How do they loose such fragments of old inspiration? It may be by putting some manuscript in the way of discovery; it may be by raising up some man of genius who can read the old records on inner planes, and reproduce in epic or drama something of a long past splendor to kindle the minds of men anew. In that way Greece was kindled. Troy fell, says H. P. Blavatsky, nearly five thousand years ago. Now you will note that a European manvantara began in 2980 B. C.; which is very nearly five thousand years ago. And that this present European manvantara or major cycle was lit up from a West Asian Cycle; from the Moors in Spain; from Egypt through Sicily and Italy; and, in its greatest splendor; when Constantinople fell, and refugees therefrom came to light the Cinquecento in Italy. Now Constantinople is no great way from Troy; and, by tradition, refugees came to Italy from Troy, once. Was it they in part, who lit up that ancient European cycle of from 2980 to 1480 B. C.? In the Homeric poems a somewhat vague tradition seems to come down of the achievements of one of the European peoples in that ancient cycle. Sometime then Greece had her last Pre-periclean age of greatness. What form it took, the details of it, were probably as much lost to the historic Greeks as the details of the Celtic Age are to us. But Homer caught an echo and preserved the atmosphere of it. As the Celtic Age bequeaths to us, in the Irish and Welsh stories, a sense of style--which thing is the impress of the human spirit triumphant over all hindrances to its expression;--so that long past period bequeathed through Homer a sense of style to the later Greeks. It rings majestically through his lines. His history is perhaps not actual history in any recognizable shape. Legends of a long lost glory drifted down to a poet of mightiest genius; and he embodied them, amplified them, told his message through them; perhaps reinvented half of them. Even so Geoffrey of Monmouth (without genius, however) did with the rumors that came down to him anent the ancient story of his own people; and Spenser followed him in the _Faery Queen,_ Malory in his book, and Tennyson in the _Idylls of the King._ Even in that last, from the one poem _Morte D'Arthur_ we should get a sense of the old stylish magnificence of the Celtic epoch; for the sake of a score of lines in it, we can forgive Tennyson the rest of the Idylls. But Tennyson was no Celt himself; only, like Spenser and Malory, an anglicizer of things Celtic. How much more of the true spirit would have come down to Homer, a Greek of genius, writing of traditional Greek glory, and thrilled with racial uplift.