ties are immensely increased when the
period is not only remote, but defi-
cient in definite registry of thought
and feeling; when the record of what
it believed and felt does not exist by
itself, but must be deciphered from
those works of art in which is pre-
served the final form of thought and
feeling, and in which are gathered
and merged a great mass of ideas
and emotions.

This is especially true of the more
subtle and elusive Greek myths, which
were in no case creations of the in-
dividual imagination or of definite
periods of time, but which were fed
by many tributaries, very slowly tak-
ing shape out of general but shadowy
impressions, widely diffused but vague
ideas, deeply felt but obscure emo-
tions. To get at the heart of one of
these stories one must be able not only

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v?