Athens - Its Rise and Fall (Vol. 1&2). Эдвард Бульвер-Литтон

their characters and plots, but, far before the DRAMA itself arose in any of the Grecian states, comic recital prepared the way for comic representation. In the eighth book of the Odyssey, the splendid Alcinous and the pious Ulysses listen with delight to the story, even broadly ludicrous, how Vulcan nets and exposes Venus and her war-god lover—

      “All heaven beholds imprisoned as they lie,

       And unextinguished laughter shakes the sky.”

      And this singular and well-known effusion shows, not only how grave and reverent an example Epicharmus had for his own audacious portraiture of the infirmities of the Olympian family, but how immemorially and how deeply fixed in the popular spirit was the disposition to draw from the same source the elements of humour and of awe.

      But, however ancient the lyrical poetry of Greece, its masterpieces of art were composed long subsequent to the Homeric poems; and, no doubt, greatly influenced by acquaintance with those fountains of universal inspiration. I think it might be shown that lyrical poetry developed itself, in its more elaborate form, earliest in those places where the poems of Homer are most likely to have been familiarly known.

      The peculiar character of the Greek lyrical poetry can only be understood by remembering its inseparable connexion with music; and the general application of both, not only to religious but political purposes. The Dorian states regarded the lyre and the song as powerful instruments upon the education, the manners, and the national character of their citizens. With them these arts were watched and regulated by the law, and the poet acquired something of the social rank, and aimed at much of the moral design, of a statesman and a legislator: while, in the Ionian states, the wonderful stir and agitation, the changes and experiments in government, the rapid growth of luxury, commerce, and civilization, afforded to a poetry which was not, as with us, considered a detached, unsocial, and solitary art, but which was associated with every event of actual life—occasions of vast variety—themes of universal animation. The eloquence of poetry will always be more exciting in its appeals—the love for poetry always more diffused throughout a people, in proportion as it is less written than recited. How few, even at this day, will read a poem!—what crowds will listen to a song! Recitation transfers the stage of effect from the closet to the multitude—the public becomes an audience, the poet an orator. And when we remember that the poetry, thus created, imbodying the most vivid, popular, animated subjects of interest, was united with all the pomp of festival and show—all the grandest, the most elaborate, and artful effects of music—we may understand why the true genius of lyrical composition has passed for ever away from the modern world.

      As early as between 708 and 665 BC, Archilochus brought to perfection a poetry worthy of loftier passions than those which mostly animated his headstrong and angry genius. In 625 (thirty-one years before the legislation of Solon) flourished Arion, the Lesbian, who, at Corinth, carried, to extraordinary perfection the heroic adaptation of song to choral music. In 611 flourished the Sicilian, Stersichorus—no unworthy rival of Arion; while simultaneously, in strains less national and Grecian, and more resembling the inspiration of modern minstrels, Alcaeus vented his burning and bitter spirit;—and Sappho (whose chaste and tender muse it was reserved for the chivalry of a northern student, five-and-twenty centuries after the hand was cold and the tongue was mute, to vindicate from the longest-continued calumny that genius ever endured) 177 gave to the most ardent of human passions the most delicate colouring of female sentiment. Perhaps, of all that Greece has bequeathed to us, nothing is so perfect in its concentration of real feeling as the fragments of Sappho. In one poem of a few lines—nor that, alas! transmitted to us complete—she has given a picture of the effect of love upon one who loves, to which volumes of the most eloquent description could scarcely add a single new touch of natural pathos—so subtle is it, yet so simple. I cannot pass over in silence the fragments of Mimnermus (fl. BC 630)—they seem of an order so little akin to the usual character of Grecian poetry; there is in them a thoughtful though gloomy sadness, that belongs rather to the deep northern imagination than the brilliant fancies of the west; their melancholy is mixed with something half intellectual—half voluptuous—indicative of the mournful but interesting wisdom of satiety. Mimnermus is a principal model of the Latin elegiac writers—and Propertius compares his love verses with those of Homer. Mimnermus did not invent the elegiac form (for it was first applied to warlike inspiration by another Ionian poet, Callinus); but he seems the founder of what we now call the elegiac spirit in its association of the sentiment of melancholy with the passion of love.

      IX. While such was the state of POETRY in Greece—torpid in the Ionian Athens, but already prodigal in her kindred states of Asia and the Isles; gravely honoured, rather than produced, in Sparta;—splendidly welcomed, rather than home-born, in Corinth;—the Asiatic colonies must also claim the honour of the advance of the sister arts. But in architecture the Dorian states of European Greece, Sicyon, Aegina, and the luxurious Corinth, were no unworthy competitors with Ionia.

      In the heroic times, the Homeric poems, especially the Odyssey, attest the refinement and skill to which many of the imitative arts of Grecian civilization had attained. In embroidery, the high-born occupation of Helen ad Penelope, were attempted the most complex and difficult designs; and it is hard to suppose that these subjects could have been wrought upon garments with sufficient fidelity to warrant the praise of a poet who evidently wrote from experience of what he had seen, if the art of DRAWING had not been also carried to some excellence—although to PAINTING itself the poet makes none but dubious and obscure allusions. Still, if, on the one hand 178, in embroidery, and upon arms (as the shield of Achilles), delineation in its more complex and minute form was attempted—and if, on the other hand, the use of colours was known (which it was, as applied not only to garments but to ivory), it could not have been long before two such kindred elements of the same art were united. Although it is contended by many that rude stones or beams were the earliest objects of Grecian worship, and though it is certain that in several places such emblems of the Deity preceded the worship of images, yet to the superstitious art of the rude Pelasgi in their earliest age, uncouth and half-formed statues of Hermes are attributed, and the idol is commemorated by traditions almost as antique as those which attest the sanctity of the fetiche 179. In the Homeric age, SCULPTURE in metals, and on a large scale, was certainly known. By the door of Alcinous, the king of an island in the Ionian Sea, stand rows of dogs in gold and silver—in his hall, upon pedestals, are golden statues of boys holding torches; and that such sculpture was even then dedicated to the gods is apparent by a well-known passage in the earlier poem of the Iliad; which represents Theano, the Trojan priestess of Minerva, placing the offering of Hecuba upon the knees of the statue of the goddess. How far, however, such statues could be called works of art, or how far they were wrought by native Greeks, it is impossible to determine 180. Certain it is that the memorable and gigantic advance in the art of SCULPTURE was not made till about the 50th Olympiad (BC 580), when Dipaenus and Scyllis first obtained celebrity in works in marble (wood and metals were the earliest materials of sculpture). The great improvements in the art seem to have been coeval with the substitution of the naked for the draped figure. Beauty, and ease, and grace, and power, were the result of the anatomical study of the human form. ARCHITECTURE has bequeathed to us, in the Pelasgic and Cyclopean remains, sufficient to indicate the massive strength it early acquired in parts of Greece. In the Homeric times, the intercourse with Asia had already given something of lightness to the elder forms. Columns are constantly introduced into the palaces of the chiefs, profuse metallic ornaments decorate the walls; and the Homeric palaces, with their cornices gayly inwrought with blue—their pillars of silver on bases of brass, rising amid vines and fruit-trees—even allowing for all the exaggerations of the poet—dazzle the imagination with much of the gaudiness and glitter of an oriental city 181. At this period Athens receives from Homer the epithet of “broad-streeted:” and it is by no means improbable that the city of the Attic king might have presented to a traveller, in the time of Homer, a more pleasing general appearance than in its age of fame, when, after the Persian devastations, its stately temples rose above narrow and irregular streets, and the jealous effects of democracy forbade