[96] It is a strange habit of wise humanity to speak in enigmas only, so that the highest truths and usefullest laws must be hunted for through whole picture-galleries of dreams, which to the vulgar seem dreams only. Thus Homer, the Greek tragedians, Plato, Dante, Chaucer, Shakespeare, and Goethe, have hidden all that is chiefly serviceable in their work, and in all the various literature they absorbed and re-embodied, under types which have rendered it quite useless to the multitude. What is worse, the two primal declarers of moral discovery, Homer and Plato, are partly at issue; for Plato's logical power quenched his imagination, and he became incapable of understanding the purely imaginative element either in poetry or painting; he therefore somewhat overrates the pure discipline of passionate art in song and music, and misses that of meditative art. There is, however, a deeper reason for his distrust of Homer. His love of justice, and reverently religious nature made him dread as death, every form of fallacy; but chiefly, fallacy respecting the world to come (his own myths being only symbolic exponents of a rational hope). We shall perhaps now every day discover more clearly how right Plato was in this, and feel ourselves more and more wonderstruck that men such as Homer and Dante (and, in an inferior sphere, Milton), not to speak of the great sculptors and painters of every age, have permitted themselves, though full of all nobleness and wisdom, to coin idle imaginations of the mysteries of eternity, and mould the faiths of the families of the earth by the courses of their own vague and visionary arts: while the indisputable truths respecting human life and duty, respecting which they all have but one voice, lie hidden behind these veils of phantasy, unsought and often unsuspected. I will gather carefully, out of Dante and Homer, what of this kind bears on our subject, in its due place; the first broad intention of their symbols may be sketched at once. The rewards of a worthy use of riches, subordinate to other ends, are shown by Dante in the fifth and sixth orbs of Paradise; for the punishment of their unworthy use, three places are assigned; one for the avaricious and prodigal whose souls are lost ("Hell": Canto 7); one for the avaricious and prodigal whose souls are capable of purification ("Purgatory": Canto 19); and one for the usurers, of whom none can be redeemed ("Hell": Canto 17). The first group, the largest in all hell (gente piu che altrove troppa), meet in contrary currents, as the waves of Charybdis, casting weights at each other from opposite sides.