lives.[1] He also feels that he is singing for another class. It is to shepherds and husbandmen of the older race he addresses himself, and the Achaian princes for whom Homer sang have become remote persons who give "crooked dooms." The romance and splendour of the Achaian Middle Ages meant nothing to the common people. The primitive view of the world had never really died out among them; so it was natural for their first spokesman to assume it in his poems. That is why we find in Hesiod these old savage tales, which Homer disdained.
Yet it would be wrong to see in the Theogony a mere revival of the old superstition. Hesiod could not help being affected by the new spirit, 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 fatal to so wayward a thing as mythology. Moreover, though the spirit in which Hesiod treats his theme is that of the older race, the gods of whom he sings are for the most part those of the Achaians. This introduces an element of contradiction into the system from first to last. 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,[2] and it is perfectly true. The Olympian pantheon took the place of the older gods in men's minds, and this was quite as much the doing of Hesiod as of Homer. The ordinary man would hardly recognise his gods in the humanised figures, detached from all local associations, which poetry had substituted for the older objects of worship. Such gods were incapable of satisfying the needs of the people, and
