King Alcinous; thy fair palace has had fairer offspring, Thou art ruling the world still by the beautiful form; Out of thy mansion majestic was born in a song the Greek Temple, Sentineled round with a choir--Titans columnar of stone, Bearing forever their burden to hymns of a Parian measure, Wearing out heaviest Fate to a Pindaric high strain. Look! those boys of thy garden with tapers are moving to statues, Seeming to walk into stone while they are bringing the light; Hellas springs out of thy palace all sculptured with actions heroic, Even the God we discern turning to marble by faith. Such is the originative, prophetic character of Phaeacia, which the reader must take profoundly into his soul, if he would understand the genetic history of Greek spirit. Verily the poet is the maker of archetypes and reveals in his shapes all that his people are to become. Thou, old Homer, wert the first builder in Greece, the first carver, Afterward she could but turn fancies of thine into stone; Architects followed thee, building thy poem aloft into temples, Sculptors followed thee too, thinking in marble thy line. Nor must we forget the Industrial Arts here suggested--weaving, ship-building, the working of metals; in general, there is hinted the varied transformation of nature, which begets a civilized life. Agriculture is present, also horticulture, which the garden of Alcinous presupposes. Such, then, is the grand frame-work for the social order as here portrayed. But the chief art of the Homeric world has not yet been given, though it is at work now, and is just that which has reproduced Phaeacia with all its beauty. This is the poet's own art, which having set forth the other arts, is next to set forth itself. Accordingly we are to see the poet showing the poet in the following Book, which may, therefore, be named the Book of the Bard. Thus we pass out of the industrial and plastic arts of Phaeacia, into the supreme art, the poetic, as it manifests itself in the Phaeacian singer. _BOOK EIGHTH._ We observe a decided change in the present Book; it has a character of its own quite distinct from the preceding Books. Yet it is on a line of development with them, we note a further spiritual evolution which must be looked into with some attention. In general, Phaeacia is now seen as an art-world, in true correspondence with Hellas, of which it is a kind of ideal prototype. In the two previous Books we saw portrayed chiefly institutional life in Family and in State. But in this Book institutional life, though present and active, is withdrawn into the background, and becomes the setting for the picture, yet also is the spirit which secretly calls forth the picture. A poetic art-world now passes before us in entrancing outlines, a world filled with song, dance, games, with all the poetry of existence.