The ancient poet did not sing for the mere love of singing:  he knew nothing about “Art for Art’s sake”.  His object in singing appears to have been intensely practical.  The world was inhabited by countless hordes of spirits, which were believed to be ever exercising themselves to influence mankind.  The spirits caused suffering; they slew victims; they brought misfortune; they were also the source of good or “luck “.  Man regarded spirits emotionally; he conjured them with emotion; he warded off their attacks with emotion; and his emotions were given rhythmical expression by means of metrical magical charms.

Poetic imagery had originally a magical significance; if the ocean was compared to a dragon, it was because it was supposed to be inhabited by a storm-causing dragon; the wind whispered because a spirit whispered in it.  Love lyrics were charms to compel the love god to wound or possess a maiden’s heart—­to fill it, as an Indian charm sets forth, with “the yearning of the Apsaras (fairies)”; satires conjured up evil spirits to injure a victim; and heroic narratives chanted at graves were statements made to the god of battle, so that he might award the mighty dead by transporting him to the Valhal of Odin or Swarga of Indra.

Similarly, music had magical origin as an imitation of the voices of spirits—­of the piping birds who were “Fates”, of the wind high and low, of the thunder roll, of the bellowing sea.  So the god Pan piped on his reed bird-like notes, Indra blew his thunder horn, Thor used his hammer like a drumstick, Neptune imitated on his “wreathed horn” the voice of the deep, the Celtic oak god Dagda twanged his windy wooden harp, and Angus, the Celtic god of spring and love, came through budding forest ways with a silvern harp which had strings of gold, echoing the tuneful birds, the purling streams, the whispering winds, and the rustling of scented fir and blossoming thorn.

Modern-day poets and singers, who voice their moods and cast the spell of their moods over readers and audiences, are the representatives of ancient magicians who believed that moods were caused by the spirits which possessed them—­the rhythmical wind spirits, those harpers of the forest and songsters of ocean.

The following quotations from Mr. R.C.  Thompson’s translations of Babylonian charms will serve to illustrate their poetic qualities:—­

      Fever like frost hath come upon the land.

    Fever hath blown upon the man as the wind blast,
    It hath smitten the man and humbled his pride.

    Headache lieth like the stars of heaven in the desert and hath no
        praise;
    Pain in the head and shivering like a scudding cloud turn unto the
        form of man.

Headache whose course like the dread windstorm none knoweth.

Headache roareth over the desert, blowing like the wind,
Flashing like lightning, it is loosed above and below,
It cutteth off him, who feareth not his god, like a reed ... 
From amid mountains it hath descended upon the land.