their purposes and plans to high perfection, and in the invention of tales, ballads and poems, to be recited at their entertainments and feasts, they evinced the most admirable taste and skill;—a taste and skill which, as they resulted not from the operation and influence of artificial rules, but from the unerring instinct of genius, have never been surpassed. In fact, the poetical inventions of those early days, far from having been produced in conformity with rules, were entirely precedent to rules, in the order of time. Rules were formed from them; for they at length became established themselves in the estimation of mankind, as models, and on their authority as models, the whole theory of rhetorical and poetical beauty now mainly reposes.

The people of those days formed no idea of a spiritual world, or of a spiritual divinity. They however imagined, that heroes of former days still continued to live and to reign in certain semi-heavenly regions among the summits of their blue and beautiful mountains, and that they were invested there with attributes in some respects divine. In addition to these divinities, the fertile fancy of those ancient times filled the earth, the air, the sea, and the sky with imaginary beings, all most graceful and beautiful in their forms, and poetical in their functions,—and made them the subjects, too, of innumerable legends and tales, as graceful, poetical, and beautiful as themselves. Every grove, and fountain, and river,—every lofty summit among the mountains, and every rock and promontory along the shores of the sea,—every cave, every valley, every water-fall, had its imaginary occupant,—the genius of the spot; so that every natural object which attracted public notice at all, was the subject of some picturesque and romantic story. In a word, nature was not explored then as now, for the purpose of ascertaining and recording cold and scientific realities,—but to be admired, and embellished, and animated;—and to be peopled, everywhere, with exquisitely beautiful, though imaginary and supernatural, life and action.

What the genius of imagination and romance did thus in ancient times with the scenery of nature, it did also on the field of history. Men explored that field not at all to learn sober and actual realities, but to find something that they might embellish and adorn, and animate with supernatural and marvelous life. What the sober realities might have actually been, was of no interest or moment to them whatever. There were no scholars then as now, living in the midst of libraries, and finding constant employment, and a never-ending pleasure, in researches for the simple investigation of the truth. There was in fact no retirement, no seclusion, no study. Every thing except what related to the mere daily toil of tilling the ground bore direct relation to military expeditions, spectacles and parades; and the only field for the exercise of that kind of intellectual ability which is employed in modern times in investigating and recording historic truth, was the invention and recitation of poems, dramas and tales, to amuse great military audiences in camps or public gatherings, convened to witness shows or games, or to celebrate great religious festivals. Of course under such circumstances there would be no interest felt in truth as truth. Romance and fable would be far more serviceable for such ends than reality.

Still it is obvious that such tales as were invented to amuse for the purposes we have described, would have a deeper interest for those who listened to them, if founded in some measure upon fact, and connected in respect to the scene of their occurrence, with real localities. A prince and his court sitting at their tables in the palace or the tent, at the close of a feast, would listen with greater interest to a story that purported to be an account of the deeds and the marvelous adventures of their own ancestors, than to one that was wholly and avowedly imaginary. The inventors of these tales would of course generally choose such subjects, and their narrations would generally consist therefore rather of embellishments of actual transactions, than of inventions wholly original. Their heroes were consequently real men; the principal actions ascribed to them were real actions, and the places referred to were real localities. Thus there was a semblance of truth and reality in all these tales which added greatly to the interest of them; while there were no means of ascertaining the real truth, and thus spoiling the story by making the falsehood or improbability of it evident and glaring.

We cannot well have a better illustration of these principles than is afforded by the story of Cadmus, an adventurer who was said to have brought the knowledge of alphabetic writing into Greece from some countries farther eastward. In modern times there is a very strong interest felt in ascertaining the exact truth on this subject. The art of writing with alphabetic characters was so great an invention, and it has exerted so vast an influence on the condition and progress of mankind since it was introduced, that a very strong interest is now felt in every thing that can be ascertained as actually fact, in respect to its origin. If it were possible now to determine under what circumstances the method of representing the elements of sound by written characters was first devised, to discover who it was that first conceived the idea, and what led him to make the attempt, what difficulties he encountered, to what purposes he first applied his invention, and to what results it led, the whole world would take a very strong interest in the revelation. The essential point, however, to be observed, is that it is the real truth in respect to the subject that the world are now interested in knowing. Were a romance writer to invent a tale in respect to the origin of writing, however ingenious and entertaining it might be in its details, it would excite in the learned world at the present day no interest whatever.

There is in fact no account at present existing in respect to the actual origin of alphabetic characters, though there is an account of the circumstances under which the art was brought into Europe from Asia, where it seems to have been originally invented. We will give the facts, first in their simple form, and then the narrative in the form in which it was related in ancient times, as embellished by the ancient story-tellers.

The facts then, as now generally understood and believed, are, that there was a certain king in some country in Africa, named Agenor, who lived about 1500 years before Christ. He had a daughter named Europa, and several sons. Among his sons was one named Cadmus. Europa was a beautiful girl, and after a time a wandering adventurer from some part of the northern shores of the Mediterranean sea, came into Africa, and was so much pleased with her that he resolved if possible, to obtain her for his wife. He did not dare to make proposals openly, and he accordingly disguised himself and mingled with the servants upon Agenor's farm. In this disguise he succeeded in making acquaintance with Europa, and finally persuaded her to elope with him. The pair accordingly fled, and crossing the Mediterranean they went to Crete, an island near the northern shores of