Chapter 26

PROGRESS OF LITERATURE AND THE ARTS.

I. THE POEMS OF HE'SIOD.

The rapid development of literature and the arts is one of the most pleasing and striking features of Grecian history. As one writer has well said, "There was an uninterrupted progress in the development of the Grecian mind from the earliest dawn of the history of the people to the downfall of their political independence; and each succeeding age saw the production of some of those master-works of genius which have been the models and the admiration of all subsequent time." The first period of Grecian literature, ending about 776 B.C., may be termed the period of epic poetry. Its chief monuments are the epics of Homer and of Hesiod. The former are essentially heroic, concerning the deeds of warriors and demi-gods; while the latter present to us the different phases of domestic life, and are more of an ethical and religious character. Homer represents the poetry, or school of poetry, belonging chiefly to Ionia, in Asia Minor. Of his poems we have already given some account, and, passing over the minor intervening poets, called Cyclic, of whose works we have scarcely any knowledge, we will here give a brief sketch of the poems ascribed to Hesiod.

Hesiod is the representative of a school of bards which first developed in Bœotia, and then spread over Phocis and Euboea. The works purporting to be his, that have come down to us, are three in number--the Works and Days, the Theogony, and the Shield of Hercules. The latter, however, is now generally considered the production of some other poet. From DR. FELTON we have the following general characterization of these poems: "Aside from their intrinsic merit as poetical compositions, these poems are of high value for the light they throw on the mythological conceptions of those early times, and for the vivid pictures presented, by the "Works and Days", of the hardships and pleasures of daily life, the superstitious observances, the homely wisdom of common experience, and the proverbial philosophy into which that experience had been wrought. For the truthfulness of the delineation generally all antiquity vouched; and there is in the style of expression and tone of thought a racy freshness redolent of the native soil." Of the poet himself we learn, from his writings, that he was a native of As'cra, a village at the foot of Mount Hel'icon, in Bœotia. Of the time of his birth we have no account, but it is probable that he flourished from half a century to a century later than Homer. But few incidents of his life are related, and these he gives us in his works, from which we learn that be was engaged in pastoral pursuits, and that he was deprived of the greater part of his inheritance by the decision of judges whom his brother Per'ses had bribed. This brother subsequently became much reduced in circumstances, and applied to Hesiod for relief. The poet assisted him, and then addressed to him the "Works and Days", in which he lays down certain rules for the regulation and conduct of his life.

The design of Hesiod, as a prominent writer observes, was "to communicate to his brother in emphatic language, and in the order, or it might be the disorder, which his excited feelings suggested, his opinions or counsels on a variety of matters of deep interest to both, and to the social circle in which they moved. The Works and Days may be more appropriately entitled 'A Letter of Remonstrance or Advice' to a brother; of remonstrance on the folly of his past conduct, of advice as to the future. Upon these two fundamental data every fact, doctrine, and illustration of the poem depends, as essentially as the plot of the Iliad on the anger of Achilles." [Footnote: Mure's "Language and Literature of Ancient Greece," vol. ii., p.384.] The whole work has been well characterized by another writer as "the most ancient specimen of didactic poetry, consisting of ethical, political, and minute economical precepts. It is in a homely and unimaginative style, but is impressed throughout with a lofty and solemn feeling, founded on the idea that the gods have ordained justice among men, have made labor the only road to prosperity, and have so ordered the year that every work has its appointed season, the sign of which may be discerned."

There are three remarkable episodes in the Works and Days. The first is the tale of Prome'theus, which is continued in the Theogony; and the second is that of the Four Ages of Man. Both of these are types of certain stages or vicissitudes of human destiny. The third episode is a description of Winter, a poem not so much in keeping with the spirit of the work, but "one in which there is much fine and vigorous painting." The following extract from it furnishes a specimen of the poet's descriptive powers:

Winter.

Beware the January month, beware Those hurtful days, that keenly-piercing air Which flays the herds; when icicles are cast O'er frozen earth, and sheathe the nipping blast. From courser-breeding Thrace comes rushing forth O'er the broad sea the whirlwind of the north, And moves it with his breath: the ocean floods Heave, and earth bellows through her wild of woods. Full many an oak of lofty leaf he fells, And strews with thick-branch'd pines the mountain dells: He stoops to earth; the crash is heard around; The depth of forest rolls the roar of sound. The beasts their cowering tails with trembling fold, And shrink and shudder at the gusty cold; Thick is the hairy coat, the shaggy skin, But that all-chilling breath shall pierce within. Not his rough hide can then the ox avail; The long-hair'd goat, defenceless, feels the gale: Yet vain the north wind's rushing strength to wound The flock with sheltering fleeces fenced around. He bows the old man crook'd beneath the storm, But spares the soft-skinn'd virgin's tender form. Screened by her mother's roof on wintry nights, And strange to golden Venus' mystic rites, The suppling waters of the bath she swims, With shiny ointment sleeks her dainty limbs; Within her chamber laid on downy bed, While winter howls in tempest o'er her head.

Now gnaws the boneless polypus his feet, Starved 'midst bleak rocks, his desolate retreat; For now no more the sun, with gleaming ray, Through seas transparent lights him to his prey. And now the hornéd and unhornéd kind, Whose lair is in the wood, sore-famished, grind Their sounding jaws, and, chilled and quaking, fly Where oaks the mountain dells embranch on high: They seek to conch in thickets of the glen, Or lurk, deep sheltered, in some rocky den. Like aged men, who, propp'd on crutches, tread Tottering, with broken strength and stooping head, So move the beasts of earth, and, creeping low, Shun the white flakes and dread the drifting snow. --Trans. by ELTON.

The Theogony embraces subjects of a higher order than the Works and Days. "It ascends," says THIRLWALL, "to the birth of the gods and the origin of nature, and unfolds the whole order of the world in a series of genealogies, which personify the beings of every kind contained in it." A late writer of prominence says that "it was of greater value to the Greeks than the Works and Days, as it contained an authorized version of the genealogy of their gods and heroes--an inspired dictionary of mythology--from which to deviate was hazardous." [Footnote: "The Greek Poets," by John Addington Symonds.] This work, however, has not the poetical merit of the other, although there are some passages in it of fascinating power and beauty. "The famous passage describing the Styx," says PROFESSOR MAHAFFY, "shows the poet to have known and appreciated the wild scenery of the river Styx in Arcadia; and the description of Sleep and Death, which immediately precedes it, is likewise of great beauty. The conflict of the gods and Titans has a splendid crash and thunder about it, and is far superior in conception, though inferior in execution, to the battle of the gods in the Iliad." [Footnote: Mahaffy's "History of Classical Greek Literature," vol. i., p. 111.] The poems of Hesiod early became popular with the country population of Greece; but in the cities, and especially in Sparta, where war was considered the only worthy pursuit, they were long cast aside for the more heroic lines of Homer.

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II. LYRIC POETRY.

From the time of Homer, down to about 560 B.C., many kinds of composition for which the Greeks were subsequently distinguished were practically unknown. We are told that the drama was in its infancy, and that prose writing, although more or less practiced during this period for purposes of utility or necessity, was not cultivated as a branch of popular literature. There was another kind of composition, however, which was carried to its highest perfection in the last stage of the epic period, and that was lyric poetry. But of the masterpieces of lyric poetry only a few fragments remain.

CALLI'NUS.

The first representative of this school that we may mention was Callinus, an Ephesian of the latter part of the eighth century B.C., to whom the invention of the elegiac distich, the characteristic form of the Ionian poetry, is attributed. Among the few fragments from this poet is the following fine war elegy, occasioned, probably, by a Persian invasion of Asia Minor:

How long will ye slumber! when will ye take heart, And fear the reproach of your neighbors at hand? Fie! comrades, to think ye have peace for your part, While the sword and the arrow are wasting our land! Shame! Grasp the shield close! cover well the bold breast! Aloft raise the spear as ye march on the foe! With no thought of retreat, with no terror confessed, Hurl your last dart in dying, or strike your last blow. Oh, 'tis noble and glorious to fight for our all-- For our country, our children, the wife of our love! Death comes not the sooner; no soldier shall fall Ere his thread is spun out by the sisters above. Once to die is man's doom: rush, rush to the fight! He cannot escape though his blood were Jove's own. For a while let him cheat the shrill arrow by flight; Fate will catch him at last in his chamber alone. Unlamented he dies--unregretted? Not so When, the tower of his country, in death falls the brave; Thrice hallowed his name among all, high or low, As with blessings alive, so with tears in the grave. --Trans. by H. N. COLERIDGE.

[Footnote: The "sisters" here alluded to were the Par'coe, or Fates--three goddesses who presided over the destinies of mortals: 1st, Clo'tho, who held the distaff; 2d, Lach'esis, who spun each one's portion of the thread of life; and, 3d, At'ropos, who cut off the thread with her scissors.

Clotho and Lachesis, whose boundless sway, With Atropos, both men and gods obey. --HESIOD.]

ARCHIL'OCHUS.

Next in point of time comes Archilochus of Pa'ros, a satirist who flourished between 714 and 676 B.C. He is generally considered to be the first Greek poet who wrote in the Iambic measure; but there are evidences that this measure existed before his time. This poet was betrothed to the daughter of a noble of Paros; but the father, probably tempted by the alluring offers of a richer suitor, forbade the nuptials. Archilochus thereupon composed so bitter a lampoon upon the family that the daughters of the nobleman are said to have hanged themselves. Says SYMONDS, "He made Iambic metre his own, and sharpened it into a terrible weapon of attack. Each verse he wrote was polished, and pointed like an arrow-head. Each line was steeped in the poison of hideous charges against his sweetheart, her sisters, and her father." [Footnote: "The Greek Poets;" First Series, p. 108.]

Thenceforth Archilochus led a wandering life, full of vicissitudes, but replete with evidences of his merit. "While Hesiod was in the poor and backward parts of central Greece, modifying with timid hand the tone and style of epic poetry, without abandoning its form, Archilochus, storm-tossed amid wealth and poverty, amid commerce and war, amid love and hate, ever in exile and yet everywhere at home--Archilochus broke altogether with the traditions of literature, and colonized new territories with his genius." [Footnote: "Classical Greek Literature," vol. i., p.157.] He is said to have returned to Paros a short time before his death, where, on account of a victory he had won at the Olympic festival, the resentment and hatred formerly entertained against him were turned into gratitude and admiration. His death, which occurred on the field of battle, could not extinguish his fame, and his memory was celebrated by a festival established by his countrymen, during which his verses were sung alternately with the poems of Homer. "Thus," says an old historian, "by a fatality frequently attending men of genius, he spent a life of misery, and acquired honor after death. Reproach, ignominy, contempt, poverty, and persecution were the ordinary companions of his person; admiration, glory, respect, splendor, and magnificence were the attendants of his shade." With the exception of Homer, no poet of classical antiquity acquired so high a celebrity. Among the Greeks and Romans he was equally esteemed. Cicero classed him with Sophocles, Pindar, and even Homer; Plato called him the "wisest of poets;" and Longinus "speaks with rapture of the torrent of his divine inspiration."

ALC'MAN.

Passing over Simonides of Amorgos, who is chiefly celebrated for a very ungallant but ingenious and smooth satire on women, and over Tyrtæ'us, whose animating and patriotic odes, as we have seen, proved the safety of Sparta in one of the Messenian wars, we come to the first truly lyric poet of Greece--Alcman-- originally a Lydian slave in a Spartan family, but emancipated by his master on account of his genius. He flourished after the second Messenian war, and his poems partake of the character of this period, which was one of pleasure and peace. They are chiefly erotic, or amatory, or in celebration of the enjoyments of social life. He successfully cultivated choral poetry, and his Parthenia, made up of a variety of subjects, was composed to be sung by the maidens of Tayge'tus. "His excellence," says MURE, "appears to have lain in his descriptive powers. The best, and one of the longest extant passages of his works is a description of sleep, or rather of night; a description unsurpassed, perhaps unrivalled, by any similar passage in the Greek or any other language, and which has been imitated or paraphrased by many distinguished poets." [Footnote: "History of Greek Literature," vol. iii., p. 205.] The following is this author's translation of it:

Now o'er the drowsy earth still night prevails. Calm sleep the mountain tops and shady vales, The rugged cliffs and hollow glens; The wild beasts slumber in their dens, The cattle on the hill. Deep in the sea The countless finny race and monster brood Tranquil repose. Even the busy bee Forgets her daily toil. The silent wood No more with noisy hum of insect rings; And all the feathered tribes, by gentle sleep subdued, Roost in the glade and hang their drooping wings.

ARI'ON AND STESICH'ORUS.

Arion, the greater part of whose life was spent at the court of Periander, despot of Corinth, and Stesichorus, of Himera, in Sicily, who flourished about 608 B.C., were two Greek poets especially noted for the improvements they made in choral poetry. The former invented the wild, irregular, and impetuous dithyramb, [Footnote: From Dithyrambus, one of the appellations of Bacchus.] originally a species of lyric poetry in honor of Bacchus; but of his works there is not a single fragment extant. The latter's original name was Tis'ias, and he was called Stesichorus, which signifies a "leader of choruses." A late historian characterizes him as "the first to break the monotony of the choral song, which had consisted previously of nothing more than one uniform stanza, by dividing it into the Strophe, the Antistrophe, and the Epodus--the turn, the return, and the rest." PROFESSOR MAHAFFY observes of him as follows: "Finding the taste for epic recitation decaying, he undertook to reproduce epic stories in lyric dress, and present the substance of the old epics in rich and varied metres, and with the measured movements of a trained chorus. This was a direct step to the drama, for when anyone member of the chorus came to stand apart and address the rest of the choir, we have already the essence of Greek tragedy before us." [Footnote: "Classical Greek Literature," vol. i., p. 203.] The works of Stesichorus comprised hymns in honor of the gods and in praise of heroes, love-songs, and songs of revelry.

ALCÆ'US.

Among the lyric poets of Greece some writers assign the very first place to Alcæus, a native of Lesbos, who flourished about 610 B.C., and who has been styled the ardent friend and defender of liberty, more because he talked so well of patriotism than because of his deeds in its behalf. The poet AKENSIDE, however, calls him "the Lesbian patriot," and thus contrasts his style with that of Anac'reon:

Broke from the fetters of his native land, Devoting shame and vengeance to her lords, With louder impulse and a threat'ning hand The Lesbian patriot smites the sounding chords: "Ye wretches, ye perfidious train! Ye cursed of gods and free-born men! Ye murderers of the laws! Though now ye glory in your lust, Though now ye tread the feeble neck in dust, Yet Time and righteous Jove will judge your dreadful cause."

The poems of Alcæus were principally war and drinking songs of great beauty, and it is said that they furnished to the Latin poet Horace "not only a metrical model, but also the subject-matter of some of his most beautiful odes." The poet fought in the war between Athens and Mityle'ne (606 B.C.), and enjoyed the reputation of being a brave and skilful warrior, although on one occasion he is said to have fled from the field of battle leaving his arms behind him. Of his warlike odes we have a specimen in the following description of the martial embellishment of his own house:

The Spoils of War.

Glitters with brass my mansion wide; The roof is decked on every side, In martial pride, With helmets ranged in order bright, And plumes of horse-hair nodding white, A gallant sight! Fit ornament for warrior's brow-- And round the walls in goodly row Refulgent glow Stout greaves of brass, like burnished gold, And corselets there in many a fold Of linen foiled; And shields that, in the battle fray, The routed losers of the day Have cast away. Euboean falchions too are seen, With rich-embroidered belts between Of dazzling sheen: And gaudy surcoats piled around, The spoils of chiefs in war renowned, May there be found: These, and all else that here you see, Are fruits of glorious victory Achieved by me. --Trans. By MERIVALE.

SAPPHO.

Contemporary with Alcæus was the poetess Sappho, the only female of Greece who ever ranked with the illustrious poets of the other sex, and whom Alcæus called "the dark-haired, spotless, sweetly smiling Sappho." Lesbos was the center of Æolian culture, and Sappho was the center of a society of Lesbian ladies who applied themselves successfully to literature. Says SYMONDS: "They formed clubs for the cultivation of poetry and music. They studied the arts of beauty, and sought to refine metrical forms and diction. Nor did they confine themselves to the scientific side of art. Unrestrained by public opinion, and passionate for the beautiful, they cultivated their senses and emotions, and indulged their wildest passions." Sappho devoted her whole genius to the subject of Love, and her poems express her feelings with great freedom. Hence arose the charges of a later age, that were made against her character. But whatever difference of view may exist on this point, there is only one opinion as to her poetic genius. She was undoubtedly the greatest erotic poet of antiquity. Plato called her the tenth Muse, and Solon, hearing one of her poems, prayed that he might not die until he had committed it to memory. We cannot forbear introducing the following eloquent characterization of her writings:

"Nowhere is a hint whispered that the poetry of Sappho is aught but perfect. Of all the poets of the world, of all the illustrious artists of all literatures, Sappho is the one whose every word has a peculiar and unmistakable perfume, a seal of absolute perfection and inimitable grace. In her art she was unerring. Even Archilochus seems commonplace when compared with her exquisite rarity of phrase. Whether addressing the maidens whom, even in Elysium, as Horace says, Sappho could not forget, or embodying the profounder yearnings of an intense soul after beauty which has never on earth existed, but which inflames the hearts of noblest poets, robbing the eyes of sleep and giving them the bitterness of tears to drink--these dazzling fragments,

'Which still, like sparkles of Greek fire, Burn on through time and ne'er expire,'

are the ultimate and finished forms of passionate utterance --diamonds, topazes, and blazing rubies--in which the fire of the soul is crystallized forever." [Footnote: Symond's "Greek Poets," First Series, p. 189.]

It is related that an associate of Sappho once derided her talents, or stigmatized her poetical labors as unsuited to her sex and condition. The poetess, burning with indignation, thus replied to her traducer:

Whenever Death shall seize thy mortal frame, Oblivion's pen shall blot thy worthless name; For thy rude hand ne'er plucked the beauteous rose That on Pie'ria's sky-clad summit blows: [Symond's "Greek Poets," First Series, p. 139.] Thy paltry soul with vilest souls shall go To Pluto's kingdom--scenes of endless woe; While I on golden wings ascend to fame, And leave behind a muse-enamored, deathless name.

The memory of this poetess of Love rouses the following strain of celebration in ANTIP'ATER of Sidon:

Does Sappho, then, beneath thy bosom rest, Æolian earth? that mortal Muse confessed Inferior only to the choir above, That foster-child of Venus and of Love; Warm from whose lips divine Persuasion came, Greece to delight, and raise the Lesbian name? O ye, who ever twine the threefold thread, Ye Fates, why number with the silent dead That mighty songstress, whose unrivalled powers Weave for the Muse a crown of deathless flowers? --Trans. by FRANCIS HODGSON.

ANAC'REON.

The last lyric poet of this period that we shall notice was Anacreon, a native of Teos, in Ionia, who flourished about 530 B.C. He was a voluptuary, who sang beautifully of love, and wine, and nature, and who has been called the courtier and laureate of tyrants, in whose society, and especially in that of Polyc'rates and Hippar'chus, his days were spent. The poet AKENSIDE thus characterizes him:

I see Anacreon smile and sing, His silver tresses breathe perfume; His cheeks display a second spring, Of roses taught by wine to bloom. Away, deceitful cares, away, And let me listen to his lay; Let me the wanton pomp enjoy, While in smooth dance the light-winged hours Lead round his lyre its patron powers, Kind laughter and convivial joy.

The following is Cowper's translation of a pretty little poem by Anacreon on the grasshopper:

Happy songster, perched above, On the summit of the grove, Whom a dew-drop cheers to sing With the freedom of a king, From thy perch survey the fields, Where prolific Nature yields Naught that, willingly as she, Man surrenders not to thee. For hostility or hate, None thy pleasures can create. Thee it satisfies to sing Sweetly the return of spring, Herald of the genial hours, Harming neither herbs nor flowers. Therefore man thy voice attends, Gladly; thou and he are friends. Nor thy never-ceasing strains Phoebus and the Muse disdains As too simple or too long, For themselves inspire the song. Earth-born, bloodless; undecaying, Ever singing, sporting, playing, What has Nature else to show Godlike in its kind as thou?

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III. EARLY GRECIAN PHILOSOPHY.

We now enter upon a new phase of Greek literature. While the first use of prose in writing may be assigned to a date earlier than 700 B.C., it was not until the early part of the sixth century B.C. that use was made of prose for literary purposes; and even then prose compositions were either mythological, or collections of local legends, whether sacred or profane. The importance and the practical uses of genuine history were neither known nor suspected until after the Persian wars. But Grecian philosophy had an earlier dawn, and was coeval with the poetical compositions of Hesiod, although it was in the sixth century that it began to be separated from poetry and religion, and to be cultivated by men who were neither bards, priests, nor seers. This is the era when the practical maxims and precepts of the Seven Grecian sages began to be collected by the chroniclers, and disseminated among the people.

THE SEVEN SAGES.

Concerning these sages, otherwise called the "Seven Wise Men of Greece," the accounts are confused and contradictory, and their names are variously given; but those most generally admitted to the honor are Solon (the Athenian legislator); Bias, of Ionia; Chi'lo (Ephor of Sparta); Cleobu'lus (despot of Lindos, in the Island of Rhodes); Perian'der (despot of Corinth); Pit'tacus (ruler of Mityle'ne); and Tha'les, of Mile'tus, in accordance with the following enumeration:

"First Solon, who made the Athenian laws; While Chilo, in Sparta, was famed for his saws; In Miletus did Thales astronomy teach; Bias used in Prie'ne his morals to preach; Cleobulus of Lindus was handsome and wise; Mitylene 'gainst thraldom saw Pittacus rise; Periander is said to have gained, through his court, The title that Myson, the Chenian, ought." [Footnote: It is Plato who says that Periander, tyrant of Corinth; should give place to Myson.]

The seven wise men were distinguished for their witty sayings, many of which have grown into maxims that are in current use even at the present day. Out of the number the following seven were inscribed as mottoes, in later days, in the temple at Delphi: "Know thyself," Solon; "Consider the end," Chilo; "Suretyship is the forerunner of ruin" (He that hateth suretyship is sure; Prov.