"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 people say that they cannot enjoy Milton. But were these persons to add to their 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.'" The truth of this last statement is very evident to the English teacher in high school work. He must stop to teach myths that should be the common possession of all children before he can go on with his work in the "Minor Poems." If boys would enter the high school with some of the classic myths firmly drilled into them, they would read with pleasure the most imaginative of all the English poets. Mythology in translation is a fixed possession of English literature, and it must be grasped more or less in detail before the boy can ever expect to have the marks of literary culture and to read figurative composition with ease. With the beginning of school life must begin the learning of myths by word of mouth. No classical dictionary can later take the place of this practice. These myths are to be mastered and reproduced in good English; and after a few years of such drill the children will read the stories of gods and heroes with the same ease that they do a colloquial fairy tale. It is the same old step from the story-teller to the book and a quiet corner where no one can break the spell.