Nor were the Homeric poems originally addressed to minds of the rarer stamp. They are intended for those feelings which the critic has in common with the unlettered mass, not for that enlarged range of vision and peculiar standard which he has acquired to himself. They are of all poems the most absolutely and unreservedly popular: had they been otherwise, they could not have lived so long in the mouth of the rhapsodes, and the ear and memory of the people: and it was _then_ that their influence was first acquired, never afterwards to be shaken. Their beauties belong to the parts taken separately, which revealed themselves spontaneously to the listening crowd at the festival,—far more than to the whole poem taken together, which could hardly be appreciated unless the parts were dwelt upon and suffered to expand in the mind. The most unlettered hearer of those times could readily seize, while the most instructed reader can still recognize, the characteristic excellence of Homeric narrative,—its straightforward, unconscious, unstudied simplicity,—its concrete forms of speech [318] and happy alternation of action with dialogue,—its vivid pictures of living agents, always clearly and sharply individualized, whether in the commanding proportions of Achilles and Odysseus, in the graceful presence of Helen and Penelope, or in the more humble contrast of Eumæus and Melanthius; and always, moreover, animated by the frankness with which his heroes give utterance to all their transient emotions and even all their infirmities,—its constant reference to those coarser veins of feeling and palpable motives which belong to all men in common,—its fulness of graphic details, freshly drawn from the visible and audible world, and though often homely, never tame, nor trenching upon that limit of satiety to which the Greek mind was so keenly alive,—lastly, its perpetual junction of gods and men in the same picture, and familiar appeal to ever-present divine agency, in harmony with the interpretation of nature at that time universal. [318] The κινούμενα ὀνόματα of Homer were extolled by Aristotle; see Schol. ad Iliad. i. 481; compare Dionys. Halicarn. De Compos. Verbor. c. 20. ὥστε μηδὲν ἡμῖν διαφέρειν γινόμενα τὰ πράγματα ἢ λεγόμενα ὁρᾶν. Respecting the undisguised bursts of feeling by the heroes, the Scholiast ad Iliad, i. 349 tells us,—ἕτοιμον τὸ ἡπωϊκον πρὸς δάκρυα,—compare Euripid. Helen. 959, and the severe censures of Plato, Republ. ii. p. 388.