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He went on foot, quite slowly, with the incessant pressure of the moist wind on his face, over the bridge on whose balustrade mythological figures stood, and then along the harbor for some distance. Good heavens, how tiny and crooked the whole place seemed! Had these narrow gable-fringed streets risen to the town in such comical steepness through all those years?

Intoxicated with popularity, he devoted three long poems to a systematic treatment of the Art of Love, on which he lavished all the graces of his wayward talent, and a combination of mythological, literary, and social allusion, that seemed to mark him out for better things. He is careful to remark at the outset that this poem is not intended for the virtuous.

And, in short, he every where discourses concerning the gods agreeably to the principles of theologists; rejecting indeed the tragical part of mythological fiction, but establishing first hypotheses in common with the authors of fables.

Hence we find that the greatest works of imagination which the Greeks have left us, whether of Homer, of Aeschylus, or of Sophocles, are deeply indebted to their mythological legends. The Grecian poetry, like the Grecian religion, was at once half human, half divine majestic, vast, august household, homely, and familiar.

We find in this respect even a direct connection of the new Roman with the new Greek literature; the already-mentioned Parthenius, one of the better known Alexandrian elegists, opened, apparently about 700, a school for literature and poetry in Rome, and the excerpts are still extant in which he supplied one of his pupils of rank with materials for Latin elegies of an erotic and mythological nature according to the well-known Alexandrian receipt.

They glanced indifferently at his mythological daubs, but were enthusiastic in their praises of his rustic subjects. The day following, more visitors came. He was offered and accepted four hundred dollars for one of his cabinet pictures. In a word, orders flowed in upon him; he could hardly paint fast enough to supply the demand.

The ideal was that everything, no matter how small, must be beautiful, and we find the most exquisite workmanship lavished on window-locks and door-knobs. In the early style of Louis XIV, we find many trophies of war and mythological subjects used in the decorative schemes.

The mythological affectation of the elder work appears in the younger modified, refined, subordinated; there is the same delight in detailed description, but relieved by greater variety of imagination; while, even in the most laboured passages, there is a poetical feeling as well as a more subjective manner, which, combined with a remarkable power of visualization, saves them from the danger of the catalogue.

The substance of the information conveyed by them is as follows; and I trust it will not be thought that the mixture of a portion of mythological fable in accounts of this nature invalidates what might otherwise have credit as historical fact.

As there is obviously a mythological tendency at the root of the stories, intending to account for the shortness of the Bear's tail and the white tip of the Fox's, it is clear that the Scandinavian form is the more original. In his article in Fennia, Prof.