height, or dim its lustre, but there it lies in the east of literature, as it were the earliest and latest production of the mind. The ruins of Egypt oppress and stifle us with their dust, foulness preserved in cassia and pitch, and swathed in linen; the death of that which never lived. But the rays of Greek poetry struggle down to us, and mingle with the sunbeams of the recent day. The statue of Memnon is cast down, but the shaft of the Iliad still meets the sun in his rising.—
"Homer is gone; and where is Jove? and where
The rival cities seven? His song outlives
Time, tower, and god,—all that then was save Heaven."
So too, no doubt, Homer had his Homer, and Orpheus his Orpheus, in the dim antiquity which preceded them. The mythological system of the ancients, and it is still the mythology of the moderns, the poem of mankind, interwoven so wonderfully with their astronomy, and matching in grandeur and harmony the architecture of the heavens themselves, seems to point to a time when a mightier genius inhabited the earth. But after all, man is the great poet, and not Homer nor Shakspeare; and our language itself, and the common arts of life are his work. Poetry is so universally true and independent of experience, that it does not need any particular biography to illustrate it, but we refer it sooner or later to some Orpheus or Linus, and after ages to the genius of humanity, and the gods themselves.
It would be worth the while to select our reading, for books are the society we keep; to read only the serenely true; never statistics, nor fiction, nor news, nor reports,
