The Homeric Hymns. Lang Andrew
Heaven he marries the Earth. The tendency of men being to claim descent from a God, for each family with this claim a myth of a separate divine amour was needed. Where there had existed Totemism, or belief in kinship with beasts, the myth of the amour of a wolf, bull, serpent, swan, and so forth, was attached to the legend of Zeus. Zeus had been that swan, serpent, wolf, or bull. Once more, ritual arose, in great part, from the rites of sympathetic magic.
This or that mummery was enacted by men for a magical purpose, to secure success in the chase, agriculture, or war. When the performers asked, “Why do we do thus and thus?” the answer was, “Zeus first did so,” or Demeter, or Apollo did so, on a certain occasion. About that occasion a myth was framed, and finally there was no profligacy, cruelty, or absurdity of which the God was not guilty. Yet, all the time, he punished adultery, inhospitality, perjury, incest, cannibalism, and other excesses, of which, in legend, he was always setting the example. We know from Xenophanes, Plato, and St. Augustine how men’s consciences were tormented by this unceasing contradiction: this overgrowth of myth on the stock of an idea originally noble. It is thus that I would attempt to account for the contradictory conceptions of Zeus, for example.
As to Apollo, I do not think that mythologists determined to find, in Apollo, some deified aspect of Nature, have laid stress enough on his counterparts in savage myth. We constantly find, in America, in the Andaman Isles, and in Australia, that, subordinate to the primal Being, there exists another who enters into much closer relations with mankind. He is often concerned with healing and with prophecy, or with the inspiration of conjurers or shamans. Sometimes he is merely an underling, as in the case of the Massachusetts Kiehtan, and his more familiar subordinate, Hobamoc. 9 But frequently this go-between of God and Man is (like Apollo) the Son of the primal Being (often an unbegotten Son) or his Messenger (Andaman, Noongaburrah, Kurnai, Kamilaroi, and other Australian tribes). He reports to the somewhat otiose primal Being about men’s conduct, and he sometimes superintends the Mysteries. I am disposed to regard the prophetic and oracular Apollo (who, as the Hymn to Hermes tells us, alone knows the will of Father Zeus) as the Greek modification of this personage in savage theology. Where this Son is found in Australia, I by no means regard him as a savage refraction from Christian teaching about a mediator, for Christian teaching, in fact, has not been accepted, least of all by the highly conservative sorcerers, or shamans, or wirreenuns of the tribes. European observers, of course, have been struck by (and have probably exaggerated in some instances) the Christian analogy. But if they had been as well acquainted with ancient Greek as with Christian theology they would have remarked that the Andaman, American, and Australian “mediators” are infinitely more akin to Apollo, in his relations with Zeus and with men, than to any Person about whom missionaries can preach. But the most devoted believer in borrowing will not say that, when the Australian mediator, Tundun, son of Mungun-gnaur, turns into a porpoise, the Kurnai have borrowed from our Hymn of the Dolphin Apollo. It is absurd to maintain that the Son of the God, the go-between of God and men, in savage theology, is borrowed from missionaries, while this being has so much more in common with Apollo (from whom he cannot conceivably be borrowed) than with Christ. The Tundun-porpoise story seems to have arisen in gratitude to the porpoise, which drives fishes inshore, for the natives to catch. Neither Tharamulun nor Hobamoc (Australian and American Gods of healing and soothsaying), who appear to men as serpents, are borrowed from Asclepius, or from the Python of Apollo. The processes have been quite different, and in Apollo, the oracular son of Zeus, who declares his counsel to men, I am apt to see a beautiful Greek modification of the type of the mediating Son of the primal Being of savage belief, adorned with many of the attributes of the Sun God, from whom, however, he is fundamentally distinct. Apollo, I think, is an adorned survival of the Son of the God of savage theology. He was not, at first, a Nature God, solar or not. This opinion, if it seems valid, helps to account, in part, for the animal metamorphoses of Apollo, a survival from the mental confusion of savagery. Such a confusion, in Greece, makes it necessary for the wise son of Zeus to seek information, as in the Hymn to Hermes, from an old clown. This medley of ideas, in the mind of a civilised poet, who believes that Apollo is all-knowing in the counsels of eternity, is as truly mythological as Dunbar’s God who laughs his heart sore at an ale-house jest. Dunbar, and the author of the Hymn, and the savage with his tale of Tundun or Daramulun, have all quite contradictory sets of ideas alternately present to their minds; the mediæval poet, of course, being conscious of the contradiction, which makes the essence of his humour, such as it is. To Greece, in its loftier moods, Apollo was, despite his myth, a noble source of inspiration, of art, and of conduct. But the contradiction in the low myth and high doctrine of Apollo, could never be eradicated under any influence less potent than that of Christianity. 10 If this theory of Apollo’s origin be correct, many pages of learned works on Mythology need to be rewritten.
THE HYMN TO HERMES
The Hymn to Hermes is remarkable for the corruption of the text, which appears even to present lacunæ. The English reader will naturally prefer the lively and charming version of Shelley to any other. The poet can tell and adorn the story without visibly floundering in the pitfalls of a dislocated text. If we may judge by line 51, and if Greek musical tradition be correct, the date of the Hymn cannot be earlier than the fortieth Olympiad. About that period Terpander is said to have given the lyre seven strings (as Mercury does in the poem), in place of the previous four strings. The date of Terpander is dubious, but probably the seven-stringed lyre had long been in common use before the poet attributed the invention to Hermes. The same argument applies to the antiquity of writing, assigned by poets as the invention of various mythical and prehistoric heroes. But the poets were not careful archæologists, and regarded anachronisms as genially as did Shakespeare or Scott. Moreover, the fact that Terpander did invent the seven chords is not beyond dispute historically, while, mythically, Apollo and Amphion are credited with the idea. That Hermes invented fire-sticks seems a fable which robs Prometheus of the honour. We must not look for any kind of consistency in myth.
The learned differ as to the precise purpose of the Hymn, and some even exclude the invention of the cithara. To myself it seems that the poet chiefly revels in a very familiar subject of savage humour (notably among the Zulus), the extraordinary feats and tricks of a tiny and apparently feeble and helpless person or animal, such as Brer Rabbit. The triumph of astuteness over strength (a triumph here assigned to the infancy of a God) is the theme. Hermes is here a rustic doublure of Apollo, as he was, in fact, mainly a rural deity, though he became the Messenger of the Gods, and the Guide of Souls outworn. In these respects he answers to the Australian Grogoragally, in his double relation to the Father, Boyma, and to men living and dead. 11
As a go-between of Gods and men, Hermes may be a doublure of Apollo, but, as the Hymn shows, he aspired in vain to Apollo’s oracular function. In one respect his behaviour has a singular savage parallel. His shoes woven of twigs, so as not to show the direction in which he is proceeding, answer to the equally shapeless feather sandals of the blacks who “go Kurdaitcha,” that is, as avengers of blood. I have nowhere else found this practice as to the shoes, which, after all, cannot conceal the direction of the spoor from a native tracker. 12 The trick of driving the cattle backwards answers to the old legend that Bruce reversed the shoes of his horse when he fled from the court of Edward I.
The humour of the Hymn is rather rustic: cattle theft is the chief joke, cattle theft by a baby. The God, divine as he is, feels his mouth water for roast beef, a primitive conception. In fact, throughout this Hymn we are far from the solemn regard paid to Apollo, from the wistful beauty of the Hymn to Demeter, and from the gladness and melancholy of the Hymn to Aphrodite. Sportive myths are treated sportively, as in the story of Ares and Aphrodite in the Odyssey. Myths contained all conceivable elements, among others that of humour, to which the poet here abandons himself. The statues and symbols of Hermes were inviolably sacred; as Guide of Souls he played the part of comforter and friend: he brought men all things lucky and fortunate: he made the cattle bring forth abundantly: he had the golden wand of wealth. But he was also tricksy as a Brownie or as Puck; and that fairy aspect of his character and legend, he being the midnight thief whose maraudings account for the unexplained disappearances of things, is the chief topic of the gay and reckless
Winslow, 1622.
For authorities, see Mr Howitt in the
Manning, “Notes on the Aborigines of New Holland.” Read before Royal Society of New South Wales, 1882. Notes taken down in 1845. Compare Mrs. Langloh Parker,
Spencer and Gillen, “Natives of Central Australia,” p. 651,