Note 7 — INTRODUCTION

There are masterpieces in literature filled with myths, inspired with myth conceptions of many kinds, simply colored by the life of the time and the nations among which these masterpieces were written and moulded to shape by artists, made strong from the spirit of great, simple people, as unknown to us as the nameless heroes who perished before Agamemnon. How much mythology is there in the Iliad and the Odyssey, in the Æneid, in the Divine Comedy of Dante, in the works of the other three great Italian poets? How much in Paradise Lost? How could “King Lear” and “Midsummer Night’s Dream,” or the “Idylls of the King,” have been written without Keltic mythology? Many of these literary masterpieces have not merely myths in their composition as a sentence has words, but the earlier ones are enlarged or modified myth-tales of those periods, while the later ones are largely modeled on and inspired by the earlier.7