Myths and Myth-Makers [87]
of the sea-nymph Thetis, the wielder of invincible weapons and the lord of undying horses, goes to fight in a quarrel which is not his own; that his wrath is roused because he is robbed of the maiden Briseis, and that henceforth he takes no part in the strife until his friend Patroklos has been slain; that then he puts on the new armour which Thetis brings to him from the anvil of Hephaistos, and goes forth to win the victory. The details are throughout of the same nature. Achilleus sees and converses with Athene; Aphrodite is wounded by Diomedes, and Sleep and Death bear away the lifeless Sarpedon on their noiseless wings to the far-off land of light." In view of all this it is evident that Homer was not describing, like a salaried historiographer, the state of things which existed in the time of his father or grandfather. To his mind the occurrences which he described were those of a remote, a wonderful, a semi-divine past.
This conclusion, which I have thus far supported merely by reference to the Iliad itself, becomes irresistible as soon as we take into account the results obtained during the past thirty years by the science of comparative mythology. As long as our view was restricted to Greece, it was perhaps excusable that Achilleus and Paris should be taken for exaggerated copies of actual persons. Since the day when Grimm laid the foundations of the science of mythology, all this has been changed. It is now held that Achilleus and Paris and Helena are to be found, not only in the Iliad, but also in the Rig-Veda, and therefore, as mythical conceptions, date, not from Homer, but from a period preceding the dispersion of the Aryan nations. The tale of the Wrath of Achilleus, far from originating with Homer, far from being recorded by the author of the Iliad as by an eyewitness, must have been known in its essential features in Aryana-vaedjo, at that remote epoch when the Indian, the Greek, and the Teuton were as yet one and the same. For the story has been retained by the three races alike, in all its principal features; though the Veda has left it in the sky where it originally belonged, while the Iliad and the Nibelungenlied have brought it down to earth, the one locating it in Asia Minor, and the other in Northwestern Europe.[153]
[153] For the precise extent to which I would indorse the theory that the Iliad-myth is an account of the victory of light over darkness, let me refer to what I have said above on p. 134. I do not suppose that the struggle between light and darkness was Homer's subject in the Iliad any more than it was Shakespeare's subject in "Hamlet." Homer's subject was the wrath of the Greek hero, as Shakespeare's subject was the vengeance of the Danish prince. Nevertheless, the story of Hamlet, when traced back to its Norse original, is unmistakably the story of the quarrel between summer and winter; and the moody prince is as much a solar hero as Odin himself. See Simrock, Die Quellen des Shakespeare, I. 127-133. Of course Shakespeare knew nothing of this, as Homer knew nothing of the origin of his Achilleus. The two stories, therefore, are not to be taken as sun-myths in their present form. They are the offspring of other stories which were sun-myths; they are stories which conform to the sun-myth type after the manner above illustrated in the paper on Light and Darkness. [Hence there is nothing unintelligible in the inconsistency--which seems to puzzle Max Muller (Science of Language, 6th ed. Vol. II. p. 516, note 20)--of investing Paris with many of the characteristics of the children of light. Supposing, as we must, that the primitive sense of the Iliad-myth had as entirely disappeared in the Homeric age, as the primitive sense of the Hamlet-myth had disappeared in the times of Elizabeth, the fit ground for wonder is that such inconsistencies are not more numerous.] The physical theory of myths will be properly presented and comprehended, only when it is understood that we accept the physical derivation of such stories as the Iliad-myth in much the same way that we are bound to accept
This conclusion, which I have thus far supported merely by reference to the Iliad itself, becomes irresistible as soon as we take into account the results obtained during the past thirty years by the science of comparative mythology. As long as our view was restricted to Greece, it was perhaps excusable that Achilleus and Paris should be taken for exaggerated copies of actual persons. Since the day when Grimm laid the foundations of the science of mythology, all this has been changed. It is now held that Achilleus and Paris and Helena are to be found, not only in the Iliad, but also in the Rig-Veda, and therefore, as mythical conceptions, date, not from Homer, but from a period preceding the dispersion of the Aryan nations. The tale of the Wrath of Achilleus, far from originating with Homer, far from being recorded by the author of the Iliad as by an eyewitness, must have been known in its essential features in Aryana-vaedjo, at that remote epoch when the Indian, the Greek, and the Teuton were as yet one and the same. For the story has been retained by the three races alike, in all its principal features; though the Veda has left it in the sky where it originally belonged, while the Iliad and the Nibelungenlied have brought it down to earth, the one locating it in Asia Minor, and the other in Northwestern Europe.[153]
[153] For the precise extent to which I would indorse the theory that the Iliad-myth is an account of the victory of light over darkness, let me refer to what I have said above on p. 134. I do not suppose that the struggle between light and darkness was Homer's subject in the Iliad any more than it was Shakespeare's subject in "Hamlet." Homer's subject was the wrath of the Greek hero, as Shakespeare's subject was the vengeance of the Danish prince. Nevertheless, the story of Hamlet, when traced back to its Norse original, is unmistakably the story of the quarrel between summer and winter; and the moody prince is as much a solar hero as Odin himself. See Simrock, Die Quellen des Shakespeare, I. 127-133. Of course Shakespeare knew nothing of this, as Homer knew nothing of the origin of his Achilleus. The two stories, therefore, are not to be taken as sun-myths in their present form. They are the offspring of other stories which were sun-myths; they are stories which conform to the sun-myth type after the manner above illustrated in the paper on Light and Darkness. [Hence there is nothing unintelligible in the inconsistency--which seems to puzzle Max Muller (Science of Language, 6th ed. Vol. II. p. 516, note 20)--of investing Paris with many of the characteristics of the children of light. Supposing, as we must, that the primitive sense of the Iliad-myth had as entirely disappeared in the Homeric age, as the primitive sense of the Hamlet-myth had disappeared in the times of Elizabeth, the fit ground for wonder is that such inconsistencies are not more numerous.] The physical theory of myths will be properly presented and comprehended, only when it is understood that we accept the physical derivation of such stories as the Iliad-myth in much the same way that we are bound to accept