That such a function was fulfilled by this Homeric legend, with all its love of myth and lust of visible beauty, is witnessed by another short hymn, which we may quote almost entire by way of conclusion. It is addressed to Castor and Polydeuces, patrons of sailors no less than of horsemen and boxers. It is impossible to read it without feeling that the poet, however entangled he may have been in superstition and fable, grasped that high essence of religion which makes religion rational. He felt the power of contemplation to master the contradictions of life and to overspread experience, sublime but impalpable, like a rainbow over retreating storms:-- "Ye wild-eyed Muses, sing the Twins of Jove ... Mild Pollux, void of blame, And steed-subduing Castor, heirs of fame. These are the powers who earth-born mortals save And ships, whose flight is swift along the wave. When wintry tempests o'er the savage sea Are raging, and the sailors tremblingly Call on the Twins of Jove with prayer and vow, Gathered in fear upon the lofty prow, And sacrifice with snow-white lambs--the wind And the huge billow bursting close behind Even then beneath the weltering waters bear The staggering ship,--they suddenly appear, On yellow wings rushing athwart the sky, And lull the blasts in mute tranquillity And strew the waves on the white ocean's bed, Fair omen of the voyage; from toil and dread The sailors rest, rejoicing in the sight, And plough the quiet sea in safe delight."[3] [1] Chapman's version. [2] Chapman's version. [3] Shelley's translation. III THE DISSOLUTION OF PAGANISM Greek religion seems to have contained three factors of unequal prominence, but ultimately of about equal importance and longevity. Most obvious, especially if we begin our study with Homer, is the mythology which presents us with a multitude of gods, male and female, often related by blood, and having social and even hostile relations with one another. If we examine their characters, attributes, and fables, we readily perceive that most of them are impersonations of natural forces. Some, however, figure prominently as patrons of special arts or special places, as Apollo of prophecy and music, of Delos and Delphi; and yet others seem to be wholly personifications of human powers, as Athena of prudence and of martial and industrial arts. Underlying this mythology is another element, probably more ancient, the worship of ancestors, local divinities, and domestic gods. With these were naturally connected various ritual observances, and especially the noblest and most important of rites, the sacrifice. Such practices may be supposed to have belonged originally to the tribal religion, and to have passed by analogy to the great natural gods, when these had been once created by the poet and perhaps identified with the older genius of that spot where their efficacy was first signally manifested.