comes up in his private adventures with every fable of Æsop, of Homer, of Hafiz, of Ariosto, of Chaucer, of Scott, and verifies them with his own head and hands.

The beautiful fables of the Greeks, being proper creations of the imagination and not of the fancy, are universal verities. What a range of meanings and what perpetual pertinence has the story of Prometheus! Beside its primary value as the first chapter of the history of Europe, (the mythology thinly veiling authentic facts, the invention of the mechanic arts and the migration of colonies,) it gives the history of religion, with some closeness to the faith of later ages. Prometheus is the Jesus of the old mythology. He is the friend of man; stands between the unjust “justice” of the Eternal Father and the race of mortals, and readily suffers all things on their account. But where it departs from the Calvinistic Christianity and exhibits him as the defier of Jove, it represents a state of mind which readily appears wherever the doctrine of Theism is taught in a crude, objective form, and which seems the self-defence of man against this untruth, namely a discontent with the believed fact that a God exists, and a feeling that the obligation of reverence is onerous. It would steal if it could the fire of the Creator, and live apart from him and independent of him. The Prometheus Vinctus is the romance of skepticism. Not less true to all time are the details of that stately apologue. Apollo kept the flocks of Admetus, said the poets. When the gods come among men, they are not known. Jesus was not; Socrates and Shakspeare were not. Antæus was suffocated by the gripe of Hercules, but every time he touched his mother earth his strength was renewed. Man is the broken giant, and in all his weakness both his body and his mind are invigorated by habits of conversation with nature. The power of music, the power of poetry, to unfix and as it were clap wings to solid nature, interprets the riddle of Orpheus. The philosophical perception of identity through endless mutations of form makes him know the Proteus. What else am I who laughed or wept yesterday, who slept last night like a corpse, and this morning stood and ran? And what see I on any side but the transmigrations of Proteus? I can symbolize my thought by using the name of any creature, of any fact, because every creature is man agent or patient. Tantalus is but a name for you and me. Tantalus means the impossibility of drinking the waters of thought which are always gleaming and waving within sight of the soul. The transmigration of souls is no fable. I would it were; but men and women are only half human. Every animal of the barn-yard, the field and the forest, of the earth and of the waters that are under the earth, has contrived to get a footing and to leave the print of its features and form in some one or other of these upright, heaven-facing speakers. Ah! brother, stop the ebb of thy soul,—ebbing downward into the forms into whose habits thou hast now for many years slid. As near and proper to us is also that old fable of the Sphinx, who was said to sit in the road-side and put riddles to every passenger. If the man could not answer, she swallowed him alive. If he could solve the riddle, the Sphinx was slain. What is our life but an endless flight of winged facts or events? In splendid variety these changes come, all putting questions to the human spirit. Those men who cannot answer by a superior wisdom these facts or questions of time, serve them. Facts encumber them, tyrannize over them, and make the men of routine, the men of sense, in whom a literal obedience to facts has extinguished every spark of that light by which man is truly man. But if the man is true to his better instincts or sentiments, and refuses the dominion of facts, as one that comes of a higher race; remains fast by the soul and sees the principle, then the facts fall aptly and supple into their places; they know their master, and the meanest of them glorifies him.

See in Goethe’s Helena the same desire that every word should be a thing. These figures, he would say, these Chirons, Griffins, Phorkyas, Helen and Leda, are somewhat, and do exert a specific influence on the mind. So far then are they eternal entities, as real to-day as in the first Olympiad. Much revolving them he writes out freely his humor, and gives them body to his own imagination. And although that poem be as vague and fantastic as a dream, yet is it much more attractive than the more regular dramatic pieces of the same author, for the reason that it operates a wonderful relief to the mind from the routine of customary images,—awakens the reader’s invention and fancy by the wild freedom of the design, and by the unceasing succession of brisk shocks of surprise.

The universal nature, too strong for the petty nature of the bard, sits on his neck and writes through his hand; so that when he seems to vent a mere caprice and wild romance, the issue is an exact allegory. Hence Plato said that “poets utter great and wise things which they do not themselves understand.”