Though all these incidents were sincerely believed by the Eleusinians as a true history of the past, and as having been the real initiatory cause of their own solemnities, it is not the less certain that they are simply mythes or legends, and not to be treated as history, either actual or exaggerated. They do not take their start from realities of the past, but from realities of the present, combined with retrospective feeling and fancy, which fills up the blank of the aforetime in a manner at once plausible and impressive. What proportion of fact there may be in the legend, or whether there be any at all, it is impossible to ascertain and useless to inquire; for the story did not acquire belief from its approximation to real fact, but from its perfect harmony with Elcusinian faith and feeling, and from the absence of any standard of historical credibility. The little town of Eleusis derived all its importance from the solemnity of the Dêmêtria, and the Hymn which we have been considering (probably at least as old as 600 b. c.) represents the town as it stood before its absorption into the larger unity of Athens, which seems to have produced an alteration of its legends and an increase of dignity in its great festival. In the faith of an Eleusinian, the religious as well as the patriotic antiquities of his native town were connected with this capital solemnity. The divine legend of the sufferings of Dêmêtêr and her visit to Eleusis was to him that which the heroic legend of Adrastus and the Siege of Thêbes was to a Sikycnian, or that of Erechtheus and Athênê to an Athenian grouping together in the same scene and story the goddess and the heroic fathers of the town. If our information were fuller, we should probably find abundance of other legends respecting the Dêmêtria: the Gephyræi of Athens, to whom belonged the celebrated Harmodios and Aristogeitôn, and who possessed special Orgies of Dêmêtêr the Sorrowful, to which no man foreign to their Gens was ever admitted,[1] would doubtless have told stories not only different but contradictory; and even in other Eleusinian mythes we discover Eumolpus as king of Eleusis, son of Poseidôn, and a Thracian, completely different from the character which he bears in the Hymn before us.[2] Neither discrepancies nor want of
