Still, it cannot be said that in the Iliad there is any clear hint of religious skepticism, though the Gods are so wholly in the likeness of men that the lower deities fight with heroes and are worsted, while Zeus and Hêrê quarrel like any earthly couple. In the Odyssey there is a bare hint of possible speculation in the use of the word atheos; but it is applied only in the phrase ouk atheei, "not without a God," [440] in the sense of similar expressions in other passages and in the Iliad. [441] The idea was that sometimes the Gods directly meddled. When Odysseus accuses the suitors of not dreading the Gods, [442] he has no thought of accusing them of unbelief. [443] Homer has indeed been supposed to have exercised a measure of relative freethought in excluding from his song the more offensive myths about the Gods, [444] but such exclusion may be sufficiently explained on the score that the epopees were chanted in aristocratic dwellings, in the presence of womenkind, without surmising any process of doubt on the poet's part. On the other hand, it was inevitable that such a free treatment of things hitherto sacred should not only affect the attitude of the lay listener towards the current religion, but should react on the religious consciousness. God-legends so fully thrust on secular attention were bound to be discussed; and in the adaptations of myth for liturgical purposes by Stesichoros (fl. circa 600 B.C.) we appear to have the first open trace of a critical revolt in the Greek world against immoral or undignified myths. [445] In his work, it is fair to say, we see "the beginning of rationalism": "the decisive step is taken: once the understanding criticizes the sanctified tradition, it raises itself to be the judge thereof; no longer the common tradition but the individual conviction is the ground of religious belief." [446] Religious, indeed, the process still substantially is. It is to preserve the credit of Helena as a Goddess that Stesichoros repudiates the Homeric account of her, [447] somewhat in the spirit in which the framers of the Hesiodic theogony manipulated the myths without rejecting them, or the Hebrew redactors tampered with their text. But in Stesichoros there is a new tendency to reject the myth altogether; [448] so that at this stage freethought is still part of a process in which religious feeling, pressed by an advancing ethical consciousness, instinctively clears its standing ground.