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II. THE DIVINE CHARACTERS

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The gods in the Iliad play a very active and human part, and indeed they may be said in a sense to be more human than the men themselves. They are passionate, sensual, vindictive; they have no sense of fair play, but are always ready to help their favourites by all means, fair or foul. When Patroclus is to die, he is stripped of his armour and beaten half senseless by Apollo, and delivered over in this helpless state to Euphorbus and Hector; and Hector, in his turn, is cheated and beguiled to his death by Athene. In the chariot race which is described in the twenty-third book Athene wrecks the car of Eumelus to secure the victory for Diomede; and the same goddess interferes in the foot race on behalf of Odysseus, whom she loves like a mother. We have already remarked, in the Introduction to the Odyssey, that the only humorous scenes in the Iliad are those in which the gods play the chief or sole part. And, in fact, the want of dignity and decorum which we find in these mighty beings is simply astonishing. The battle of the gods, which is introduced with such pomp and parade, ends in the broadest farce. In the fifth book, Ares roars and bellows like a beast when he is wounded by the spear of Diomede, and Aphrodite, whose hand has been scratched, goes whimpering and whining to her mother for comfort. Only in a few passages do we find a great and worthy conception of the divine nature—as in the famous lines in the first book, when Zeus nods his immortal head confirming his oath to Thetis, and in the sublime description of Poseidon at the beginning of the thirteenth book.

At the head of the Olympian hierarchy stands Zeus the lord of the sky, who divides with his brothers, Hades and Poseidon, the empire of the universe. He is the highest in power and authority, and with him rests the final decision in all the disputes of Olympus. But this genial and patriarchal deity is not without his troubles: he rules over a disorderly household, and his purposes are constantly thwarted by the lesser powers who reign under him. In his heart of hearts he favours Priam and the Trojans, but he is a fond and indulgent father and husband, and Hera, his wife, and Athene, his daughter, cherish an implacable hatred against Troy and all things Trojan. The reason for this bitter animosity does not appear: for the judgment of Paris, which is the cause assigned by later legends, is only mentioned in one passage, of doubtful authenticity. Hera is described as a lady of shrewish and vixenish temper; she will never be satisfied, says Zeus, until she has gone down into Troy and eaten Priam and all his people raw! Her human counterpart is Hecuba, who would like, she says, to tear out the heart of Achilles, and devour it. On the side of the Trojans are Apollo, Artemis, Hephæstus, the river-god Scamander, and Leto.

Such are the gods of Homer, and such the national divinities of Greece. For the poems of Homer and Hesiod, as Herodotus informs us, are the chief sources of the popular theology. Small wonder, then, that the more earnest minds of a later age were much occupied by the endeavour to raise and purify the accepted mythology, or that Plato excludes Homer, "the great magician," from his scheme of reformed education.

Stories from the Iliad

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