Now these tales are necessarily cast in the mould of the savage ideas of which a sketch has been given. The changes of the heavenly bodies, the processes of day and night, the existence of the stars, the invention of the arts, the origin of the world (as far as known to the savage), of the tribe, of the various animals and plants, the origin of death itself, the origin of the perplexing traditional tribal customs, are all accounted for in stories. At the same time, an actual divine Maker is sometimes postulated. The stories, again, are fashioned in accordance with the beliefs already named: the belief in human connection with and kinship with beasts and plants; the belief in magic; the belief in the perpetual possibility of metamorphosis or "shape shifting"; the belief in the permanence and power of the ghosts of the dead; the belief in the personal and animated character of all the things in the world, and so forth. No more need be said to explain the wild and (as it seems to us moderns) the irrational character of savage myth. It is a jungle of foolish fancies, a walpurgis nacht of gods and beasts and men and stars and ghosts, all moving madly on a level of common personality and animation, and all changing shapes at random, as partners are changed in some fantastic witches' revel. Such is savage mythology, and how could it be otherwise when we consider the elements of thought and belief out of which it is mainly composed? We shall see that part of the mythology of the Greeks or the Aryans of India is but a similar walpurgis nacht, in which an incestuous or amorous god may become a beast, and the object of his pursuit, once a woman, may also become a beast, and then shift shapes to a tree or a bird or a star. But in the civilised races the genius of the people tends to suppress, exclude and refine away the wild element, which, however, is never wholly eliminated. The Erinyes soon stop the mouth of the horse of Achilles when he begins, like the horse in Grimm's Goose Girl, to hold a sustained conversation.(1) But the ancient, cruel, and grotesque savage element, nearly overcome by Homer and greatly reduced by the Vedic poets, breaks out again in Hesiod, in temple legends and Brahmanic glosses, and finally proves so strong that it can only be subdued by Christianity, or rather by that break between the educated classes and the traditional past of religion which has resulted from Christianity. Even so, myth lingers in the folk-lore of the non-progressive classes of Europe, and, as in Roumania, invades religion. (1) Iliad, xix. 418.