ingly, the Athena of the Iliad, though more sharply defined than the Olympian Zeus, nevertheless exhibits the same transitional character which marks the other deities of the Homeric theogony. In her divine capacity she is the goddess of war and of industrial art, the representative of practical sagacity as opposed to poetic inspiration, which was assigned to Apollo. She hears and answers prayer; she acts inwardly on the minds of the Hellenic heroes; she restrains the wrath of Achilles (i. 198); she imparts aid to Tydeus (iv. 390). Many similar examples might be adduced. Nevertheless she is not above the practice of deceit, as when she persuades Pandarus to violate the treaty (iv. 94), and also where she lures Hector with guile. Moreover, the intimate connection between the bright, heaven-sprung goddess and her father, which in the later mythology forms one of her most striking characteristics, is only slightly indicated in the Iliad (viii. 38, 373). In general, her relation to the Thunderer is one of hostility; she is represented as leagued with Hera and Poseidon in their attempt to shackle Zeus, for whom she expresses her contempt in no measured terms, while with Hera she appears most intimately associated:
"Close sat they, side by side, and woes against the Trojans plotted,
Truly Athena dumb abode before her proper Father,
Though wounded by his argument, and seized with fierce displeasure. (viii. 458; iv. 21.)
Traces of meteoric symbolism in connection with the virgin goddess may, I think, be traced in the Iliad.
