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154 The ruins which amaze the discoverer at Troy, Cnossus, Mycenae, and Orchomenus speak impressively of the power and splendor of that submerged culture.

The invaders were a song-folk. They sang because they had to sing. They sang of the achievements and adventures of their gods and heroes. One generation of them would become heroes and demigods to the next generation, and that generation to the next, and each sang of the prowess of the past. A traditional poesy arose, shot through with "a fiery intensity of imagination," and served by a language "more gorgeous than Milton's, yet as simple and direct as that of Burns." Into the crucible of this traditional poesy were poured for centuries the migrations and conquests of tribes; the oversea expeditions of thalassocratic cities; racial myths and legends. Into the crucible went also the absolute fictions of a powerfully creative imagination laboring at high pressure to supply a keen demand. The centre of poetic activity shifted from the European to the Asiatic side of the Aegean, and from Aeolians to lonians. Guilds of poets flourished in the chief Ionian cities, who slowly fashioned the molten material from the great crucible of epic poesy into the definite structures of the Iliad and Odyssey, and then went on to complete in later compositions the epic cycle which the elder epics logically and chronologically demanded. If material was lacking, the gap was filled by fresh creation until the cycle was complete, and then the epic impulse slowly died. These later epics, ascribed to individual and historical poets, have perished. But the central poems around which they had been made to cluster assumed canonical form for use in national religious festivals, and finally passed, with all the other rich fruits of Ionian culture, across the sea again, flying before the conquering power of Persia, to Ionian Athens. There they found the patronage of a rich tyrant's brilliant court, and there they were learnedly and skilfully edited into substantially the shape in which they