conceal the direction of the spoor from a native tracker. {37b} The
trick of driving the cattle backwards answers to the old legend that
Bruce reversed the shoes of his horse when he fled from the court of
Edward I.

The humour of the Hymn is rather rustic: cattle theft is the chief joke,
cattle theft by a baby. The God, divine as he is, feels his mouth water
for roast beef, a primitive conception. In fact, throughout this Hymn we
are far from the solemn regard paid to Apollo, from the wistful beauty of
the Hymn to Demeter, and from the gladness and melancholy of the Hymn to
Aphrodite. Sportive myths are treated sportively, as in the story of
Ares and Aphrodite in the Odyssey. Myths contained all conceivable
elements, among others that of humour, to which the poet here abandons
himself. The statues and symbols of Hermes were inviolably sacred; as
Guide of Souls he played the part of comforter and friend: he brought men
all things lucky and fortunate: he made the cattle bring forth
abundantly: he had the golden wand of wealth. But he was also tricksy as
a Brownie or as Puck; and that fairy aspect of his character and legend,
he being the midnight thief whose maraudings account for the unexplained
disappearances of things, is the chief topic of the gay and reckless
hymn. Even the Gods, even angry Apollo, are moved to laughter, for over
sport and playfulness, too, Greek religion throws her sanction. At the
dishonesties of commerce (clearly regarded as a form of theft) Hermes
winks his laughing eyes (line 516). This is not an early Socialistic
protest against "Commercialism." The early traders, like the Vikings,
were alternately pirates and hucksters, as opportunity served. Every
occupation must have its heavenly patron, its departmental deity, and
Hermes protects thieves and raiders, "minions of the moon," "clerks of
St. Nicholas." His very birth is a stolen thing, the darkling fruit of a
divine amour in a dusky cavern. _Il chasse de race_. {39}