Homer was regarded by the Greeks who lived after him as the founder of their religion. Herodotus considers (ii. 53) that Homer and Hesiod lived four hundred years before his time, and that it was they who framed a theogony for the Greeks, gave names to the gods, assigned to them honours and arts, and declared their several forms. These writers accordingly formed a standard of religious belief; we know that their works were the basis of the education of the Greek, and they thus provided an early bond of national unity. The Homeric poems are the outcome, whether we regard them as the work of one singer or of two, or of a whole school, of long processes of growth. The poetic art which makes them the delight of all mankind is not a first experiment, but the ripe result of an elaborate method. The stories and the wisdom they contain are brought together from many quarters by long accumulation. And in the same way the accounts they give of the gods individually and of their relations to each other are not thrown together at haphazard, but are the result of a work of unconscious art which must have been carried on for centuries before it issued in this form. Homer does not by any means repeat all the stories he knows about the gods. He passes over many local myths, especially those of the more repulsive order, which were known for centuries after, and undoubtedly existed in his day; only what is "worthy of a pious bard" does he reproduce. A pious bard, however, had considerable latitude; and the phrase does not represent all that Homer was. He was an entertainer of the public at royal courts, where a feast was incomplete without him (_Odyssey_ viii.); he had to produce his songs at banquets or in the open air at festivals; what he gave had to be entertaining. This could not but influence his choice of materials even when the gods were his theme. He could not deal in what was most terrible about the gods, nor could he enter into speculations or mysteries, nor could he make use of a legend which, though it had point for the locality it belonged to, was not generally interesting. What was powerful and dramatic, what all men could understand, what was curious and piquant, what met the general sentiment, that he would be led to adopt and to work up into a telling form; he naturally sought after broad pictures, amusing conversations, simple and true emotions, curious incidents connected with well-known characters. Religion, it is plain, could not gain in depth and intensity from the treatment of such poets; many of the thoughts men had about the gods could not find expression in their lines. But, on the other hand, we have the fact that the Greeks accepted the Homeric representation of their religion as the standard one; not till it had existed for centuries were voices raised against it. And this is not strange. Homer took away nothing from the religion of any Greek; no local worship was in any way infringed upon