human in wit. His point of view, though detached, was appreciative. Practically it was the point of view of the twentieth century. Homer belongs to the Western world, and in a great measure to the modern Western world. He had no racial fellow-feeling with animals; yet he could feel for the sparrow that flutters round its murdered young ones and for the vulture that rends the air with cries when the countryman takes its fledglings from the nest. He could shed one immortal tear over the faithful hound that recognises his master and dies. “There lay the dog Argus, full of vermin.” If it had not been a living creature, what sight could have more repelled human eyes? But with dog as with man, the miserable body is as naught beside—what in the man we call the soul. “He fawned with his tail and laid down both his ears, but he could no more come nearer his master.” All the sense of disgust is gone and there is something moist, perhaps, in our eyes too, though it is not the ichor of immortality.
Giving names to animals is the first instinctive confession that they are not things. What sensible man ever called his table Carlo or his inkpot Trilby? Homer gives his horses the usual names of horses in his day; this is shown by the fact that he calls more than one horse by the same name. Hector’s steeds were Xanthus, Æthon and noble Lampus; often would Andromache mix wine for them even before she attended to the wants of her husband, or offer them the sweet barley with her own white hands. Æthe is the name of Agamemnon’s graceful and fleet-footed mare. Xanthus and Balius, offspring of Podarges, are the horses which Achilles received from his father. He bids them bring their charioteer back in safety to the body of the Greeks—and then follows the impressive incident of the warning given to him of his impending fate. The horse Xanthus bends low his head: his long mane, which is collected in a ring, droops till it touches the ground. Hera gives him power of speech and he tells how, though the steeds of Achilles will do their part right well, not all their swiftness, not all their faithful service can save their master from the doom that even now is drawing near. “The furies restrain the voice”: the laws which govern the natural order of things must not be violated. “O Xanthus,” cries Achilles, “O Xanthus, why dost thou predict my death?... Well do I know myself that it is my fate to perish here, far away from my dear father and mother!” It is the passionate cry of the Greek, the lover of life as none has loved it, the lover of the sweet air gladdened by the sun.
Many a soldier may have spoken to his horse, half in jest, as Achilles spoke to Xanthus and Balius: “bring me safely out of the fray.” The supernatural and terrible reply comes with the shock of the unforeseen, like a clap of thunder on a calm day. This incident is a departure from the usual Homeric conventionality, for it takes us into the domain of real magic. The belief that animals know things that we know not, and see things that we see not, is scattered over all the earth. Are there not still good people who feel an “eerie” sensation when a cat stares fixedly into vacancy in the twilight? “Eerie” sensations count for much in early beliefs, but what counts for more is the observation of actual facts which are not and, perhaps, cannot be explained. The uneasiness of animals before an earthquake, or the refusal of some animals to go to sea on ships which afterwards come to grief—to refer to only two instances of a class of phenomena the existence of which cannot be gainsaid—would be sufficient to convince any savage or any primitive man that animals have foreknowledge. If they know the future on one point, why should they not know it on others? The primitive man generally starts from something which he deems certain; he deals in “certainties” far more than in hypotheses, and when he has seized a “certainty” in his own fashion he draws logical deductions from it. Savages and children have a ruthless logic of their own.
The prophetic power of animals has important bearings on the subject of divination. In cases of animal portents the later theory may have been that the animal was the passive instrument or medium of a superior power; but it is not likely that this was the earliest theory. The goddess did not use Xanthus as a mouthpiece: she simply gave him the faculty of speech so that he could say what he already knew. The second sight of animals was believed to be communicable to man through their flesh, and especially through their blood. Porphyry says plainly that diviners fed on the hearts of crows, vultures, and moles (the heart being the fountain of the blood), because in this manner they partook of the souls of these animals, and received the influence of the gods who accompanied these souls. The blood conveyed the qualities of the spirit. In my opinion the Hebrew ordinance against partaking of the blood was connected with this idea; the soul was not to be meddled with. I do not know if attention has been paid to the remarkable juxtaposition of the blood prohibition with enchantment in Leviticus xix. 26. The Institutes of Manu clearly indicate that the blood was not to be swallowed because, by doing so, could be procured an illicit mixing up of personality: the most awful of sins, more awful because so much more mysterious than our mediæval “pact,” or selling the soul to the devil. A knowledge of magic is essential to the true comprehension of all sacred writings.
That animals formerly talked with human voices was the genuine belief of most early races, but there are few traces of it in Greek literature. A hint of a real folk-belief is to be found, perhaps, in the remark of Clytemnestra, who says of Cassandra, when she will not descend from the car that has brought her, a prisoner, to Agamemnon’s palace:—
“I wot—unless like swallows she doth use
Some strange barbarian tongue from over sea,
My words must bring persuasion to her soul.”
But such hints are not frequent. The stories of “talking beasts” which enjoyed an immense popularity in Greece were founded on as conscious “make-believe” as the Beast tales of the Middle Ages. From the “Battle of the Frogs and Mice” to Æsop’s fables, and from these to the comedies of Aristophanes, the animals are meant to hold up human follies to ridicule or human virtues to admiration. The object was to instruct while amusing when it was not to amuse without instructing. Æsop hardly asks the most guileless to believe that his stories are of the “all true” category—which is why children rarely quite take them to their hearts. At the same time, he shows a close study of the idiosyncrasies of animals, so close that there is little to alter in his characterisation. Out of the mass of stories in the collection attributed to him, one or two only seem to carry us back to a more ingenuous age. The following beautiful little tale of the “Lion’s Kingdom” is vaguely reminiscent of the world-tradition of a “Peace in Nature.”