The Wooden Horse is not employed in the Iliad, but is one of the striking details of the later epics, which recounted the destruction of Troy. The song of Demodocus carries the incident back to the time of Homer, and before Homer, for it suggests antecedent ballads or rhapsodies which Homer knew, but did not use, and which poets after him developed. The Odyssey takes for granted that its hearers knew the Lay of the Wooden Horse, and also the Lay of the Strife between Ulysses and Achilles, "the fame of which had reached the broad Heavens." Thus we get a peep into the workshop of Homer and catch a glimpse of his materials, which he did not invent, but found at hand. Homer is the builder, the architectonic genius; he organizes the floating, disparate songs of his age into a great totality, into a Greek Temple of which they are the stones. Note what he does with this lay of Demodocus; he puts it into its place in the total structure of the Odyssey, and thus preserves it forever. So he has done with all his materials doubtless. We may now see that those who cut up the Homeric poems into so many different songs or ballads simply destroy the distinctive work of Homer. They pry asunder the beautiful Greek Temple, lay its stones alongside of one another, and say: behold the poet. But this is just what he is not, and in the present Book we may see him unfolding his own process. Homer is not Demodocus, but the latter's lay he takes up and then weaves what he wants of it into the texture of the total poem. He is thus a contrast to the bard, whom, however, he fully recognizes and makes a part of his own work. Thus Homer himself really answers the Wolfian theory, which seeks to reduce him to a Demodocus, singing fragmentary lays about the Trojan War. From the Greek poets the Wooden Horse passed to Virgil, who has made it the best-known incident of the Trojan War. It is probably the most famous stratagem of all time, due to the skill of Ulysses. Herein lies the answer to the first lay of Demodocus; in the dispute Ulysses is right, indeed he is a greater hero than Achilles, who could never have captured the hostile city. The incident took place after the action of the Iliad, and after the death of Achilles, who, heroic in courage, stood in the way of intelligence. When he is gone, the city falls, overthrown by the brain of Ulysses. Homer does not pretend to give the song of Demodocus in full, but a brief summary of what he sang before the Phaeacians. A later poet, Arctinus, took up the legend here alluded to, and developed it in a separate epic, called the Iliou-persis or Sack of Troy. Indeed a vast number of legends and lays about the Trojan War bloomed into epics, which were in later times joined together and called the Epic Cycle. Thus we distinguish two very different stages of consciousness in early Greek poetry: the ballad-making and the epical, Homer being the supreme example of the latter, and Demodocus an instance of the former.