XI. AMBER, IVORY, AND ULTRAMARINE 283 ------------------------------------------------------------------------ FAMILIAR STUDIES IN HOMER. CHAPTER I. HOMER AS A POET AND AS A PROBLEM. THE perennial youth of the Homeric poems is without a parallel in the history of art. No other imaginative works have so nearly succeeded in bidding defiance to the ‘tooth of time.’ Like the golden watch-dogs of Alcinous, they seem destined to be ‘deathless and ageless all their days.’ Nor is theirs the faded immortality of Tithonus—the bare preservation of a material form emptied of the glow of vitality, and grown out of harmony with its environment. Their survival is not even that of an ‘Attic shape’ whose undeniable beauty has, in our eyes, assumed somewhat of a recondite coldness, very different from the loveliness of old, when connoisseurship was not needed for appreciation. The Iliad and Odyssey are still auroral. They have the charm of an ‘unpremeditated lay,’ springing from the very source of our own life; they appeal alike to rude sensibilities and to cultivated tastes; their splendour and pathos, their powerful vitality, the strength and swiftness of their numbers, require to be accentuated by no critical notes of admiration; they strike of themselves the least tutored native perception. These vigorous growths out of the deep soil of humanity have not yet been transported from the open air of indiscriminate enjoyment into the greenhouse of æstheticism; delight in them lays hold of any schoolboy capable of reading them fluently in the original as naturally as enthralment with ‘Cinderella’ or ‘Jack the Giant-Killer’ commands the unreflecting nursery. For they combine, as no other primitive poetry does, imaginative energy with sobriety of thought and diction. The _ne quid nimis_ regulates all their scenes. They are simple without being archaic, fervid without extravagance, fanciful, yet never grotesque. The strict proprieties of classic form effectually restrain in them the exuberance of romantic invention. Not that any such distinctions in the mode of composition had then begun to be thought of. The poet was unconsciously a ‘law unto himself.’ Indeed the very potency of his creative faculty prescribed retrenchment and moderation; the images conjured up by it with much of the plastic reality of sculpture subjecting themselves spontaneously to the laws of sculpturesque fitness. Clear-cut and firm of outline, they move in the transparent ether of definite thought. Projected into the vaporous atmosphere of a riotous fancy, they might show vaster, but they could hardly be equally impressive.