Such descriptions, however, it may be said, are mere poetical
ornament, of no value in helping us to define the character of an
age. But what is peculiar in these Homeric descriptions, [199] what
distinguishes them from others at first sight similar, is a sort of
internal evidence they present of a certain degree of reality, signs
in them of an imagination stirred by surprise at the spectacle of
real works of art. Such minute, delighted, loving description of
details of ornament, such following out of the ways in which brass,
gold, silver, or paler gold, go into the chariots and armour and
women's dress, or cling to the walls--the enthusiasm of the manner--
is the warrant of a certain amount of truth in all that. The Greek
poet describes these things with the same vividness and freshness,
the same kind of fondness, with which other poets speak of flowers;
speaking of them poetically, indeed, but with that higher sort of
poetry which seems full of the lively impression of delightful things
recently seen. Genuine poetry, it is true, is always naturally
sympathetic with all beautiful sensible things and qualities. But
with how many poets would not this constant intrusion of material
ornament have produced a tawdry effect! The metal would all be
tarnished and the edges blurred.
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