Among all Indo-European nations, the Heaven and the Earth were the two primordial divinities. The Rig-Veda calls them "the two great parents of the world." At Dodona, Samothrace, and Sparta they were worshipped together. But while in India, Varuna, the Heavens, continued to be an object of adoration in the Vedic or second period, in Greece it faded early from the popular thought. This already shows the opposite genius of the two nations. To the Hindoos the infinite was all important, to the Greeks the finite. The former, therefore, retain the adoration of the Heavens, the latter that of the Earth.
The Earth, Gaia, became more and more important to the Hellenic mind. Passing through various stages of development, she became, successively, Gaia in the first generation, Rhea in the second, and Dêmêtêr (Γή μήτηρ), Mother Earth, in the third. In like manner the Sun is successively Hyperiôn, son of Heaven and Earth; Hêlios, son of Hyperiôn and Theia; and Phoebus-Apollo, son of Zeus and Latona. The Moon is first Phoebe, sister of Hyperiôn; then Selênê, sister of Hêlios; and lastly Artemis, sister of Apollo. Pallas, probably meaning at first "the virgin," became afterward identified with Athênê, daughter of Zeus, as Pallas-Athênê. The Urania Pontus, the salt sea, became the Titan Oceanos, or Ocean, and in another generation Poseidôn, or Neptune.
The early gods are symbolical, the later are personal. The turning-point is reached when Kronos, Time, arrives. The children of Time and Earth are no longer vast shadowy abstractions, but become historical characters, with biographies and personal qualities. Neither Time nor History existed before Homer; when Time came, History began.
The three male children of Time were Zeus, Poseidôn, and Hadês; representing the three dimensions of space. Height, Breadth, and Depth; Heaven, Ocean, and Hell. They also represented the threefold progress of the human soul: its aspiration and ascent to what is noble and good, its descent to what is profound, and its sympathy with all that is various: in other words, its religion, its intelligence, and its affection.
The fable of Time devouring his children, and then reproducing them, evidently means the vicissitudes of customs and the departure and return of fashions. Whatever is born must die; but what has been will be again. That Erôs, Love, should be at the origin of things from chaos, indicates the primeval attraction with which the order of the universe begins. The mutilation of Uranos, Heaven, so that he ceased to produce children, suggests the change of the system of emanation, by which the gods descend from the infinite, into that of evolution, by which they arise out of the finite. It is, in fact, the end of Asia, and the beginning of Europe; for emanation is the law of the theologies of Asia, evolution that of Europe. Aphroditê, Beauty, was the last child of the Heavens, and yet born from the Ocean. Beauty is not the daughter of the Heavens and the Earth, but of the Heavens and the Ocean. The lights and shadows of the sky, the tints of dawn, the tenderness of clouds, unite with the toss and curve of the wave in creating Beauty. The beauty of outline appears in the sea, that of light and color in the sky.[227]
§ 4. The Gods of the Poets.
Herodotus says (II. 53), "I am of opinion that Hesiod and Homer lived four hundred years before my time, and not more, and these were they who framed a theogony for the Greeks, and gave names to the gods, and assigned to them honors and arts, and declared their several forms. But the poets, said to be before them, in my opinion, were after them."
That two poets should create a theology and a worship for a great people, and so unite its separate tribes into a commonwealth of united states, seems to modern minds an absurdity. But the poets of Greece were its prophets. They received, intensified, concentrated, the tendencies of thought already in the air. All the drift was toward Pan-Hellenic worship and to a humanized theology, when the Homeric writers sang their song.
The Greeks must be conceived of as a nation of poets; hence all their mythology was poetry. Poetry was their life and joy, written or unwritten, sung or spoken. They were poets in the deeper sense of the word; not by writing verses, but by looking at all nature and all life from its poetic side. Their exquisite mythology arose out of these spontaneous instincts. The tendency of the Greek mind was to vitalize and harmonize nature.[228]
All the phenomena of nature, all the powers of the human soul, and all the events of life, became a marvellous tissue of divine story. They walked the earth, surrounded and overshadowed by heavenly attendants and supernatural powers. But a striking peculiarity of this immense spiritualism was that it was almost without superstition. Their gods were not their terror, but their delight. Even the great gods of Olympus were around them as invisible companions. Fate itself, the dark Moira, supreme power, mistress of gods and men, was met manfully and not timorously. So strong was the human element, the sense of personal dignity and freedom, that the Greek lived in the midst of a supernatural world on equal terms.