nothing is too beautiful or too sacred to be made dull and vulgar by his touch, for it is through the very incapacity of his mind to hold an abstract idea that he is forced to embody it in a material incident. Yet wearisome as he may be, it is none the less needful to understand him, to acknowledge the vast influence he has had on the belief of mankind, and to appreciate him as representing in its extreme abuse that tendency to clothe every thought in a concrete shape, which has in all ages been a mainspring of mythology.
Though allegory cannot maintain the largp place often claimed for it in mythology, it has yet had too much influence to be passed over in this survey. It is true that the search for allegorical explanation is a pursuit that has led many a zealous explorer into the quagmires of mysticism. Yet there are cases in which allegory is certainly used with historical intent, as for instance in the apocryphal Book of Enoch, with its cows and sheep which stand for Israelites, and asses and wolves for Midianites and Egyptians, these creatures figuring in a pseudo-prophetic sketch of Old Testament chronicles. As for moral allegory, it is immensely plentiful in the world, although its limits are narrower than mythologists of past centuries have supposed. It is now reasonably thought preposterous to interpret the Greek legends as moral apologues, after the manner of Herakleides the philosopher, who could discern a parable of repentant prudence in Athene seizing Achilles when just about to draw his sword on Agamemnon.[1] Still, such a mode of interpretation has thus much to justify it, that numbers of the fanciful myths of the world are really allegories. There is allegory in the Hesiodic myth of Pandora, whom Zeus sent down to men, decked with golden band and garland of spring flowers, fit cause of longing and the pangs of love, but using with a dog-like mind her gifts of lies and treachery and pleasant speech. Heedless of his wiser brother's words, the foolish Epimetheus took her;
- ↑ Grote, vol. i. p. 347.
