He leaves his narrow lodging early in the 20 morning; and not till night, if even then, will he return. It is but a crib or kennel, in which he sleeps when the weather is inclement or the ground damp; in no respect a home. And he goes out of doors, not to read the day's 25 newspaper, or to buy the gay shilling volume, but to imbibe the invisible atmosphere of genius, and to learn by heart the oral traditions of taste. Out he goes; and, leaving the tumble-down town behind him, he mounts the Acropolis to the right, or he turns to the Areopagus on the left. He goes to the Parthenon to study the sculptures 5 of Phidias; to the temple of the Dioscuri to see the paintings of Polygnotus. We indeed take our Sophocles or Æschylus out of our coat pocket; but, if our sojourner at Athens would understand how a tragic poet can write, he must betake 10 himself to the theater on the south, and see and hear the drama literally in action. Or let him go westward to the Agora, and there he will hear Lysias or Andocides pleading, or Demosthenes haranguing. He goes farther west still, along the 15 shade of those noble planes, which Cimon has planted there; and he looks around him at the statues and porticoes and vestibules, each by itself a work of genius and skill, enough to be the making of another city. He passes through the 20 city gate, and then he is at the famous Ceramicus; here are the tombs of the mighty dead; and here, we will suppose, is Pericles himself, the most elevated, the most thrilling of orators, converting a funeral oration over the slain into a philosophical 25 panegyric of the living.