"It is plain enough that Homer and Hesiod represent, both theologically and socially, the close of a long epoch, and not the youth of the Greek world, as some have supposed. The real signification of many myths is lost to them, and so is the import of most of the names and titles of the elder Gods, which are archaic and strange, while the subordinate personages generally have purely Greek names" (Professor Mahaffy, History of Classical Greek Literature, 1880, i, 17). § 2 Whatever be the determining conditions, it is clear that the Homeric epos stands for a new growth of secular song, distinct from the earlier poetry, which by tradition was "either lyrical or oracular." The poems ascribed to the pre-Homeric bards "were all short, and they were all strictly religious. In these features they contrasted broadly with the epic school of Homer. Even the hexameter metre seems not to have been used in these old hymns, and was called a new invention of the Delphic priests. [436] Still further, the majority of these hymns are connected with mysteries apparently ignored by Homer, or with the worship of Dionysos, which he hardly knew." [437] Intermediate between the earlier religious poetry and the Homeric epic, then, was a hexametric verse, used by the Delphic priesthood; and to this order of poetry belongs the Theogony which goes under the name of Hesiod, and which is a sample of other and older works, [438] probably composed by priests. And the distinctive mark of the Homeric epos is that, framed as it was to entertain feudal chiefs and their courts, it turned completely away from the sacerdotal norm and purpose. "Thus epic poetry, from having been purely religious, became purely secular. After having treated men and heroes in subordination to the Gods, it came to treat the Gods in relation to men. Indeed, it may be said of Homer that in the image of man created he God." [439]