But it must not be supposed that all Greek mythology can be thus explained. It is enough for us to examine the circumstances under which, for many ages, the European communities had been placed, to understand that they had forgotten much that their ancestors had brought from Asia. Much that was new had also spontaneously arisen. The well-known variations of their theogony are not merely similar legends of different localities, they are more frequently the successive improvements of one place. The general theme upon which they are based requires the admission of a primitive chaotic disturbance of incomprehensible gigantic powers, brought into subjection by Divine agency, that agency dividing and regulating the empire it had thus acquired in a harmonious way. To this general conception was added a multitude of adventitious ornaments, some of which were of a rude astronomical, some of a moral, some, doubtless, of a historical kind. The primitive chaotic conflicts appear under the form of the war of the Titans; their end is the confinement of those giants in Tartarus; whose compulsory subjection is the commencement of order: thus Atlas, the son of Iapetos, is made to sustain the vault of heaven in its western verge. The regulation of empire is shadowed forth in the subdivision of the universe between Zeus and his brothers, he taking the heavens, Poseidon the sea, and Hades the under world, all having the earth as their common theatre of action. The moral is prefigured by such myths as those of Prometheus and Epimetheus, the fore-thinker and the after-thinker; the historical in the deluge of Deucalion, the sieges of Thebes and of Troy. A harmony with human nature is established through the birth and marriage of the gods, and likewise by their sufferings, passions, and labours. The supernatural is gratified by Centaurs, Gorgons, Harpies, and Cyclops.