This claim has been made for almost all the Olympians, but in some cases appears more plausible than in others. For example, Apollo is regarded as a solar divinity, and the modes in which he attained his detached and independent position as a brilliant anthropomorphic deity, patron of art, the lover of the nymphs, the inspirer of prophecy, may have been something in this fashion. First the sun may have been regarded (in the manner familiar to savage races) as a personal being. In Homer he is still the god “who sees and hears all things,”61 and who beholds and reveals the loves of Ares and Aphrodite. This personal character of the sun is well illustrated in the Homeric hymn to Hyperion, the sun that dwells on high, where, as Mr. Max Müller says, “the words would seem to imply that the poet looked upon Helios as a half-god, almost as a hero, who had once lived upon earth”.62 It has already been shown that this mythical theory of the origin of the sun is met with among the Aztecs and the Bushmen.63 In Homer, the sun, Helios Hyperion, though he sees and hears all things,64 needs to be informed by one of the nymphs that the companions of Odysseus have devoured his sacred cattle. In the same way the supreme Baiame of Australia needs to ask questions of mortals. Apollo then speaks in the Olympian assembly, and threatens that if he is not avenged he will “go down to Hades and shine among the dead”. The sun is capable of marriage, as in the Bulgarian Volkslied, where he marries a peasant girl,65 and, by Perse, he is the father of Circe and ?etes.66

According to the early lyric poet Stesichorus, the sun sails over ocean in a golden cup or bowl. “Then Helios Hyperionides went down into his golden cup to cross Ocean-stream, and come to the deeps of dark and sacred Night, to his mother, and his wedded wife, and his children dear.” This belief, in more barbaric shape, still survives in the Greek islands.67 “The sun is still to them a giant, like Hyperion, bloodthirsty when tinged with gold. The common saying is that the sun ‘when he seeks his kingdom’ expects to find forty loaves prepared for him by his mother. . . . Woe to her if the loaves be not ready! The sun eats his brothers, sisters, father and mother in his wrath.”68 A well-known amour of Helios was his intrigue with Rhode by whom he had Phaethon and his sisters. The tragedians told how Phaethon drove the chariot of the sun, and upset it, while his sisters were turned into poplar trees, and their tears became amber.69

Such were the myths about the personal sun, the hero or demigod, Helios Hyperion. If we are to believe that Apollo also is a solar deity, it appears probable that he is a more advanced conception, not of the sun as a person, but of a being who represents the sun in the spiritual world, and who exercises, by an act of will, the same influence as the actual sun possesses by virtue of his rays. Thus he brings pestilence on the Ach?ans in the first book of the Iliad, and his viewless shafts slay men suddenly, as sunstroke does. It is a pretty coincidence that a German scholar, Otfried Müller, who had always opposed Apollo’s claim to be a sun-god, was killed by a sunstroke at Delphi. The god avenged himself in his ancient home. But if this deity was once merely the sun, it may be said, in the beautiful phrase of Paul de St. Victor, “Pareil a une statue qui surgit des flammes de son moule, Apollo se degage vite du soleil”.70 He becomes a god of manifold functions and attributes, and it is necessary to exercise extreme caution in explaining any one myth of his legend as originally a myth of the sun.71 Phoibos certainly means “the brilliant” or “shining”. It is, however, unnecessary to hold that such epithets as Lyceius, Lycius, Lycegenes indicate “light,” and are not connected, as the ancients, except Macrobius, believed, with the worship of the wolf.72 The character of Apollo as originally a sun-god is asserted on the strength not only of his names, but of many of his attributes and his festivals. It is pointed out that he is the deity who superintends the measurement of time.73 “The chief days in the year’s reckoning, the new and full moons and the seventh and twentieth days of the month, also the beginning of the solar year, are reckoned Apolline.” That curious ritual of the Daphnephoria, familiar to many English people from Sir Frederick Leighton’s picture, is believed to have symbolised the year. Proclus says that a staff of olive wood decorated with flowers supported a central ball of brass beneath which was a smaller ball, and thence little globes were hung.74

The greater ball means the sun, the smaller the moon, the tiny globes the stars and the 365 laurel garlands used in the feast are understood to symbolise the days. Pausanias75 says that the ceremony was of extreme antiquity. Heracles had once been the youth who led the procession, and the tripod which Amphitryon dedicated for him was still to be seen at Thebes in the second century of our era. Another proof of Apollo’s connection with the sun is derived from the cessation of his rites at Delphi during the three winter months which were devoted to Dionysus.76 The sacred birthday feasts of the god are also connected with the year’s renewal.77 Once more, his conflict with the great dragon, the Pytho, is understood as a symbol of the victory of light and warmth over the darkness and cold of winter.

The discomfiture of a dragon by a god is familiar in the myth of the defeat of Ahi or Vritra by Indra, and it is a curious coincidence that Apollo, like Indra, fled in terror after slaying his opponent. Apollo, according to the myth, was purified of the guilt of the slaying (a ceremony unknown to Homer) at Tempe.78 According to the myth, the Python was a snake which forbade access to the chasm whence rose the mysterious fumes of divination. Apollo slew the snake and usurped the oracle. His murder of the serpent was more or less resented by the Delphians of the time.79

The snake, like the other animals, frogs and lizards, in Andaman, Australian and Iroquois myth, had swallowed the waters before its murder.80 Whether the legend of the slaying of the Python was or was not originally an allegory of the defeat of winter by sunlight, it certainly at a very early period became mixed up with ancient legal ideas and local traditions. It is almost as necessary for a young god or hero to slay monsters as for a young lady to be presented at court; and we may hesitate to explain all these legends of an useful feat of courage as nature-myths. In the Homeric Hymn to Apollo Pythius, the monster is called Drac?na, the female form of drakon. The Drakos and his wife are still popular bogies in modern Greek superstition and folk-song.81

The monster is the fosterling of Hera in the Homeric hymn, and the bane of flocks and herds. She is somehow connected with the fable of the birth of the monster Typhoeus, son of Hera without a father. The Homeric hymn derives Pythius, the name of the god, from [greek], “rot,” the disdainful speech of Apollo to the dead monster, “for there the pest rotted away beneath the beams of the sun”. The derivation is a volks-etymologie. It is not clear whether the poet connected in his mind the sun and the god. The local legend of the dragon-slaying was kept alive in men’s minds at Delphi by a mystery-play, in which the encounter was represented in action. In one version of the myth the slavery of Apollo in the house of Admetus was an expiation of the dragon’s death.82 Through many of the versions runs the idea that the slaying of the serpent was a deed which required purification and almost apology. If the serpent was really the deity of an elder faith, this would be intelligible, or, if he had kinsfolk, a serpent-tribe in the district, we could understand it. Apollo’s next act was to open a new spring of water, as the local nymph was hostile and grudged him her own. This was an inexplicable deed in a sun god, whose business it is to dry up rather than to open water-springs. He gave oracles out of the laurel of Delphi, as Zeus out of the oaks of Dodona.83 Presently Apollo changed himself into a huge dolphin, and in this guise approached a ship of the Cretan mariners.84 He guided, in his dolphin shape, the vessel to Crisa, the port of Delphi, and then emerged splendid from the waters, and filled his fane with light, a sun-god indeed Next, assuming the shape of a man, he revealed himself to the Cretans, and bade them worship him in his Delphic seat as Apollo Delphinios, the Dolphin-Apollo.

Such is the ancient tale of the founding of the Delphic oracle, in which gods, and beasts, and men are mixed in archaic fashion. It is open to students to regard the dolphin as only one of the many animals whose earlier worship is concentrated in Apollo, or to take the creature for the symbol of spring, when seafaring becomes easier to mortals, or to interpret the dolphin as the result of a volks-etymologie, in which the name Delphi (meaning originally a hollow in the hills) was connected with delphis, the dolphin.85

On the whole, it seems impossible to get a clear view of Apollo as a sun-god from a legend built out of so many varied materials of different dates as the myth of the slaying of the Python and the founding of the Delphic oracle. Nor does the tale of the birth of the god —les enfances Apollon— yield much more certain information. The most accessible and the oldest form of the birth-myth is preserved in the Homeric hymn to the Delian Apollo, a hymn intended for recital at the Delian festival of the Ionian people.

The hymn begins without any account of the amours of Zeus and Leto; it is merely said that many lands refused to allow Leto a place wherein to bring forth her offspring. But barren Delos listened to her prayer, and for nine days Leto was in labour, surrounded by all the goddesses, save jealous Hera and Eilithyia, who presides over child-birth. To her Iris went with the promise of a golden necklet set with amber studs, and Eilithyia came down to the isle, and Leto, grasping the trunk of a palm tree, brought forth Apollo and Artemis.86

Such is the narrative of the hymn, in which some interpreters, such as M. Decharme, find a rich allegory of the birth of Light. Leto is regarded as Night or Darkness, though it is now admitted that this meaning cannot be found in the etymology of her name.87

M. Decharme presumes that the palm tree [greek] originally meant the morning red, by aid of which night gives birth to the sun, and if the poet says the young god loves the mountain tops, why, so does the star of day. The moon, however, does not usually arise simultaneously with the dawn, as Artemis was born with Apollo. It is vain, in fact, to look for minute touches of solar myth in the tale, which rests on the womanly jealousy of Hera, and explains the existence of a great fane and feast of Apollo, not in one of the rich countries that refused his mother sanctuary, but in a small barren and remote island.88

Among the wilder myths which grouped themselves round the figure of Apollo was the fable that his mother Leto was changed into a wolf. The fable ran that Leto, in the shape of a wolf, came in twelve days from the Hyperboreans to Delos.89 This may be explained as a volks-etymologie from the god’s name, “Lycegenes,” which is generally held to mean “born of light”. But the presence of very many animals in the Apollo legend and in his temples, corresponding as it does to similar facts already observed in the religion of the lower races, can scarcely be due to popular etymologies alone. The Dolphin-Apollo has already been remarked.

There are many traces of connection between ............