Though the particular persons and events, chronicled in the legendary poems of Greece, are not to be regarded as belonging to the province of real history, those poems are, nevertheless, full of instruction as pictures of life and manners; and the very same circumstances, which divest their composers of all credibility as historians, render them so much the more valuable as unconscious expositors of their own contemporary society. While professedly describing an uncertified past, their combinations are involuntarily borrowed from the surrounding present: for among communities, such as those of the primitive Greeks, without books, without means of extended travel, without acquaintance with foreign languages and habits, the imagination, even of highly gifted men, was naturally enslaved by the circumstances around them to a far greater degree than in the later days of Solôn or Herodotus; insomuch that the characters which they conceived and the scenes which they described would for that reason bear a stronger generic resemblance to the realities of their own time and locality. Nor was the poetry of that age addressed to lettered and critical authors, watchful to detect plagiarism, sated with simple imagery, and requiring something of novelty or peculiarity in every fresh production. To captivate their emotions, it was sufficient to depict, with genius and fervor, the more obvious manifestations of human adventure or suffering, and to idealize that type of society, both private and public, with which the hearers around were familiar. Even in describing the gods, where a great degree of latitude and deviation might have been expected,[81] we see that Homer introduces into Olympus the passions, the caprices, the love of power and patronage, the alternation of dignity and weakness, which animated the bosom of an ordinary Grecian chief; and this tendency, to reproduce in substance the social relations to which he had been accustomed, would operate still more powerfully when he had to describe simply human characters,—the chief and his people, the warrior and his comrades, the husband, wife, father, and son,—or the imperfect rudiments of judicial and administrative proceeding. That his narrative on all these points, even with fictitious characters and events, presents a close approximation to general reality, there can be no reason to doubt.[82] The necessity under which he lay of drawing from a store, then happily unexhausted, of personal experience and observation, is one of the causes of that freshness and vivacity of description for which he stands unrivalled, and which constituted the imperishable charm of the Iliad and Odyssey from the beginning to the end of Grecian literature. [81] Καὶ τοὺς θεοὺς δὲ διὰ τοῦτο πάντες φασὶ βασιλεύεσθαι, ὅτι καὶ αὐτοὶ, οἱ μὲν ἔτι καὶ νῦν, οἱ δὲ τὸ ἀρχαῖον, ἐβασιλεύοντο. Ὥσπερ δὲ καὶ τὰ εἴδη ἑαυτοῖς ἀφομοιοῦσιν οἱ ἄνθρωποι, οὕτω καὶ τοὺς βίους τῶν θεῶν (Aristot. Politic. i. 1. 7).