It is well at this point to observe Homer's procedure in regard to Pallas. We can distinguish two different ways of employing the Goddess. The poet says that Pallas gives to the Phaeacian women surpassing skill in the art of weaving. This is almost allegorical, if not quite; the Goddess stands for a quality of mind, is subjective. Again, when she endows Ulysses with forecast in an emergency, it is only another statement for his mental prevision. Many such expressions we can find in the Odyssey; Pallas is becoming a formula, indicating simply some activity of mind in the individual. But in the important places the Goddess is kept mythical; that is, she voices the Divine Order, she utters the grand ethical purpose of the poem, or makes herself a vital part thereof. Thus she is objective, truly mythical; in the other case she is subjective and is getting to be an allegorical figure. The Odyssey, with its greater internality compared with the Iliad, is losing the mythus. There is a third way of using Pallas and the Gods which is hardly found in Homer, indeed could not be found to any extent without destroying him. This is the external way of employing the deities, who appear wholly on the outside and give their command to mortals, or influence them by divine authority alone. Thus the Gods become mechanical, and are not a spiritual element of the human soul. Virgil leaves such an impression, and the Roman poets generally. Even the Greek tragic poets are not free from it; especially Euripides is chargeable with this sin, which is called in dramatic language _Deus ex machina_. Though the Homeric poems as wholes are not allegories, yet they have allegory playing into them. Indeed the mythus has an inherent tendency to pitch over into allegory through culture. Then there is a reaction, the mythical spirit must assert itself even among civilized peoples, since allegorized Gods are felt to be hollow abstractions, having nothing divine about them.