a purely human power is elevated to the gods. Hercules also corresponds to the last-mentioned deity, in his divine attributes, as an averter of evil (ἀλεξίκακος and σωτὴρ);(1862) which the Œtæans carried so far as to worship him as the destroyer of grasshoppers (κορνοπίων), and the Erythræans as the killer of the vine-worm (ἰποκτόνος).(1863) We cannot, however, agree with Herodotus, who derives the deification of Hercules from a combination of the Phœnician or Idæan god, and the hero of Thebes, since Hercules also enjoyed divine honours at places (as Messene and Marathon(1864)) where such an amalgamation can scarcely be imagined. But he is a deity representing the highest perfection of humanity, and therefore the model and aim of human imitation; and the summit of heroic energy was seen where the human passed into the divine nature. His life and actions on earth are in ancient mythology perfectly human; and those fables, which raise him above humanity, for instance, those alluding to the combat with the giants,(1865) betray a later origin. 10. How little the ancient mythology was desirous of divesting Hercules of any feelings of humanity may be collected from various features in his character. Hercules, whether invited or not invited, is a jovial guest, and not backward in enjoying himself. This explains the frequent allusions to him as a great eater (βουθοίνας) and tippler, and also the Herculean goblets and couches. The original source of all these fictions was the ancient tradition of the residence of Hercules with Ceyx and Dexamenus: nay, they may be traced to the ceremonies observed at his worship and festivals.(1866) The Doric,(1867) like the Athenian comic poets and satirists, merely adopted the general outline of the story, filling up the details to suit their own fancy and humour: the latter adding some jokes upon the gluttony of their Bœotian neighbours.(1868) It was Hercules, above all other heroes, whom mythology endeavoured to place in ludicrous situations; and sometimes made the butt of the buffoonery of others. This was the case in the fable of the Cercopes (treated of in a ludicrous epic poem ascribed to Homer),(1869) who are represented as alternately amusing and annoying the hero. In works of art they are often represented as satyrs, who rob the hero of his quiver, bow, and club.(1870) Hercules, annoyed at their insults, binds two of them to a pole, in the manner represented on the bas-relief of Selinus,(1871) and marches off with his prize. Happily for the offenders, the hinder parts of Hercules had become tanned by continued labours and exposure to the atmosphere: which reminded them of an old prophecy, warning them to beware of a person of this complexion;(1872) and the coincidence caused them to burst out into an immoderate fit of laughter. This surprised Hercules, who inquired the reason, and was himself so diverted by it, that he set both his prisoners at liberty.