ted the fundamental attribute of the solemnity: the Pythia at Sikyon and elsewhere were probably framed on a similar footing. So too at the ancient and celebrated Charitêsia, or festival of the Charites, at Orchomenos, the rivalry of the poets in their various modes of composition both began and continued as the predominant feature:[1] and the inestimable treasures yet remaining to us of Attic tragedy and comedy, are gleanings from the once numerous dramas exhibited at the solemnity of the Dionysia. The Ephesians gave considerable rewards for the best hymns in honor of Artemis, to be sung at her temple.[2] And the early lyric poets of Greece, though their works have not descended to us, devoted their genius largely to similar productions, as may be seen by the titles and fragments yet remaining.
Both the Christian and the Mahomedan religions have begun during the historical age, have been propagated from one common centre, and have been erected upon the ruins of a different preexisting faith. With none of these particulars did Grecian Paganism correspond. It took rise in an age of imagination and feeling simply, without the restraints, as well as without the aid, of writing or records, of history or philosophy: it was, as a general rule, the spontaneous product of many separate tribes and localities, imitation and propagation operating as subordinate causes; it was moreover a primordial faith, as far as our means of information enable us to discover. These considerations explain to us two facts in the history of the early Pagan mind: first, the divine mythes, the matter of their religion, constituted also the matter of their earliest history; next, these mythes harmonized with each other only in their general types, but differed in curably in respect of particular incidents. The poet who sung a new adventure of Apollo, the trace of which he might have heard in some remote locality, would take care that it should be agreeable to the general conceptions which his hearers entertained respecting the god. He would not ascribe the cestus or amorous influences to Athene, nor armed interference and the aegis to Aphroditê; but, provided he maintained this general keeping, he might indulge his fancy without restraint in the particular
