with which the education of the day overloads his brain, a young man whose hand has never plucked the divine fruit from the tree of Paradise, whose lips are still untouched, whose heart has not yet spoken, whose senses are beginning to awaken amid vague new aspirations, thrills with a presentiment of the divinity to which he is soon to sacrifice, and personifies beforehand in ever-varying forms the unknown being who floats through the airy fabric of his dreams. He wishes, longs to reach this unknown being, but dares not yet, perhaps may never dare, in the purity of his admiration, unless some helping hand come to his aid. If Chloe is not well informed, indiscreet and talkative Lycinion must take it upon herself to instruct Daphnis.

Whatever tells us of the yet unknown attraction can charm, interest, delight, and captivate us. A cold engraving, showing the oval of a pure face, even an old-fashioned painting, a sculpture,—a sculpture especially,—awakens a new feeling in our hearts; the blood flows faster, or seems to stop; the idea crosses our reddening brow like a flash, and remains floating in our pensive mind. It is the beginning of desires, the beginning of life, the dawn of a beautiful summer day, harbinger of the sunrise.

As for me, my first love, my adolescent passion, had, not for its object assuredly, but as a determining cause—a clock! It is rather odd, but so it is! Humdrum calculations used up all my afternoons from two until four; it was merely correcting observations, made the night before, of stars or planets by applying the reductions arising from atmospheric refraction, which itself depends on the height of the barometer and the temperature. These calculations are as simple as they are tiresome; they are made mechanically, by the help of prepared tables, while thinking of something else.

The illustrious Le Verrier was then director of the Paris Observatory. Although in no way artistic, he had in his study a golden bronze clock of very beautiful design, dating from the end of the First Empire,—the work of Pradier's chisel. The pedestal of this clock represented in bas-relief the birth of astronomy on the Egyptian plains. A massive celestial sphere surrounded by the zodiacal circle, supported by sphinxes, held the dial; Egyptian gods adorned the sides. But the chief beauty of this artistic work consisted of an exquisite little statue of Urania, lithe, elegant,—I had almost said majestic.

The celestial Muse was standing. With her right hand she measured the degrees of the starry sphere by the aid of a compass; her drooping left hand held a small astronomical telescope. Superbly draped, she looked down in an attitude of stately grandeur. I had never before seen so beautiful a face as hers. With the light falling directly upon it, the pure countenance looked grave and austere. If the light came to it obliquely, it appeared somewhat meditative; but coming from above and from the side, the enchanting face brightened with a mysterious smile, her glance grew almost caressing, her exquisite serenity gave place to an expression of joy, amiability, and happiness delightful to contemplate. It was like a song of the soul, a poetic melody. These changes of expression fairly made the statue alive. Muse and goddess, she was beautiful, she was enchanting, she was adorable.

Whenever I had occasion to go to the eminent mathematician it was not his world-wide reputation which impressed me most. I forgot the formulas of logarithms, and even the immortal discovery of the planet Neptune, to bow beneath the charm of Pradier's work. The beautiful figure so admirably modelled beneath its antique drapery, the graceful throat, the expressive face, attracted my eyes and captivated my thoughts. Very often, as we were leaving the office about four o'clock to go back to Paris, I would peep through the half-open door to see if the director were absent. Monday and Wednesday were the best days,—the first because of the Institute meetings, which he seldom missed; the second on account of the Bureau of Longitudes sessions, which he avoided with the most profound disdain: he would even leave the observatory expressly, to make his contempt for them more emphatic. Then I would stand before my dear Urania and look at her to my heart's content, enraptured by her beauty of form and face, and go away more satisfied, but not happier,—she charmed, but filled me with regrets.

One evening—the evening on which I discovered how the light could change her face—I found the library-door wide open. A lamp stood on the chimney-piece shedding its rays over the Muse in one of her most bewitching aspects. The slanting light lovingly caressed the brow, cheeks, lips, and throat. Her expression was wonderful. I went in, and for a while stood there in motionless contemplation. Then I tried changing the position of the lamp, making the light play over the shoulders, arms, neck, and hair. The statue seemed to live, to think, to awake, and smile again! Odd, whimsical idea; strange feeling! I had actually fallen in love! I had changed from admirer to lover! If I had been told then that what I felt was not real love, and that this platonism was but a childish dream, I should have been very incredulous. The director came in, but did not seem so much surprised at my presence as I might have feared. (The study was often used to reach the observation rooms.) "You are late for Jupiter," he said, as I replaced the lamp on the chimney-piece; and when I reached the threshold he added, "Can it be possible that you are a poet?" lengthening out the last syllable as though he had said "poët."

I might have answered him by quoting Kepler, Galileo, D'Alembert, the two Herschels, and other famous savants who were poets and astronomers at the same time. I could have reminded him that the first director of this very observatory, Jean-Dominique Cassini, sang of Urania in Latin, French, and Italian verse. But the observatory pupils were not in the habit of answering the senator-director in any way whatever; senators were personages of importance in those days, and the directorship of the observatory was a life-office. Then too the great geometrician would have looked upon the most wonderful poem by Dante, Ariosto, or Hugo with the same profound disdain that a big Newfoundland dog would show if one should put a glass of wine to his mouth. Besides, I was clearly in the wrong.

How that charming figure of Urania haunted me, with all the delicious changes of expression! Her smile was so gracious, and sometimes her bronze eyes had such a real look. She lacked nothing but speech.

That night, just as I fell asleep, I saw the divine goddess again; and this time she spoke.

Oh, she was really living now! And what a pretty mouth! I could have kissed each word. "Come," she said, "come up into the sky. Far away from the earth, you shall look down upon this lower world, you shall contemplate the great universe in its grandeur. Come and see."