thrust him away, and the lacteal fluid, streaming athwart the firmament, originated the Milky Way! To apply this law to our special subject: 1 Chambers's Papers for the People, vol. i.: The Myth, p. 1. What would be likely to work more powerfully on the minds of a crude, sensitive people, in an early stage of the world, with no elaborate discipline of religious thought, than the facts and phenomena of death? Plainly, around this centre there must be deposited a vast quantity of ideas and fantasies. The task is to discriminate them, trace their individual origin, and classify them. One of the most interesting and difficult questions connected with the subject before us is this: What, in any given time and place, were the limits of the popular belief? How much of the current representations in relation to another life were held as strict verity? What portions were regarded as fable or symbolism? It is obvious enough that among the civilized nations of antiquity the distinctions of literal statement, allegory, historic report, embellished legend, satire, poetic creation, philosophical hypothesis, religious myth, were more or less generally known. For example, when Aschylus makes one of his characters say, "Yonder comes a herald: so Dust, Clay's thirsty sister, tells me," the personification, unquestionably, was as purposed and conscious as it is when a poet in the nineteenth century says, "Thirst dived from the brazen glare of the sky and clutched me by the throat." So, too, when Homer describes the bag of Aolus, the winds, in possession of the sailors on board Ulysses' ship, the half humorous allegory cannot be mistaken for religious faith. It is equally obvious that these distinctions were not always carefully observed, but were often confounded. Therefore, in respect to the faith of primitive times, it is impossible to draw any broad, fixed lines and say conclusively that all on this side was consciously considered as fanciful play or emblem, all on that side as earnest fact. Each particular in each case must be examined by itself and be decided on its own merits by the light and weight of the moral probabilities. For example, if there was any historic basis for the myth of Herakles dragging Cerberus out of Hades, it was that this hero forcibly entered the Mysteries and dragged out to light the enactor of the part of the three headed dog. The aged North man, committing martial suicide rather than die in his peaceful bed, undoubtedly accepted the ensanguined picture of Valhalla as a truth. Virgil, dismissing Aneas from the Tartarean realm through "the ivory gate by which false dreams and fictitious visions are wont to issue," plainly wrought as a poet on imaginative materials.