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philosopher is somewhat higher up and more sublimated and etherealized than the Olympus of Homer and of the popular faith. In a flash of poetic inspiration, he says, "The walls of the universe are cloven. I see through the void inane. The splendor (numen) of the gods appears, and the quiet seats which are not shaken by storm-winds nor aspersed by rain-clouds; nor does the whitely falling snow-flake, with its hoar rime, violate their summery warmth, but an ever-cloudless ether laughs above them with widespread radiance." Lucretius had all these lineaments of his Epicurean heaven from old Homer. They are scattered up and down the "Ilias" and "Odusseia" in the shape of disjecta membra. For instance, the Olympus which he beholds through a chasm in the walls of the universe, towering into the pure empyrean, has some of the features of Homer's island Elysiums, the blissful abodes of mortal heroes who have been divinized or translated. The Celtic island-valley of Avalon, the abode of King Arthur, "with its orchard-lawns and bowery hollows," so exquisitely alluded to by Tennyson, is a kindred spot with the Homeric Elysian plain. Emerson says, "The race of gods, or those we erring own, are shadows floating up and down in the still abodes." This is exactly the meaning of Lucretius also. They are all air-cities, these seats of the celestials, whatever be the creed,—summery, ethereal climes, fanned with spice-winds and zephyrs. Meru, Kaf, Olympus, Elboorz,—they are all alike. The ethnic superior daemons were well termed the powers of the air. Upward into the far blue gazes the weary and longing saint and devotee of every faith. Beyond the azure curtains of the sky, upward into the pure realm, over the rain-cloud and the thunder and the silver bars of the scirrhus, he places his quiet seats, his mansions of rest.

      The German poet, Schiller, who was a worshipper of Art and sensualistic beauty, and who regarded the sciences as the mere handmaids of Art, exalting the aesthetic above the moral nature in man, quite naturally regretted that he had not lived in the palmy days of the anthropomorphic creed of Hellas, before the dirge of Pan was chanted in the Isle of Naxos. His "Gods of Greek Land" is as fine a piece of heathenish longing as could well be written at so late a day. His heart was evidently far away from the century in which he lived, and pulsated under that distant Grecian sky of which he somewhere speaks. For artistic purposes the myths of Greece formed a glorious faith. Grace and symmetry of form were theirs, and they satiated the eye with outward loveliness; but to the deep fountains of feeling and sentiment, such as a higher faith has unsealed in the heart, they never penetrated. What a poor, narrow little world was that myth-haunted one of the Grecian poet and sculptor, and even philosopher, compared with the actual world which modern science is revealing from year to year! What a puny affair was that Grecian sun, with its coachman's apparatus of reins, fire-breathing nags, and golden car, which Schiller looks back to, in the spirit of Mr. Weller, Senior, when compared with the vast empyreal sphere and light-fountain of modern science, with its retinue of planets, ships of space, freighted with souls! Science the handmaid of Art! Well might the mere artist and worshipper of anthropomorphic beauty shrink appalled, and sigh for a lodge under some low Grecian heaven and in the bosom of some old myth-peopled Nature, as he trembled before the apocalypses of modern sidereal science, which has dropped its plummet to unimaginable depths through the nebulous abysses of space, shoaled with systems of worlds as the sea is with its finny droves. The Nature and the Physical Universe of the old ethnic Greek formed only a little niche and recess, on the walls of which the puny human image was easily reflected in beautiful and picturesque and grotesque shadows, which were mistaken for gods. But the Nature and Universe revealed by modern Christian science are too vast and profound to mirror anything short of the image of the Omnipotent himself.

      Still there is a period in the life of every imaginative youth, when he is a pagan and worships in the old Homeric pantheon,—where self-denial and penance were unknown, and where in grove and glen favored mortal lover might hear the tread of "Aphrodite's glowing sandal." The youthful poet may exclaim with Schiller,—

        "Art thou, fair world, no more?

        Return, thou virgin-bloom on Nature's face!

        Ah, only on the minstrel's magic shore

        Can we the footstep of sweet Fable trace!

        The meadows mourn for the old hallowing life;

        Vainly we search the earth of gods bereft;

        Where once the warm and living shapes were rife,

        Shadows alone are left!

        Cold, from the North, has gone

        Over the flowers the blast that chilled their May;

        And, to enrich the worship of the One,

        A universe of gods must pass away!

        Mourning, I search on yonder starry steeps,

        But thee, no more, Selene, there I see!

        And through the woods I call, and o'er the deeps,

        And—Echo answers me." [Bulwer's Translation.]

      The Elysian beauty and melancholy grace which Wordsworth throws over the shade of Alcestis were gleams borrowed from a better world than the mythic Elysium. Neither Olympus nor Erebus disdained the pleasures of sense.

      Shakspeare, in his "Midsummer-Night's Dream," has mingled the mythologies of Hellas and Scandinavia, of the North and the South, making of them a sort of mythic olla podrida. He represents the tiny elves and fays of the Gothic fairyland, span-long creatures of dew and moonshine, the lieges of King Oberon, and of Titania, his queen, as making an irruption from their haunted hillocks, woods, meres, meadows, and fountains, in the North, into the olive-groves of Ilissus, and dancing their ringlets in the ray of the Grecian Selene, the chaste, cold huntress, and running by the triple Hecate's team, following the shadow of Night round the earth. Strangely must have sounded the horns of the Northern Elfland, "faintly blowing" in the woods of Hellas, as Oberon and his grotesque court glanced along, "with bit and bridle ringing," to bless the nuptials of Theseus with the bouncing Amazon. Strangely must have looked the elfin footprints in the Attic green. Across this Shakspearean plank, laid between Olympus and Asgard, or more strictly Alfheim, we gladly pass from the sunny realm of Zeus into that of his Northern counterpart, Odin, who ought to be dearer and more familiar to his descendants than the Grecian Jove, though he is not. The forms which throng Asgard may not be so sculpturesquely beautiful, so definite, and fit to be copied in marble and bronze as those of Olympus. There may be more vagueness of outline in the Scandinavian abode of the gods, as of far-off blue skyey shapes, but it is more cheerful and homelike. Pleasantly wave the evergreen boughs of the Life-Tree, Yggdrasil, the mythic ash-tree of the old North, whose leaves are green with an unwithering bloom that shall defy even the fires of the final conflagration. Iduna, or Spring, sits in those boughs with her apples of rejuvenescence, restoring the wasted strength of the gods. In the shade of its topmost branches stands Asgard, the abode of the Asen, who are called the Rafters of the World,—to wit, Odin, Thor, Freir, and the other higher powers, male and female, of the old Teutonic religion. In Asgard is Valhalla, the hall of elect heroes. The roots of this mundane ash reach as far downwards as its branches do upwards. Its roots, trunk, and branches together thrid the universe, shooting Hela, the kingdom of death, Midgard, the abode of men, and Asgard, the dwelling of the gods, like so many concentric rings.

      This ash was a psychological and ontological plant. All the lore of Plato and Kant and Fichte and Cousin was audible in the sigh of its branches. Three Norns, Urt, Urgand, and Skuld, dwelt beneath it, so that it comprehended time past, present, and future. The gods held their councils beneath it. By one of its stems murmured the Fountain of Mimir, in Niflheim or Mistland, from whose urn welled up the ocean and the rivers of the earth. Odin had his outlook in its top, where kept watch and ward the All-seeing Eye. In its boughs frisked and gambolled a squirrel called Busybody, which carried gossip from bough to root and back. The warm Urdar Fountain of the South, in which swam the sun and moon in the shape of two swans, flowed by its celestial stem in Asgard. A tree so much extended as this ash of course had its parasites and rodentia clinging to it and gnawing it; but the brave old ash defied them all, and is to wave its skywide umbrage even over the ruins of the universe, after the dies irae shall have passed. So sings the Voluspa. This tree is a worthy type of the Teutonic race, so green, so vigorous, so all-embracing. We should expect to find the chief object in the Northern myth-world a tree.

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