The Religious Thought of the Greeks, from Homer to the Triumph of Christianity — Edition Insights

ound both Aphrodite and Ares, whereat the valiant god of war bawled out as loud, the poet says, “as nine or ten thousand men shout in battle,” and fled into the broad heaven to appeal to Zeus.[2] In the twenty-first book of the Iliad Athena hits Ares in the neck with a large boundary stone and overthrows him, adding insult to injury by laughing merrily at the god’s discomfiture; then when Aphrodite would lead him off groaning, Athena hurries after and with a blow of her stout hand lays goddess and god prostrate on the ground.[3] Nor are the gods more just and honorable than men; they are moved by caprice; and their godhead does not prevent their quarreling or making up their differences in very human fashion, as the domestic jar between Zeus and Hera in the first book of the Iliad shows.[4]

Furthermore the Homeric gods are neither omniscient nor omnipotent. “The gods know all things” is a pious tribute of the poet, but the narrative shows it to be untrue. In the thirteenth book of the Iliad, when Zeus is gazing off into Thrace he fails to notice that Poseidon enters the battle on the plain immediately below him.[5] In the fifth book of the Odyssey the tables are turned in a sense, for Poseidon finds that during his absence among the Ethiopians the Olympians have taken action favorable to Odysseus, whose return the god of the sea would fain prevent.[6] For nine years Thetis and Eurynome alone among the gods knew where Hephaestus was concealed: when he had been thrown from heaven by his mother in shame for his lameness, they hid him in a grotto where the sound of the stream of Oceanus drowned the noise of his smithy.[7] Apollo arrives too late to save Rhesus from his fate;[8] and we are told that in the previous generation Ares was imprisoned by the giants Otus and Ephialtes in a bronze jar, like an Oriental jinn, for thirteen months. There he had perished if it had not been for the friendly aid of Hermes who stole him from his prison.[9] The gods at times thwart one another’s purposes, and, as we have seen, they may even be wounded or frightened like human beings.[10] In such ways as these do the Homeric divinities show their limitations.

Not only can the gods thwart one another, but they are all at times subject to Fate or Destiny, which, although vaguely conceived by the poet, is none the less inexorable. It seems usually to be an impersonal power, although sometimes it is identified with the will of an indefinite god (δαἰμονος αἶσα) or with that of Zeus himself (Διὸς αἶσα). It was fated that Sarpedon, the son of Zeus, should die, and Zeus, in spite of his grief, yielded him up to his doom, not because he could not have opposed Fate successfully, but because he feared that other divinities would wish to save their children if he saved his.[11] Yet in the Odyssey Athena disguised as Mentor declares to Telemachus that not even the gods can save a man they love whenever the fatal doom of death lays hold on him.[12] So naturally inconsistent is the poet, for in his day men had not reached the stage where they could form any adequate notion of unity in the world. Fate therefore is not conceived to be an inexorable power which is constantly operative, as we find it represented at a later time among the Greeks and among the Romans, notably in Virgil.

At times we find a more or less fatalistic view of life, Fate being conceived as a destiny fixed at birth, for the notion that the thread of life was spun already existed. So Hecuba, wailing for her son, cries that mighty Fate spun Hector’s doom at the hour she gave him birth;[13] and Alcinous declares that under Phaeacian escort Odysseus shall reach his home, but that there he will suffer all that Fate and the cruel spinsters spun for him when his mother bore him.[14] This fatalism is most clearly expressed in passages such as that where Odysseus on Circe’s isle cheers his companions by reminding them that they shall not enter the house of Hades until their fated day shall come,[15] and especially in those lines in which Hector comforts his wife Andromache who would have restrained his impetuous desire for battle:[16] “My good wife, grieve not overmuch for me in thy heart, for no man shall send me to Hades contrary to my fate; and I say that none, be he a coward or brave, has ever escaped his doom, when once it comes.” Still the Homeric bard had not arrived at any consistent view of destiny; he gave utterance to that feeling which men had vaguely then as now, that beyond all lies something fixed and invariable to which all things and beings are ultimately subject.

As we have seen, the divinities may work at cross purposes; there is nothing in the Homeric poems like monotheism or pantheism in any true sense. When the Homeric man said that a thing happened “with god’s help,” he was simply recognizing the agency of the gods in everything. Not knowing the special divinity concerned, he left him nameless; least of all had he any concept of a complete divine polity. There is, therefore, no such thing in the epics as a divine providence in the way of a definite purpose or plan such as we shall later find in the fifth century. Like mortals the Homeric gods discuss their plans, without being able to see the end from the beginning; they are moved by caprice, so that Zeus changes sides twice on the second day of the great battle between the Achaeans and Trojans.[17] The vacillating and capricious character of the gods is not offset by the protection that a divinity may give a favorite, such as Athena gave to Odysseus in his long wanderings and on his return to Ithaca. Throughout both poems we find the assumption constantly held that every blessing comes from the gods, that they give every distinction. In like fashion men believed that all misfortunes were due to divine anger or hostility. So Odysseus was kept from home for nearly ten years by Poseidon’s hate; the favor of Athena toward the Achaeans turned to wrath because of the violence done her shrine in the sack of Troy so that she caused an evil return for her former favorites. Indeed in misfortune the Homeric hero’s first question was as to what god he had offended. The problem of evil therefore was a simple one—all depended on the will or whim of some divinity.

But there are other things which we should note with regard to these divinities. As has been said, they are universalized, not attached to definite localities; in fact the epics contain few traces of that localization which was the rule in the common religion of Greece. Although Hera declares:[18] “Verily three cities there are most dear to me, Argos and Sparta and broad-streeted Mycenae,” she is in no sense regarded as bound to these localities. In Demodocus’ song of the love of Ares and Aphrodite it is said that when released from the bonds in which Hephaestus had ensnared them, the god of war fled to Thrace and laughter-loving Aphrodite to Paphos in Cyprus,[19] but these places are not their homes in any strict sense. And so with the other gods. The Olympians are rather free, universal divinities, unhampered by local attachments. Olympus itself is in the upper heaven more than in Thessaly. It is of course true that lesser divinities, like river-gods and mountain-nymphs, are localized, but these beings have little influence on the affairs of men.

Let us now consider briefly the most important Homeric gods. At the head of the divine order stands Zeus, “father of gods and of men” (πατὴρ ἀνδρῶν τε θεῶν τε), “most exalted of rulers” (ὔπατε κρειόντων), “most glorious and most mighty” (κύδιστε μέγιστε), as he is called.[20] To him the elements are subject and at his nod great Olympus trembles. He is the guardian of oaths, the protector of the stranger and the suppliant. Famed for his prowess and might he never in person enters battle, but indirectly he takes a hand in the strife between the Greeks and the Trojans. Although he surpasses all in wisdom and power, at times he is outwitted by other divinities. Like a mortal chieftain he presides at council on Olympus in his great hall, whither he may on occasion summon the divinities of every class to attend a general assembly.[21] Olympus indeed is conceived as loosely organized after the fashion of an aristocratic state with Zeus as chief (βασιλεύς), the Olympians as members of the council (βουλή), and the whole body of minor divinities as making up the assembly (ἀγορή).

Hera, the queen of Olympus, is at once both sister and wife of Zeus; they are the only wedded pair on Olympus. She belongs, however, distinctly to the second class of Olympians. She takes no part in the Odyssey; and in the Iliad, although she favors the Achaeans most vehemently, she is less active than Athena. In character she is a good deal of a scold, so that Zeus fears her jealous anger.[22] He knows that she is accustomed to block his plans, although on one occasion he had punished her by stringing her up by the wrists and tying anvils to her feet! Of this he indignantly reminds her: “Dost thou not remember when I strung thee up aloft and from thy feet I hung two anvils, and round thy wrists I bound a golden bond unbreakable? And thou wast hung in the upper air and the clouds. Wroth were the gods throughout high Olympus, but still they could not approach and free thee.”[23] Again he had beaten her, and when Hephaestus tried to intervene, Zeus seized the meddler by the foot and threw him out of Olympus. Hephaestus himself recalls the experience: “All the day long I fell and at setting of the sun I dropped in Lemnos, and there was little life left in me.”[24]

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.

The poems also set a high value on personal honor. The outrage done Menelaus by Paris, who violated the most sacred laws of hospitality by carrying away his host’s wife, was the whole cause of the Trojan War. To avenge this outrage all the princes of the Achaeans rallied as if the wrong suffered had been their own. Agamemnon’s high-handed act in taking the captive Briseis from Achilles roused that wrath which is the first word of the Iliad. The Odyssey is the epic of a personal will which, triumphing over all disasters, finally wreaked a terrible vengeance on the insolent suitors who had wooed Odysseus’ wife, devoured his substance, plotted against his son, and at the end shamefully insulted Odysseus himself. The punishment of the suitors is the victory of justice over lawlessness, and possesses a moral significance which was not lost on antiquity.