Lecture II--The Ptolemaic Era (Continued.)

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Of Lycophron, the fellow-grammarian and poet of Callimachus, we have nothing left but the Cassandra, a long iambic poem, stuffed with traditionary learning, and so obscure, that it obtained for him the surname of [Greek text: skoteinos] the dark one. I have tried in vain to read it: you, if you will, may do the same.

Philetas, the remaining member of the Alexandrian Triad, seems to have been a more simple, genial, and graceful spirit than the other two, to whom he was accordingly esteemed inferior. Only a few fragments are left; but he was not altogether without his influence, for he was, as I have just said, one of the models on which Propertius and Ovid formed themselves; and some, indeed, call him the Father of the Latin elegy, with its terseness, grace, and clear epigrammatic form of thought, and, therefore, in a great degree, of our modern eighteenth century poets; not a useless excellence, seeing that it is, on the whole, good for him who writes to see clearly what he wants to say, and to be able to make his readers see it clearly also. And yet one natural strain is heard amid all this artificial jingle--that of Theocritus. It is not altogether Alexandrian. Its sweetest notes were learnt amid the chestnut groves and orchards, the volcanic glens and sunny pastures of Sicily; but the intercourse, between the courts of Hiero and the Ptolemies seems to have been continual. Poets and philosophers moved freely from one to the other, and found a like atmosphere in both; and in one of Theocritus' idyls, two Sicilian gentlemen, crossed in love, agree to sail for Alexandria, and volunteer into the army of the great and good king Ptolemy, of whom a sketch is given worth reading; as a man noble, generous, and stately, "knowing well who loves him, and still better who loves him not." He has another encomium on Ptolemy, more laboured, though not less interesting: but the real value of Theocritus lies in his power of landscape-painting.

One can well conceive the delight which his idyls must have given to those dusty Alexandrians, pent up forever between sea and sand-hills, drinking the tank-water, and never hearing the sound of a running stream--whirling, too, forever, in all the bustle and intrigue of a great commercial and literary city. Refreshing indeed it must have been to them to hear of those simple joys and simple sorrows of the Sicilian shepherd, in a land where toil was but exercise, and mere existence was enjoyment. To them, and to us also. I believe Theocritus is one of the poets who will never die. He sees men and things, in his own light way, truly; and he describes them simply, honestly, with little careless touches of pathos and humour, while he floods his whole scene with that gorgeous Sicilian air, like one of Titian's pictures; with still sunshine, whispering pines, the lizard sleeping on the wall, and the sunburnt cicala shrieking on the spray, the pears and apples dropping from the orchard bough, the goats clambering from crag to crag after the cistus and the thyme, the brown youths and wanton lasses singing under the dark chestnut boughs, or by the leafy arch of some

Grot nymph-haunted, Garlanded over with vine, and acanthus, and clambering roses, Cool in the fierce still noon, where the streams glance clear in the moss-beds;