gradually incorporated themselves into the myth, and by modern students are not carefully distinguished from the other, the religious and devotional elements. A comic adventure told of Hermes may not have in it any more of myth than a similar story told of Autolycus. Literature finds much use for material of the mythical kind on what we have called the fourth step. To express and render concrete, impulses, influences, and powers that sway and dignify human conduct, and that form and ennoble human character, the literary artist gladly employs the persons of the great myths. All human experience has elements and influences coming into it from an apparently mystic sphere, that must either be described in abstract terms or embodied in concrete persons and symbols. The latter is ever the method of art. So we find everywhere in literature the use of the great symbols already constituted in myth, or the invention of new symbols for the purpose. Homer would convey to us the sense of the presence that guided and guarded the wise and resourceful Odysseus; so the stately Athene, ages long the goddess "who giveth skill in fair works, and noble minds," comes and goes through the poem. Hauptmann would convey to us in _The Sunken Bell_, some impression of the magic and the charm of that beauty which lies in the free soul and wild nature, so he invents Rautendelein. But neither Homer nor Hauptmann is priest or devotee interpreting facts or conserving worship. They are artists picturing human life and introducing, each in its place, the various elements of human experience. It is in regard to this literary use of myth that there exists much confusion, and that most mistakes are made as to the educational use of myth. Many persons who contend that "myths" can be given to children as literature call the _Iliad_ and the _Odyssey_ "myths;" indeed, they are likely to call all legendary stories in which the supernatural element is large "myths;" and they call all romantic stories that have become attached to any divinity "myths."