Page:EB1911 - Volume 02.djvu/876

 of the maiden, i.e. Athena); Jebb (on Bacchylides, fr. xi. 2) suggests a derivation from , the goddess of the “onset.” At Thebes she was worshipped as Athena Onka or Onga, of equally uncertain derivation (possibly from  , “a height”). Peculiar to Arcadia is the title Athena Alea, probably = “warder off of evil,” although others explain it as = “warmth,” and see in it an allusion to her physical nature as one of the powers of light. Farnell (Cults, p. 275) points out that at the same time she is certainly looked upon as in some way connected with the health-divinities, since in her temple she is grouped with Asclepius and Hygieia (see ).

She already appears as the goddess of counsel ( ) in the Iliad and in Hesiod. The Attic bouleutae took the oath by Athena Boulaia; at Sparta she was , presiding over the popular assemblies in the market-place; in Arcadia  the discoverer of devices. The epithet  (“forethought”) is due, according to Farnell, to a confusion with , referring to a statue of the goddess standing “before a shrine,” and arose later (probably spreading from Delphi), some time after the Persian wars, in which she repelled a Persian attack on the temples “by divine forethought”; another legend attributes the name to her skill in assisting Leto at the birth of Apollo and Artemis. With this aspect of her character may be compared the Hesiodic legend, according to which she was the daughter of Metis. Her connexion with the trial of Orestes, the introduction of a milder form of punishment for justifiable homicide, and the institution of the court , show the important part played by her in the development of legal ideas.

The protectress of cities was naturally also a goddess of war. As such she appears in Homer and Hesiod and in post-Homeric legend as the slayer of the Gorgon and taking part in the battle of the giants. On numerous monuments she is represented as , “the warlike,”  , “bringer of victory,” holding an image of (q.v.) in her outstretched hand (for other similar epithets see Roscher’s Lexikon). She was also the goddess of the arts of war in general; , she who draws up the ranks for battle,  , she who girds herself for the fray. Martial music (cp. , “trumpet”) and the Pyrrhic dance, in which she herself is said to have taken part to commemorate the victory over the giants, and the building of war-ships were attributed to her. She instructed certain of her favourites in gymnastics and athletics, as a useful training for war. The epithets , usually referred to her as goddess of war-horses, may perhaps be reminiscences of an older religion in which the horse was sacred to her. As a war-goddess, she is the embodiment of prudent and intelligent tactics, entirely different from Ares, the personification of brute force and rashness, who is fitly represented as suffering defeat at her hands. She is the patroness and protectress of those heroes who are distinguished for their prudence and caution, and in the Trojan War she sides with the more civilized Greeks.

The goddess of war develops into the goddess of peace and the pursuits connected with it. She is prominent as the promoter of agriculture in Attic legend. The Athenian hero Erechtheus (Erichthonius), originally an earth-god, is her foster-son, with whom she was honoured in the Erechtheum on the Acropolis. Her oldest priestesses, the dew-sisters—Aglauros, Herse, Pandrosos—signify the fertilization of the earth by the dew, and were probably at one time identified with Athena, as surnames of whom both Aglauros and Pandrosos are found. The story of the voluntary sacrifice of the Attic maiden Aglauros on behalf of her country in time of war (commemorated by the ephebi taking the oath of loyalty to their country in her temple), and of the leap of the three sisters over the Acropolis rock (see ), probably points to an old human sacrifice. Athena also gave the Athenians the olive-tree, which was supposed to have sprung from the bare soil of the Acropolis, when smitten by her spear, close to the horse (or spring of water) produced by the trident of Poseidon, to which he appealed in support of his claim to the lordship of Athens. She is also connected with Poseidon in the legend of Erechtheus, not as being in any way akin to the former in nature or character, but as indicating the contest between an old and a new religion. This god, whose worship was introduced into Athens at a later date by the Ionian immigrants, was identified with Erechtheus-Erichthonius (for whose birth Athena was in a certain sense responsible), and thus was brought into connexion with the goddess, in order to effect a reconciliation of the two cults. Athena was said to have invented the plough, and to have taught men to tame horses and yoke oxen. Various arts were attributed to her—shipbuilding, the goldsmith’s craft, fulling, shoemaking and other branches of industry. As early as Homer she takes especial interest in the occupations of women; she makes Hera’s robe and her own peplus, and spinning and weaving are often called “the works of Athena.” The custom of offering a beautifully woven peplus at the Panathenaic festival is connected with her character as Ergane the goddess of industry. As patroness of the arts, she is associated with Hephaestus (one of her titles is  ) and Prometheus, and in Boeotia she was regarded as the inventress of the flute. According to Pindar, she imitated on the flute the dismal wail of the two surviving Gorgons after the death of Medusa. The legend that Athena, observing in the water the distortion of her features caused by playing that instrument, flung it away, probably indicates that the Boeotians whom the Athenians regarded with contempt, used the flute in their worship of the Boeotian Athena. The story of the slaying of Medusa by Athena, in which there is no certain evidence that she played a direct part, explained by Roscher as the scattering of the storm-cloud, probably arose from the fact that she is represented as wearing the Gorgon’s head as a badge.

As in the case of Aphrodite and Apollo, Roscher in his Lexikon deduces all the characteristics of Athena from a single conception—that of the goddess of the storm or the thunder-cloud (for a discussion of such attempts see Farnell, Cults, i. pp. 3, 263). There seems little reason for regarding her as a nature-goddess at all, but rather as the presiding divinity of states and cities, of the arts and industries—in short, as the goddess of the whole intellectual side of human life.

Except at Athens, little is known of the ceremonies or festivals which attended her worship. There we have the following. (1) The ceremony of the Three Sacred Ploughs, by which the signal for seed-time was given, apparently dating from a period when agriculture was one of the chief occupations of her worshippers. (2) The Procharisteria at the end of winter, at which thanks were offered for the germination of the seed. (3) The Scirophoria, with a procession from the Acropolis to the village of Skiron, in the height of summer, the priests who were to entreat her to keep off the summer heat walking under the shade of parasols (<span title="skíron"> ) held over them; others, however, connect the name with <span title="skîros"> (“gypsum”), perhaps used for smearing the image of the goddess. (4) The Oschophoria, at the vintage season, with races among boys, and a procession, with songs in praise of Dionysus and Ariadne. (5) The Chalkeia (feast of smiths), at which the birth of Erechtheus and the invention of the plough were celebrated. (6) The Plynteria and Callynteria, at which her ancient image and peplus in the Erechtheum and the temple itself were cleaned, with a procession in which bunches of figs (frequently used in lustrations) were carried. (7) The Arrhephoria or Errephoria (perhaps = Ersephoria, “dew-bearing”), at which four girls, between seven and eleven years of age, selected from noble families, carried certain unknown sacred objects to and from the temple of Aphrodite “in the gardens” (see J. E. Harrison, Classical Review, April 1889). (8) The Panathenaea, at which the new robes for the image of he goddess were carried through the city, spread like a sail on a mast. The reliefs of the frieze of the cella of the Parthenon enable us to form an idea of the procession. Athletic games, open to all who traced their nationality to Athens, were part of this festival. Mention should also be made of the Argive