allies of virtue and promoters of happiness.

Without a knowledge of mythology much of the elegant literature of
our own language cannot be understood and appreciated. When Byron
calls Rome "the Niobe of nations," or says of Venice, "She looks a
Sea-Cybele fresh from ocean," he calls up to the mind of one
familiar with our subject, illustrations more vivid and striking
than the pencil could furnish, but which are lost to the reader
ignorant of mythology. Milton abounds in similar allusions. The
short poem "Comus" contains more than thirty such, and the ode "On
the Morning of the Nativity" half as many. Through "Paradise Lost"
they are scattered profusely. This is one reason why we often hear
persons by no means illiterate say that they cannot enjoy Milton.
But were these persons to add to their more solid acquirements the
easy learning of this little volume, much of the poetry of Milton
which has appeared to them "harsh and crabbed" would be found
"musical as is Apollo's lute." Our citations, taken from more than
twenty-five poets, from Spenser to Longfellow, will show how
general has been the practice of borrowing illustrations from
mythology.

The prose writers also avail themselves of the same source of
elegant and suggestive illustration. One can hardly take up a
number of the "Edinburgh" or "Quarterly Review" without meeting
with instances. In Macaulay's article on Milton there are twenty
such.

But how is mythology to be taught to one who does not learn it
through the medium of the languages of Greece and Rome? To devote
study to a species of learning which relates wholly to false