and constellations, a high and by-way serene to travel. Indeed, the true scholar will be not a little of an astronomer in his habits. Distracting cares will not be allowed to obstruct the field of his vision, for the higher regions of literature, like astronomy, are above storm and darkness.
But passing by these rumors of bards, let us pause for a moment at the Teian poet.
There is something strangely modern about him. He is very easily turned into English. Is it that our lyric poets have resounded only that lyre, which would sound only light subjects, and which Simonides tells us does not sleep in Hades? His odes are like gems of pure ivory. They possess an ethereal and evanescent beauty like summer evenings, ὅ χρή σε νοεῖν νόου ἄνϑει, which you must perceive with the flower of the mind,—and show how slight a beauty could be expressed. You have to consider them, as the stars of lesser magnitude, with the side of the eye, and look aside from them to behold them. They charm us by their serenity and freedom from exaggeration and passion, and by a certain flower-like beauty, which does not propose itself, but must be approached and studied like a natural object. But perhaps their chief merit consists in the lightnesss and yet security of their tread;
"The young and tender stalk
Ne'er bends when they do walk."
True, our nerves are never strung by them;—it is too constantly the sound of the lyre, and never the note of the trumpet; but they are not gross, as has been presumed, but always elevated above the sensual.
