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 sions of Ovid —they show that with a faith quite in keeping with his simple, serious, superstitious character, he took this night-vision for no idle dream-fabric, but a definite call to devote himself to the poetry of truth, and the errand of making song subserve the propagation of religion and moral instruction. The "fictions seeming true"—in other words, the heroic poetry so popular in the land of his father's birth—Hesiod considers himself enjoined to forsake for a graver strain—"the things of truth"—which the Muses declare have been hitherto regarded by mortals as not included in their gift of inspiration. He takes their commission to be prophet and poet of this phase of minstrelsy, embracing, it appears, the past and future, and including his theogonic and ethical poetry. And while the language of the Muses thus defines the poet's aim, when awakened from a rude shepherd-life to the devout service of inspired song, it implies, rather than asserts, a censure of the kinds of poetry which admit of an easier and freer range of fancy. For himself, this supernatural interview formed the starting-point of a path clear to be tracked; and that he accepted his commission as Heaven-appointed is seen in the gratitude which, as we learn from his 'Works and Days,' he evinced by dedicating to the maids of Helicon,

an eared tripod, won in a contest of song at funeral games in Eubœa. In the same passage (E. 915-922)