THE Homeric ideas regarding the heavenly bodies were of the simplest description. They stood, in fact, very much on the same level with those entertained by the North American Indians, when first brought into European contact. What knowledge there was in them was of that ‘broken’ kind which (in Bacon’s phrase) is made up of wonder. Fragments of observation had not even begun to be pieced in one with the other, and so fitted, ill or well, into a whole. In other words, there was no faintest dawning of a celestial science. But surely, it may be urged, a poet is not bound to be an astronomer. Why should it be assumed that the author (or authors) of the Iliad and Odyssey possessed information co-extensive on all points with that of his fellow-countrymen? His profession was not science, but song. The argument, however, implies a reflecting backward of the present upon the past. Among unsophisticated peoples, specialists, unless in the matter of drugs or spells, or some few practical processes, do not exist. The scanty stock of gathered knowledge is held, it might be said, in common. The property of one is the property of all. More especially of the poet. His power over his hearers depends upon his presenting vividly what they already perceive dimly. It was part of the poetical faculty of the Ithacan bard Phemius that he ‘knew the works of gods and men.’[15] His special function was to render them famous by his song. What he had heard concerning them he repeated; adding, of his own, the marshalling skill, the vital touch, by which they were perpetuated. He was no inventor: the actual life of men, with its transfiguring traditions and baffled aspirations, was the material he had to work with. But the life of men was very different then from what it is now. It was lived in closer contact with Nature; it was simpler, more typical, consequently more susceptible of artistic treatment. Footnote 15: _Odyssey_, i. 338. It was accordingly looked at and portrayed as a whole; and it is this very _wholeness_ which is one of the principal charms of primitive poetry—an irrecoverable charm; for civilisation renders existence a labyrinth of which it too often rejects the clue. In olden times, however, its ways were comparatively straight, and its range limited. It was accordingly capable of being embraced with approximate entirety. Hence the encyclopædic character of the early epics. _Humani nihil alienum._ Whatever men thought, and knew, and did, in that morning of the world when they spontaneously arose, found a place in them.