expelled.

The animal nature, indeed, is a most essential part of the Faun's
composition; for the characteristics of the brute creation meet and
combine with those of humanity in this strange yet true and natural
conception of antique poetry and art. Praxiteles has subtly diffused
throughout his work that mute mystery, which so hopelessly perplexes us
whenever we attempt to gain an intellectual or sympathetic knowledge of
the lower orders of creation. The riddle is indicated, however, only by
two definite signs: these are the two ears of the Faun, which are leaf
shaped, terminating in little peaks, like those of some species of
animals. Though not so seen in the marble, they are probably to be
considered as clothed in fine, downy fur. In the coarser representations
of this class of mythological creatures, there is another token of brute
kindred,--a certain caudal appendage; which, if the Faun of Praxiteles
must be supposed to possess it at all, is hidden by the lion's skin that
forms his garment. The pointed and furry ears, therefore, are the sole
indications of his wild, forest nature.

Only a sculptor of the finest imagination, the most delicate taste, the
sweetest feeling, and the rarest artistic skill--in a word, a sculptor
and a poet too--could have first dreamed of a Faun in this guise, and
then have succeeded in imprisoning the sportive and frisky thing in
marble. Neither man nor animal, and yet no monster, but a being in whom
both races meet on friendly ground. The idea grows coarse as we handle
it, and hardens in our grasp. But, if the spectator broods long over
the statue, he will be conscious of its spell; all the pleasantness of
sylvan life, all the genial and happy characteristics of creatures that
dwell in woods and fields, will seem to be mingled and kneaded into one
substance, along with the kindred qualities in the human soul. Trees,