Next come the many attempts, old and new, to allegorize the Olympian scene, or to explain it away. From the fact that the sun keeps watch and is mentioned twice in this part, the latest school of mythologists, the comparative so-called, have taken much comfort, and have at once found in the whole a sun-myth. Some ancient expositors, according to Athenaeus, interpreted it as a story written for the purpose of deterring the listeners from doing similar bad deeds, pointing to the punishment even of Gods herein designated; thus they sought to save the credit of Homer, treating him quite as some commentators have treated certain morally questionable stories in the Bible. Thus along down the ages to the present the loves of Venus and Mars have created trouble. Undoubtedly the song has meaning and deserves a rational exposition. Has it any connection with the other songs of this Book, or with Homer in general? It is certainly a product of early Greek poesy; can it be organically jointed into anything before it and after it? The burlesque tone which it assumes towards certain Olympians has caused it to be connected with the Battle of the Frogs and Mice, and with the war of the Gods in the Iliad (Book Twenty-First). Let us extend our horizon, and take a new look in various directions. In the first place this song connects with Troy and the Iliad like the other two songs of Demodocus. The cause of the Trojan War and of its poem was the deed of Paris. The seducer, the wife, the husband--Paris, Helen, Manelaus--are the three central figures of the legend. Here this legend is thrown up among the Gods themselves, who furnish three corresponding characters--Mars, Venus, Vulcan. Then there is the wrong and the punishment of the wrong in both cases. Such is the theme of the Trojan War as it appears in the Iliad. Thus the three songs of Demodocus indicate a Pre-Iliad, an Iliad, and a Post-Iliad in due order.