Yet if the original poet, "Homer," could make "the greater part of the songs," as Wolf admitted, what physical impossibility stood in the way of his making the whole? Meanwhile, the historical circumstances, as conceived of by Wolf, were imaginary. He did not take the circumstances of the poet as described in the Odyssey. Here a king or prince has a minstrel, honoured as were the minstrels described in the ancient Irish books of law. His duty is to entertain the prince and his family and guests by singing epic chants after supper, and there is no reason why his poetic narratives should be brief, but rather he has an opportunity that never occurred again till the literary age of Greece for producing a long poem, continued from night to night. In the later age, in the Asiatic colonies and in Greece, the rhapsodists, competing for prizes at feasts, or reciting to a civic crowd, were limited in time and gave but snatches of poetry. It is in this later civic age that a poet without readers would have little motive for building Wolfs great ship of song, and scant chance of launching it to any profitable purpose. To this point we return; but when once critics, following Wolf, had convinced themselves that a long early poem was impossible, they soon found abundant evidence that it had never existed. They have discovered discrepancies of which, they say, no one sane poet could have been guilty. They have also discovered that the poems had not, as Wolf declared, "one 'harmony of colour" (_unus color_). Each age, they say, during which the poems were continued, lent its own colour. The poets, by their theory, now preserved the genuine tradition of things old; cremation, cairn and urn burial; the use of the chariot in war; the use of bronze for weapons; a peculiar stage of customary law; a peculiar form of semi-feudal society; a peculiar kind of house. But again, by a change in the theory, the poets introduced later novelties; later forms of defensive armour; later modes of burial; later religious and speculative beliefs; a later style of house; an advanced stage of law; modernisms in grammar and language. The usual position of critics in this matter is stated by Helbig; and we are to contend that the theory is contradicted by all experience of ancient literatures, and is in itself the reverse of consistent. "The _artists_ of antiquity," says Helbig, with perfect truth, "had no idea of archaeological studies.... They represented legendary scenes in conformity with the spirit of their own age, and reproduced the arms and implements and costume that they saw around them." [Footnote: _L'Epopee Homerique_, p. 5; _Homerische Epos_, p. 4.]