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The Gospel of Hellas - Research Institute for Waldorf Education

The Gospel of Hellas - Research Institute for Waldorf Education

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II<br />

T H E T W I L I G H T O F T H E G O D S<br />

riddles <strong>of</strong> greek mythology<br />

1. PROMETHEUS AND THE<br />

THREE GENERATIONS OF GODS<br />

<strong>The</strong>y are holy demons upon earth,<br />

Beneficient averters <strong>of</strong> ills,<br />

Guardians <strong>of</strong> mortals.<br />

– hesiod<br />

What were the gods <strong>of</strong> <strong>Hellas</strong> and what their sanctuaries? Were the<br />

divinities real; were they symbols <strong>of</strong> <strong>for</strong>ces in nature or <strong>of</strong> the character <strong>of</strong> man;<br />

or were they only the fiction <strong>of</strong> poets? Everyone who deals with the culture <strong>of</strong><br />

<strong>Hellas</strong> knows that this is a crucial question. Every student is on the horns <strong>of</strong> a<br />

dilemma until a satisfying answer to it can be given.<br />

It is significant to note how George Grote, 37 the author <strong>of</strong> a standard<br />

work, A History <strong>of</strong> <strong>Hellas</strong>, struggled with this problem. Fully aware <strong>of</strong> the<br />

fundamental importance <strong>of</strong> the myths and legends <strong>for</strong> the understanding <strong>of</strong><br />

the whole civilization <strong>of</strong> <strong>Hellas</strong>, he apologizes <strong>for</strong> not being able to arrive at<br />

any satisfactory interpretation <strong>of</strong> the content <strong>of</strong> Greek mythology: “I describe<br />

the earlier times by themselves as conceived by the faith and feeling <strong>of</strong> the first<br />

Greeks, and known only through their legends—without presuming to measure<br />

how much or how little <strong>of</strong> historical matter these legends may contain. If the<br />

reader blame me <strong>for</strong> not assisting him to determine this—if he ask me why I<br />

do not undraw the curtain and disclose the picture—I reply in the words <strong>of</strong> the<br />

painter, Zeuxis, when the same question was addressed to him on exhibiting<br />

his masterpiece <strong>of</strong> imitative art: ‘<strong>The</strong> curtain is the picture.’ <strong>The</strong> curtain conceals<br />

nothing behind and cannot by any ingenuity be withdrawn.”<br />

<strong>The</strong>se are the agnostic words <strong>of</strong> the great historian <strong>of</strong> the nineteenth<br />

century. Yet how astonishing it is to find soon after the preface in the same first

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