experience, were of all themes the most suitable for adventure and narrative, and operated with irresistible force upon the Grecian fancy. All nature was then conceived as moving and working through a number of personal agents, amongst whom the gods of Olympus were the most conspicuous; the reverential belief in Zeus and Apollo being only one branch of this omnipresent personifying faith. The attributes of all these agents had a tendency to expand themselves into illustrative legends—especially those of the gods, who were constantly invoked in the public worship. Out of this same mental source sprang both the divine and heroic mythes—the former being often the more extravagant and abnormous in their incidents, in proportion as the general type of the gods was more vast and awful than that of the heroes.
As the gods have houses and wives like men, so the present dynasty of gods must have a past to repose upon;[1] and the curious and imaginative Greek, whenever he does not find a recorded past ready to his hand, is uneasy until he has created one. Thus the Hesiodic theogony explains, with a certain degree of system and coherence, first the antecedent circumstances under which Zeus acquired the divine empire, next the number of his colleagues and descendants.
First in order of time (we are told by Hesiod) came Chaos; next Gæa, the broad, firm, and flat Earth, with deep and dark Tartarus at her base. Erôs (Love), the subduer of gods as well as men, came immediately afterwards.[2]
From Chaos sprung Erebos and Nyx; from these latter Æther and Hêmera. Gæa also gave birth to Uranos, equal in breadth to herself, in order to serve both as an overarching vault to her, and as a residence for the immortal gods; she further produced the mountains, habitations of the divine nymphs, and Pontus, the barren and billowy sea.
Then Gæa intermarried with Uranos, and from this union came a numerous offspring—twelve Titans and Titanides, three Cyclôpes, and three Hekatoncheires or beings with a hundred
