That, considered as historical narratives, they had been elaborated and their bald facts distorted by the creative imagination of a marvellous people, was clearly evident. No one, for example, in recent days would be expected to believe that the hero Achilles had been plunged into the river Styx by his mother and rendered thereby invulnerable except as to the heel by which he was held. But to doubt that the hero Achilles lived and accomplished such feats as were narrated in the Iliad would seem almost a blow at the existence of the most fascinating people of antiquity. There came a time, however, in comparatively recent generations when scepticism no longer hesitated to invade the ranks of the most time-honoured and best-beloved traditions, and when a warfare of words began between a set of critics, who would wipe the whole mass of Greek myths from the pages of history, and the champions of those myths who were but little disposed to give them up. Thus scepticism found an obvious measure of support in the clear fact that the mythical narratives could not possibly be received as authentic in their entirety. Further support was given to the sceptical party a little later by the study of comparative mythology, which showed to the surprise of many scholars that the Greek myths were by no means so unique in their character as had been supposed. It was shown that in the main they are closely paralleled by myths of other nations, and a theory was developed and advocated with much plausibility that they had been developed out of a superstitious regard of the sun and moon and elements, that most of them were, in short, what came to be called solar myths, and that they had no association whatever with thev deeds of human historic personages.
Looking at the subject in the broadest way it, perhaps, does not greatly matter which view, as to the status of myths, is the true one. After all, the main purport of history in all its phases has value, not for what it tells us of the deeds of individual men or the conflicts of individual nations, but for what it can reveal of the process of the evolution of civilisation. Weighed by this standard, the beautiful myths of the Greeks are of value chiefly as revealing to us the essential status of the Greek mind in the early historical period, and the stage of evolution of that mind.
The beautiful myths of Greece cannot and must not be given up, and fortunately they need not. The view which Grote and the host of his followers maintained, practically solves the problem for the historian. He may retain the legend and gain from it the fullest measure of imaginative satisfaction; he may draw from it inferences of the greatest value as to the mental status of the Greek people at the time when the legends were crystallised into their final form; he may even believe that, in the main, the legends have been built upon a substructure of historical fact, and he may leave to specialists the controversy as to the exact relations which this substructure bears to the finished whole, content to accept the decision of the greatest critical historians of Greece that this question is insoluble.
From the period of myth pure and simple when the gods and goddesses themselves roved the earth achieving miracles, taking various shapes, slaying pythons, titans, and other monsters, and exercising their amorous fancies among the men and women of earth—from this period we come to the semi-historical time of the activity of the demi-gods and the men who, superior to the ordinary clay, were called Heroes.
The term “Heroic Age” has passed into general use with the historian as applying to the period of Grecian history immediately preceding and including the Trojan wars. As there are very few reliable documents at hand relating to this period — there were none at all until recently— it is clear that this age is in reality only the latter part of that mythical period to which we have just referred. Recent historians tend to treat it much more sceptically than did the historians of an earlier epoch; some are even disposed practically to ignore it. But the term has passed far too generally into use to be altogether abandoned; and, indeed, it is not desirable that it should be quite given up, for, however vague the details of the history it connotes, it is after all the shadowy record of a real epoch of history. We shall, perhaps, do best, therefore, to view it through the eyes of a distinguished historian of an earlier generation, remembering only that what is here narrated is still only half history -- that is to say, history only half emerged from the realm of legend.
The real limits of this period cannot be exactly defined; but still, so far as its traditions admit of anything like a chronological connection, its duration may be estimated at six generations, or about two hundred years. The history of the heroic age is the history of the most celebrated persons belonging to this class, who, in the language of poetry, are called heroes. The term “hero” is of doubtful origin, though it was clearly a title of honour; but in the poems of Homer, it is applied not only to the chiefs, but also to their followers. In later times its use was narrowed, and in some degree altered; it was restricted to persons, whether of the Heroic or of after ages, who were believed to be endowed with a superhuman, though not a divine, nature, and who were honoured with sacred rites, and were imagined to have the power of dispensing good or evil to their worshippers; and it was gradually combined with the notion of prodigious strength and gigantic stature. Here however we have only to do with the heroes as men. The history of their age is filled with their wars, expeditions, and adventures; and this is the great mine from which the materials of the Greek poetry were almost entirely drawn. But the richer a period is in poetical materials, the more difficult it usually is to extract from it any that are fit for the use of the historian; and this is especially true in the present instance. We must content ourselves with touching on some which appear most worthy of notice, either from their celebrity, or for the light they throw on the general character of the period, or their connection, real or supposed, with subsequent historical events.
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