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Each knows, or half knows, his own fate and the fate of his opponent. They stand opposed on earth by a greater destiny. So, too, with the Gods. For men the drama is of life and death.


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For the Gods there is obedience to cosmic laws by which they live. As the planets are now in conjunction and now in opposition, so do the Gods group themselves according to their natures and the script of the heavenly constellations. There all, as I command thee, truly speak. Can it be that Jove must stoop to deliberate deception, that he must lie in order to bring Agamemnon and the Greeks to disaster?

Can moral necessity take such a form? Or is it that Agamemnon, by the misuse of his kingly prerogative has weakened his nature and so laid himself open to the forces of delusion? There, where he is weak, he is seized upon by the Vision, that a wrong committed may find adjustment.

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He is no judge punishing the offender. Agamemnon, although in error, is still his representative on earth. So it is with all things in the Iliad, till the conviction grows that it is patterned everywhere on cosmic law. Day follows day evenly. The narrative proceeds as steadily and as inevitably as the sun through the sky. Nothing is hurried and nothing delayed; nothing is overstressed, and no detail is neglected. The story is grandly human; we accept all or none; it stands in the realm of art as a sublime mountain range in nature.

It was an age when imagination was an objective experience, common to all. The world of objects stood revealed as the shadow picture of a world of being. It was a golden age when the spiritual was manifest outwardly in daily life and men inherited a knowledge of their divine origin. Where are they then? To that Imagination the spiritual world of beings and facts appeared in mighty pictures as described in the Homeric Epics.

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For centuries men shared this common experience. They discussed these higher facts as we discuss the weather. As they changed, this experience changed; slowly it withdrew from outer consciousness and was drawn into men to live as vitalizing force within the subjective real of to-day. When man overcomes the tyranny of self, then, with God-inspired eye, he will know that world again. To other men, in other times, according to their natures and their mission in the world, the spiritual world appeared differently.

They had a different Imagination of it. This Epic, too, had lived amongst men for centuries before it was written down. The inspiration of an age-endeavor pours itself into the grand imagination of the slaying of the dragon. There is the brooding of an even higher world in this story, profound preparation, a universal sacrifice. The epic speaks of an approaching darkness, a world death. It is as though something of the deepest consequence is offered, is longed for, and recedes; as though something had been prepared but could not, for that time, be given. That which lived in Greek imagination actually descended into earthly life; filled a mighty epoch of human history; brought to earth an era of art, religion, science.

Everywhere in this epic there is the pain of parting, of being sundered, of sinking out of light into darkness. As men look the sun of the world appears to be setting for ever.

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Strange contrast with the sun-filled vigor of the Iliad! There dwelt men merry-hearted, and in hope exceedingly great Met the good-days and the evil as they went the way of fate: The paradise of memories Grows ever fainter day by day. He still comes in rare moments to give or to end a mission. Cloud-blue was the hood upon him, and his kirtle gleaming grey As the latter morning sun-day when the storm is on its way: Out of an ancient past he brings to men once more the mission of the race, the sword for the slaying of the dragon.

Sigmund alone can wield that sword; his son, Sigurd, fulfills the mission. He passes from the world like the last golden beam of a setting sun. Death descends like night on that race and generation of men. It is the death of the ancient imagination. The curse of something misbegotten is the cause of that ruin.

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That curse descends indeed into earthly history, it is the curse of a phantom treasure on earth and leads to a universal forgetting of the spirit. The world of the epic dissolves away and man sinks more and more into the sense-perceptible, the physical. What was darkness before is now his only light. The last descendant of the heroes is Beowulf. In the story of Beowulf there is also contained a world experience. In this story, however, a cosmic Heaven has shrunk to a blue sky, a flaming sun-hero to a grim warrior fighting for truth.

The eye of imagination, almost blind now, still perceives dimly something of the grandeur in human life; sees in the gloaming of the gathering soul-night the last faint rays of a spirit sun gleaming round the helmet and glancing along the sword-edge of the fighting figure. Beowulf wrestles with the first dragon at night, in the dwelling of man.


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He lays aside all external means, and fights with his hands alone, with his mighty grip, his will. The second dragon, the fiercest and the mother of the brood, he can only reach in the murky depths below earth existence. He descends into the water to fight below the surface. His companions are left above on the shore in the daylight. There below the surface—that is, in the imaginative worlds, for so only can one understand the story—he fights the doer of evil on earth; and he fights with the weapons of that world, for the sword with which he slays the monster is taken from her hall and melts at contact with her blood.

The third dragon he kills in the sight of men. The fury of this dragon is roused by a man stealing its treasure. Beowulf alone, in his old age, dares go to meet it, and of all whom he has helped and befriended in his long life, one alone stands by the hero in his last conflict. The rest dare not approach.

They keep their distance, and when dragon and hero are dead, rush for the treasure and receive its curse. Men sink into despair, for their last hope and support seems gone—but already something new is approaching. It is woven curiously into the story of Beowulf itself like a message of unfamiliar sound borne across great distances. The following passage comes early in the story: He also created life of all kinds which move and live.

The grim spirit was called Grendel, a famous march-stepper, who held the moors, the fen and the fastness. The hapless creature sojourned for a space in the sea-monsters home after the Creator had condemned him. The eternal Lord avenged the murder on the race of Cain, because he slew Abel. He did not rejoice in that feud. He, the Lord, drove him far from mankind for that crime. Thence sprang all evil spawn, ogres and elves and sea-monsters, giants too, who struggled long time against God.

He paid them requital for that.


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