It should hardly be necessary to remind the reader of what profound interest and value to every nation are its earliest legendary and poetical records. The beautiful myths of Greece form a sufficing example. In threefold manner, they have influenced the destiny of the people that created them, and of the country of which they were the imagined theatre. First, in the ages in which they were still fresh, belief and pride in them were powerful enough to bring scattered tribes into confederation. Secondly, they gave the inspiration to sculptor and poet of an art and literature unsurpassed, if not unequalled, by any other age or race. Lastly, when "the glory that was Greece" had faded, and her people had, by dint of successive invasions, perhaps even ceased to have any right to call themselves Hellenes, they have passed over into the literatures of the modern
world, and so given to Greece herself a poetic interest that still makes a petty kingdom of greater account in the eyes of its compeers than many others far superior to it in extent and resources.
This permeating influence of the Greek poetical mythology, apparent in all civilized countries, has acted especially upon our own. From almost the very dawn of English literature, the Greek stories of gods and heroes have formed a large part of the stock-in-trade of English poets. The inhabitants of Olympus occupy, under their better-known Latin names, almost as great a space in English poetry as they did in that of the countries to which they were native. From Chaucer downwards, they have captivated the imagination alike of the poets and their hearers. The magic cauldron of classic myth fed, like the Celtic "Grail", all who came to it for sustenance.
At last, however, its potency became somewhat exhausted. Alien and exotic to English soil, it degenerated slowly into a convention. In the shallow hands of the poetasters of the eighteenth century, its figures became mere puppets. With every wood a "grove", and every rustic maid a "nymph", one could only expect to find Venus armed with patch and powder-puff, Mars shouldering a musket, and Apollo inspiring the versifier's own trivial strains. The affectation killed--and fortunately killed--a mode of expression which had become obsolete. Smothered by just ridicule, and abandoned to the commonplace vocabulary of the inferior hack-writer, classic myth became a subject
which only the greatest poets could afford to handle.
But mythology is of such vital need to literature that, deprived of the store of legend native to southern Europe, imaginative writers looked for a fresh impulse. They turned their eyes to the North. Inspiration was sought, not from Olympus, but from Asgard. Moreover, it was believed that the fount of primeval poetry issuing from Scandinavian and Teutonic myth was truly our own, and that we were rightful heirs of it by reason of the Anglo-Saxon in our blood. And so, indeed, we are; but it is not our sole heritage. There must also run much Celtic--that is, truly British--blood in our veins. 1 And Matthew Arnold was probably right in asserting that, while we owe to the Anglo-Saxon the more practical qualities that have built up the British Empire, we have inherited from the Celtic side that poetic vision which has made English literature the most brilliant since the Greek. 2
We have the right, therefore, to enter upon a new spiritual possession. And a splendid one it is! The Celtic mythology has little of the heavy crudeness that repels one in Teutonic and Scandinavian story.
[paragraph continues] It is as beautiful and graceful as the Greek ; and, unlike the Greek, which is the reflection of a clime and soil which few of us will ever see, it is our own. Divinities should, surely, seem the inevitable outgrowth of the land they move in! How strange Apollo would appear, naked among icebergs, or fur-clad Thor striding under groves of palms! But the Celtic gods and heroes are the natural inhabitants of a British landscape, not seeming foreign and out-of-place in a scene where there is no vine or olive, but "shading in with 