desires, and prompting many actions which the doer thereof can give himself no accounting for. There are two ways of reading these old stories; and as one who has gotten pleasure and profit, too, from both, I would recommend them both to be used. The first way is to read yourself backward into it as much as possible. Do not be a critic, on first reading; put the critic asleep. Let yourself _seem to believe it_, as did he who wrote it. Read it aloud, if you are where you will not annoy anybody; let the words sing themselves over your lips, as they sung themselves over the lips of the people who were dead so long ago,--in their strange far-away homes with their vanished surroundings; sung themselves, just as the wind sung through the echoing forests, and murmured back from the rocks; just as the songs slipped out of the birds' throats. You will find that half the beauty and the farce of old-time legend lies in the bare sound of it. Far, far more is it dependent on the voice, than any modern writings are. And surely, the reason is simple enough: for _it_ was not _writing_ in its creation; ancient literature addressed itself to the ear, always, while modern literature speaks to the eye. If once you can get your ears washing with the sounds of the old language, as with the washing of the seas when you sit on the beach, or the lapping of the rivers when the bank-grass caresses you some idle summer afternoon, it will be much easier for you to forget that you are the child of another age and thought. You will begin to luxuriate in fancies and prefigure impossibilities; then you will know how it feels to be fancy free, loosed from the chain of the possible; and once having felt, you will also understand better, when you re-read with other intent. When you are ready for such re-reading, then be as critical as you please,--which does not necessarily mean be condemnatory. It means rather take notice of all generals and particulars, and question them. You will naturally pose yourself the question, Why is it that the bare sounds of these old stories are so much more vibrating, drum-like, shrilling, at times, than any modern song or poem? You will find that the mitigating influence of civilization,--knowledge, moderation,--creeping into expression, produces flat, neutral, diluted sounds,--watery words, so to speak, long-drawn out and glidingly inoffensive. In any modern writing remarkable for strength, will be found a preponderance of "barbaric yawp"--as Whitman called it. Fear creates sharp cries; the rebound of Fear, which is Bravado, produces drum-tones, roars, and growls; unrestrained Passions howl in wind-notes, irregular, breaking short off. God carries a hammer, and Love a spear. The hymn clangs, and the love-song clashes. Through those fierce sounds one feels again hot hearts.