Enough has perhaps been said about the social and artistic taste of Alexandria to account for the remarkable differences in manner between the rustic idyls of Theocritus and the epic idyls of himself and his followers Moschus and Bion. In the rural idyls, Theocritus was himself and wrote to please himself. In the epic idyls, as in the Hymn to the Dioscuri, and in the two poems on Heracles, he was writing to please the taste of Alexandria. He had to choose epic topics, but he was warned by the famous saying of Callimachus (‘a great book is a great evil’) not to imitate the length of the epic. {0i} He was also to shun close imitation of what are so easily imitated, the regular recurring _formulae_, the commonplace of Homer. He was to add minute pictorial touches, as in the description of Alcmena’s waking when the serpents attacked her child,—a passage rich in domestic pathos and incident which contrast strongly with Pindar’s bare narrative of the same events. We have noted the same pictorial quality in the _Europa_ of Moschus. Our own age has often been compared to the Alexandrian epoch, to that era of large cities, wealth, refinement, criticism, and science; and the pictorial _Idylls of the King_ very closely resemble the epico-idyllic manner of Alexandria. We have tried to examine the society in which Theocritus lived. But our impressions about the poet are more distinct. In him we find the most genial character; pious as Greece counted piety; tender as became the poet of love; glad as the singer of a happy southern world should be; gifted, above all, with humour, and with dramatic power. ‘His lyre has all the chords’; his is the last of all the perfect voices of Hellas; after him no man saw life with eyes so steady and so mirthful. About the lives of the three idyllic poets literary history says little. About their deaths she only tells us through the dirge by Moschus, that Bion was poisoned. The lovers of Theocritus would willingly hope that he returned from Alexandria to Sicily, about the time when he wrote the sixteenth idyl, and that he lived in the enjoyment of the friendship and the domestic happiness and honour which he sang so well, through the golden age of Hiero (264 B.C.) No happier fortune could befall him who wrote the epigram of the lady of heavenly love, who worshipped with the noble wife of Nicias under the green roof of Milesian Aphrodite, and who prophesied of the return of peace and of song to Sicily and Syracuse. THEOCRITUS IDYL I