Yet it would be wrong to see in the _Theogony_ a mere revival of the old superstition. Nothing can ever be revived just as it was; for in every reaction there is a polemical element which differentiates it completely from the earlier stage it vainly seeks to reproduce. Hesiod could not help being affected by the new spirit which trade and adventure had awakened over the sea, and he became a pioneer in spite of himself. The rudiments of what grew into Ionic science and history are to be found in his poems, and he really did more than any one to hasten that decay of the old ideas which he was seeking to arrest. The _Theogony_ is an attempt to reduce all the stories about the gods into a single system, and system is necessarily fatal to so wayward a thing as mythology. Hesiod, no less than Homer, teaches a panhellenic polytheism; the only difference is that with him this is more directly based on the legends attached to the local cults, which he thus sought to invest with a national significance. The result is that the myth becomes primary and the cult secondary, a complete inversion of the primitive relation. Herodotos tells us that it was Homer and Hesiod who made a theogony for the Hellenes, who gave the gods their names, and distributed among them their offices and arts,[6] and it is perfectly true. The Olympian pantheon took the place of the old local gods in men’s minds, and this was as much the doing of Hesiod as of Homer. The ordinary man had no ties to this company of gods, but at most to one or two of them; and even these he would hardly recognise in the humanised figures, detached from all local associations, which poetry had substituted for the older objects of worship. The gods of Greece had become a splendid subject for art; but they came between the Hellenes and their ancestral religions. They were incapable of satisfying the needs of the people, and that is the secret of the religious revival which we shall have to consider in the sequel. Footnote 6: Herod. ii. 53. [Sidenote: Cosmogony.]