Chapter IV: Part 4

The Talmud requires that wherever twelve adults reside together in one place, they shall erect a synagogue and serve the God of their fathers by a multitude of prayers and formalities, amidst the daily occupations of life. It allows usury, treats agricultural pursuits with contempt, and requires strict separation from the other races, and commits the government to the rabbins. The Talmud is followed by the Rabbinites, to which sect nearly all the European and American Jews belong. The sect of the Caraites rejects the Talmud and holds to the law of Moses only. It is less numerous, and its members are found chiefly in the East, or in Turkey and Eastern Russia.

The Cabala, or oral tradition, is, according to the Jews, a perpetual divine revelation, preserved among the Jewish people by secret transmission. It sometimes denotes the doctrines of the prophets, but most commonly the mystical philosophy, which was probably introduced into Palestine from Egypt and Persia. It was first committed to writing in the second century A.D. The Cabala is divided into the symbolical and the real, of which the former gives a mystical signification to letters. The latter comprehends doctrines, and is divided into the theoretical and practical. The first aims to explain the Scriptures according to the secret traditions, while the last pretends to teach the art of performing miracles by an artificial use of the divine names and sentences of the sacred Scriptures.

The Jews of the Middle Ages acquired great reputation for learning, especially in Spain, where they were allowed to study astronomy, mathematics, and medicine in the schools of the Moors. Granada and Cordova became the centres of rabbinical literature, which was also cultivated in France, Italy, Portugal, and Germany. In the sixteenth century the study of Hebrew and rabbinical literature became common among Christian scholars, and in the following centuries it became more interesting and important from the introduction of comparative philology in the department of languages. Rabbinical literature still has its students and interpreters. In Padua, Berlin, and Metz there are seminaries for the education of rabbins, which supply with able doctors the synagogues of Italy, Germany, and France. There is also a rabbinical school in Cincinnati, Ohio. The Polish rabbins and Talmudists, however, are the most celebrated.

15. THE NEW REVISION OF THE BIBLE.--The convocation of the English House of Bishops, which met at Canterbury in 1870, recommended a revised version of the Scriptures, and appointed a committee for the work of sixty-seven members from various ecclesiastical bodies of England, to which an American committee of thirty-five was added, and by their joint labors the revised edition of the New Testament was issued in 1881. The revised Old Testament is expected to appear during 1884. The advantages claimed for these new versions are: a more accurate rendering of the text, a correction of the errors of former translations, the removal of misleading archaisms and obsolete terms, better punctuation, arrangement in sections as well as chapters and verses, the metrical arrangement of poetry, and an increased number of marginal readings.

In 1875, Bryennios, a metropolitan of the Greek Church, discovered in the library of the Most Holy Sepulchre at Constantinople a manuscript belonging to the second century A.D., which contains, among other valuable and interesting documents, one on the "Teaching of the Twelve Apostles," many points of which bear on the usages of the church, such as the mode of baptism, the celebration of the Eucharist, and the orders of the ministry. It was at first considered authentic and highly important, but more deliberate study tends to discredit its authority.

EGYPTIAN LITERATURE.

1. The Language.--2. The Writing.--3. The Literature.--4. The Monuments. --5. The Discovery of Champollion.--6. Literary Remains; Historical; Religious; Epistolary; Fictitious; Scientific; Epic; Satirical and Judicial.--7. The Alexandrian Period.--8. The Literary Condition of Modern Egypt.

1. THE LANGUAGE.--From the earliest times the language of Egypt was divided into three dialects: the Memphitic, spoken in Memphis and Lower Egypt; the Theban, or Sahidic, spoken in Upper Egypt; and the Bashmuric, a provincial variety belonging to the oases of the Lybian Desert.

The Coptic tongue, which arose from a union of ancient Egyptian with the vulgar vernacular, later became mingled with Greek and Arabic words, and was written in the Greek alphabet. It was used in Egypt until the tenth century A.D., when it gave way to the Arabic; but the Christians still preserve it in their worship and in their translation of the Bible. By rejecting its foreign elements Egyptologists have been enabled to study this language in its purity, and to establish its grammar and construction. It is the exclusive character of the Christian Egyptian literature, and marks the last development and final decay of the Egyptian language.

2. THE WRITING.--Four distinct graphic systems were in use in ancient Egypt: the hieroglyphic, the hieratic, the demotic, and Coptic. The first expresses words partly by representation of the object and partly by signs indicating sounds, and was used chiefly for inscriptions. The hieratic characters presented a flowing and abbreviated form of the hieroglyphic, and were used more particularly in the papyri. The great body of Egyptian literature has reached us through this character, the reading of which can only be determined by resolving it into its prototype, hieroglyphics.

The demotic writing indicates the rise of the vulgar tongue, which took place about the beginning of the seventh century B.C. It was used to transcribe hieroglyphic and hieratic inscriptions and papyri into the common idiom until the second century A.D., when the Coptic generally superseded it.

3. THE LITERATURE.--The literary history of ancient Egypt presents a remarkable exception to that of any other country. While the language underwent various modifications, and the written characters changed, the literature remained the same in all its principal features. This literature consists solely of inscriptions painted or engraved on monuments, or of written manuscripts on papyrus buried in the tombs or beneath the ruins of temples. It is so deficient in style, and so unsystematic in its construction, that it has taxed the labors of the ablest critics for the last fifty years to construct a whole from its disjointed materials, and these are so imperfect that many periods of Egyptian history are complete literary blanks. In the great period of the Rameses, novels or works of amusement predominated; under the Ptolemies, historical records, and in the Coptic or Christian stage, homolies and church rituals prevailed; but through every epoch the same general type appears. Notwithstanding these deficiencies, however, Egypt offers a most attractive field for the archaeologist, and new discoveries are constantly adding to our knowledge of this interesting country.

4. THE MONUMENTS.--The monuments of Egypt are religious, as the temples, sepulchral, as the necropoles, or triumphal, as the obelisks. The temples were the principal structures of the Egyptian cities, and their splendid ruins, covered with inscriptions, are among the most interesting remains of antiquity. Life after death, the leading idea of the religion of Egypt, was expressed in the construction of the tombs, so numerous in the vicinity of all the large cities. These necropoles, excavated in the rocks or hillsides, or built within the pyramids, consist of rows of chambers with halls supported by columns, which, with the walls, are often covered with paintings, historical or monumental, representing scenes from domestic or civil life. The great pyramids were probably built for the sepulchres of kings and their families, and the smaller ones for persons of inferior rank.

The most magnificent of the triumphal monuments are the obelisks, gigantic monoliths of red or white granite, some of which are more than two hundred feet high, covered with inscriptions, and bearing the image of the triumphant king, painted or engraved. The splendid obelisk in the Place de la Concorde, at Paris, celebrates the glories of Rameses II.

The obelisk now in New York is one of a pair erected at Heliopolis, before the Temple of the Sun, about 1600 B.C. In the reign of Augustus both were removed to Alexandria, and were known in modern times as Cleopatra's Needles. One was presented by the Khedive to the city of London in 1877, and the other to the city of New York the same year. The shaft on the latter bears two inscriptions, one celebrating Thothmes III., and the other Rameses II.

One of the most characteristic monuments of Egypt is the statue of the Sphinx, so often found in the temples and necropoles. It is a recumbent figure, having a human head and breast and the body of a lion. Whatever idea the Egyptians may have attached to this symbol, it represents most truly the character of that people and the struggle of mind to free itself from the instincts of brutal nature.

5. THE DISCOVERY OF CHAMPOLLION.--During the expedition into Egypt, in 1799, in throwing up some earthworks near Rosetta, a town on the western arm of the Nile, an officer of the French army discovered a block or tablet of black basalt, upon which were engraved inscriptions in Egyptian and Greek characters. This tablet, called the Rosetta Stone, was sent to France and submitted to the orientalists for interpretation. The inscription was found to be a decree of the Egyptian priests in honor of Ptolemy Epiphanes (196 B.C.), which was ordered to be engraved on stone in sacred (hieroglyphic), common (demotic), and in Greek characters. Through this interpretation, Champollion (1790-1832), after much study, discovered and established the alphabetic system of Egyptian writing, and applying his discovery more extensively, he was able to decipher the names of the kings of Egypt from the Roman emperors back, through the Ptolemies, to the Pharaohs of the elder dynasties. This discovery was the key to the interpretation of all the ancient monuments of Egypt; by it the history of the country was thrown open for a period of twenty-six centuries, the annals of the neighboring nations were rendered more intelligible, the religion, arts, sciences, life, and manners of the ancient Egyptians were revealed to the modern world, and the obelisks, the innumerable papyri, and the walls of the temples and tombs were transformed into inexhaustible mines of historical and scientific knowledge.

6. LITERARY REMAINS; HISTORICAL; RELIGIOUS; EPISTOLARY; FICTITIOUS; SCIENTIFIC; EPIC; SATIRICAL AND JUDICIAL.--The Egyptian priests from the earliest times must have preserved the annals of their country, though obscured by myths and symbols. These annals, however, were destroyed by Cambyses (500 B.C.), who, during his invasion of the country, burned the temples where they were preserved, although they were soon rewritten, according to the testimony of Herodotus, who visited Egypt 450 B.C. In the third century B.C., Manetho, a priest and librarian of Heliopolis, wrote the succession of kings, and though the original work was lost, important fragments of it have been preserved by other writers. There seem to have been four periods in this history of ancient Egypt, marked by great changes in the social and political constitution of the country. In the first epoch, under the rule of the gods, demigods, and heroes, according to Manetho, it was probably colonized and ruled by the priests, in the name of the gods. The second period extends from Menes, the supposed founder of the monarchy, to the invasion of the Shepherd Kings, about 2000 B.C. In the third period, under this title, the Phoenicians probably ruled Egypt for three centuries, and it was one of these kings or Pharaohs of whom Joseph was the prime minister. In the fourth period, from 1180 to 350 B.C., the invaders were expelled and native rule restored, until the country was again conquered, first by the Persians, about 500 B.C., and again by the Greeks under Alexander, 350 B.C. From that time to the present no native ruler has sat on the throne of that country. After the conquest by Alexander the Great, who left it to the sway of the Ptolemies, it was successively conquered by the Romans, the Saracens, the Mamelukes, and the Turks. Since 1841 it has been governed by a viceroy under nominal allegiance to the Sultan of Turkey. In 1865 the title of khedive was substituted for that of viceroy.

Early Egyptian chronology is in a great measure merely conjectural, and new information from the monuments only adds to the obscurity. The historical papyri are records of the kings or accounts of contemporary events. These, as well as the inscriptions on the monuments, generally in the form of panegyric, are inflated records of the successes of the heroes they celebrate, or explanations of the historical scenes painted or sculptured on the monuments.

The early religion of Egypt was founded on a personification of the laws of Nature, centred in a mysterious unity. Egyptian nature, however, supplied but few great objects of worship as symbols of divine power, the desert, a natural enemy, the fertilizing river, and the sun, the all-pervading presence, worshiped as the source of life, the lord of time, and author of eternity. Three great realms composed the Egyptian cosmos; the heavens, where the sun, moon, and stars paced their daily round, the abode of the invisible king, typified by the sun and worshiped as Ammon Ra, the earth and the under-world, the abode of the dead. Here, too, reigned the universal lord under the name of Osiris, whose material manifestation, the sun, as he passed beneath the earth, lightened up the under-world, where the dead were judged, the just recompensed, and the guilty punished.

Innumerable minor divinities, which originally personified attributes of the one Supreme Deity, were represented under the form of such animals as were endowed with like qualities. Every god was symbolized by some animal, which thus became an object of worship; but by confounding symbols with realities this worship soon degenerated into gross materialism and idolatry.

The most important religious work in this literature is the "Book of the Dead," a funeral ritual. The earliest known copy is in hieratic writing of the oldest type, and was found in the tomb of a queen, who lived probably about 3000 B.C. The latest copy is of the second century A.D., and is written in pure Coptic. This work, consisting of one hundred and sixty-six chapters, is a collection of prayers of a magical character, an account of the adventures of the soul after death, and directions for reaching the Hall of Osiris. It is a marvel of confusion and poverty of thought. A complete translation may be found in "Egypt's Place in Universal History," by Bunsen (second edition), and specimens in almost every museum of Europe. There are other theological remains, such as the Metamorphoses of the gods and the Lament of Isis, but their meaning is disguised in allegory. The hymns and addresses to the sun abound in pure and lofty sentiment.

The epistolary writings are the best known and understood branch of Egyptian literature. From the Ramesid era, the most literary of all, we have about eighty letters on various subjects, interesting as illustrations of manners and specimens of style. The most important of these is the "Anastasi Papyri" in the British Museum, written about the time of the Exodus.

Two valuable and tolerably complete relics represent the fictitious writing of Egyptian literature; they are "The Tale of Two Brothers," now in the British Museum, and "The Romance of Setna," recently discovered in the tomb of a Coptic monk. The former was evidently intended for the amusement of a royal prince. One of its most striking features is the low moral tone of the women introduced. "The Romance of Setna" turns upon the danger of acquiring possession of the sacred books. The opening and date of the story are missing.

Fresh information is being constantly acquired as to the knowledge of science possessed by the ancient Egyptians. Geometry originated with them, or from remote ages they were acquainted with the principles of this science, as well as with those of hydrostatics and mechanics, as is proved by the immense structures which remain the wonder of the modern world. They cultivated astronomy from the earliest times, and they have transmitted to us their observations on the movements of the sun, the stars, the earth, and other planets. The obelisks served them as sun dials, and the pyramids as astronomical observatories. They had great skill in medicine and much knowledge of anatomy. The most remarkable medical papyri are to be found in the Berlin Museum.

The epics and biographical sketches are narratives of personal adventure in war or travel, and are distinguished by some effort at grace of style. The epic of Pentaur, or the achievements of Rameses II., has been called the Egyptian Iliad. It is several centuries older than the Greek Iliad, and deserves admiration for its rapid narrative and epic unity.

The history of Mohan (by some thought to be Moses) has been called the Egyptian Odyssey, in contrast to the preceding. Mohan was a high official, and this narrative describes his travels in Syria and Palestine. This papyrus is in the British Museum, and both epics have been translated.

The satirical writings and beast fables of the Egyptians caricature the foibles of all classes, not sparing the sacred person of the king, and are often illustrated with satirical pictures. Besides these strictly literary remains, a large number of judicial documents, petitions, decrees, and treaties has been recovered.

7. THE ALEXANDRIAN PERIOD.--Egypt, in its flourishing period, having contributed to the civilization of Greece, became, in its turn, the pupil of that country. In the century following the age of Alexander the Great, under the rule of the Ptolemies, the philosophy and literature of Athens were transferred to Alexandria. Ptolemy Philadelphus, in the third century B.C., completed the celebrated Alexandrian Library, formed for the most part of Greek books, and presided over by Greek librarians. The school of Alexandria had its poets, its grammarians, and philosophers; but its poetry lacked the fire of genius, and its grammatical productions were more remarkable for sophistry and subtlety, than for soundness and depth of research. In the philosophy of Alexandria, the Eastern and Western systems combined, and this school had many distinguished disciples.

In the first century of the Christian era, Egypt passed from the Greek kings to the Roman emperors, and the Alexandrian school continued to be adorned by the first men of the age. This splendor, more Grecian than Egyptian, was extinguished in the seventh century by the Saracens, who conquered the country, and, it is believed, burned the great Alexandrian Library. After the wars of the immediate successors of Mohammed, the Arabian princes protected literature, Alexandria recovered its schools, and other institutions of learning were established; but in the conquest of the country by the Turks, in the thirteenth century, all literary light was extinguished.

8. LITERARY CONDITION OF MODERN EGYPT.--For more than nine hundred years Cairo has possessed a university of high rank, which greatly increased in importance on the accession of Mehemet Ali, in 1805, who established many other schools, primary, scientific, medical, and military, though they were suffered to languish under his two successors. In 1865, when Ismail- Pacha mounted the throne as Khedive (tributary king), he gave powerful aid to the university and to public instruction everywhere. The number of students at the University of Cairo advanced to eleven thousand. The wife of the Khedive, the Princess Cachma-Afet, founded in 1873, and maintained from her privy purse, a school for the thorough instruction of girls, which led to the establishment of a similar institution by the Ministry of Public Instruction. This princess is the first in the history of Islam who, from the interior of the harem, has exerted her influence to educate and enlighten her sex.

When the Khedive was driven into exile in 1879, the number of schools, nearly all the result of his energetic rule, was 4,817 and of pupils 170,000. Since the European intervention and domination the number of both has sensibly diminished, and a serious retrograde movement has taken place.

The higher literature of Egypt at the present time is written in pure Arabic. The popular writing in magazines, periodicals, etc., is in Arabic mixed with Syriac and Egyptian dialects. Newspaper literature has greatly increased during the past eight years.

GREEK LITERATURE.

INTRODUCTION.--1. Greek Literature and its Divisions.--2. The Language.-- 3. The Religion.

PERIOD FIRST.--1. Ante-Homeric Songs and Bards.--2. Poems of Homer; the Iliad; the Odyssey.--3. The Cyclic Poets and the Homeric Hymns.--4. Poems of Hesiod; the Works and Days; the Theogony.--5. Elegy and Epigram; Tyrtaeus; Archilochus; Simonides.--6. Iambic Poetry, the Fable, and Parody; Aesop.--7. Greek Music and Lyric Poetry; Terpander.--8. Aeolic Lyric Poets; Alcasus; Sappho; Anacreon.--9. Doric, or Choral Lyric Poets; Alcman; Stesichorus; Pindar.--10. The Orphic Doctrines and Poems.--11. Pre-Socratic Philosophy; Ionian, Eleatic, Pythagorean Schools.--12. History; Herodotus.

PERIOD SECOND.--1. Literary Predominance of Athens.--2. Greek Drama.--3. Tragedy.--4. The Tragic Poets; Aeschylus; Sophocles; Euripides.--5. Comedy; Aristophanes; Menander.--6. Oratory, Rhetoric, and History; Pericles; the Sophists; Lysias; Isocrates; Demosthenes; Thucydides; Xenophon.--7. Socrates and the Socratic Schools; Plato; Aristotle.

PERIOD THIRD.--1. Origin of the Alexandrian Literature.--2. The Alexandrian Poets; Philetas; Callimachus; Theocritus; Bion; Moschus.--3. The Prose Writers of Alexandria; Zenodotus; Aristophanes; Aristarchus; Eratosthenes; Euclid; Archimedes.--4. Philosophy of Alexandria; Neo- Platonism.--5. Anti-Neo-Platonic Tendencies; Epictetus; Lucian; Longinus. --6. Greek Literature in Rome; Dionysius of Halicarnassus; Flavius Josephus; Polybius; Diodorus; Strabo; Plutarch.--7. Continued Decline of Greek Literature.--8. Last Echoes of the Old Literature; Hypatia; Nonnus; Musaeus; Byzantine Literature.--9. The New Testament and the Greek Fathers. Modern Literature; the Brothers Santsos and Alexander Rangabé.

INTRODUCTION.

1. GREEK LITERATURE AND ITS DIVISIONS.--The literary histories thus far sketched, with the exception of the Hebrew, occupy a subordinate position, and constitute but a small part of the general and continuous history of literature. As there are states whose interests are so detached from foreign nations and so centred in themselves that their history seems to form no link in the great chain of political events, so there are bodies of literature cut off from all connection with the course of general refinement, and bearing no relation to the development of mental power in the most civilized portions of the globe. Thus, the literature of India, with its great antiquity, its language, which, in fullness of expression, sweetness of tone, and regularity of structure, rivals the most perfect of those Western tongues to which it bears such an affinity, with all its affluence of imagery and its treasures of thought, has hitherto been destitute of any direct influence on the progress of general literature, and China has contributed still less to its advancement. Other branches of Oriental literature, as the Persian and Arabian, were equally isolated, until they were brought into contact with the European mind through the medium of the Crusaders and of the Moorish empire in Spain.

We come now to speak of the literature of the Greeks; a literature whose continuous current has rolled down from remote ages to our own day, and whose influence has been more extensive and lasting than that of any other nation of the ancient or modern world. Endowed with profound sensibility and a lively imagination, surrounded by all the circumstances that could aid in perfecting the physical and intellectual powers, the Greeks early acquired that essentially literary and artistic character which became the source of the greatest productions of literature and art. This excellence was, also, in some measure due to their institutions; free from the system of castes which prevailed in India and Egypt, and which confined all learning by a sort of hereditary right to the priests, the tendency of the Greek mind was from the first liberal, diffusive, and aesthetic. The manifestation of their genius, from the first dawn of their intellectual culture, was of an original and peculiar character, and their plastic minds gave a new shape and value to whatever materials they drew from foreign sources. The ideas of the Egyptians and Orientals, which they adopted into their mythology, they cast in new moulds, and reproduced in more beautiful forms. The monstrous they subdued into the vast, the grotesque they softened into the graceful, and they diffused a fine spirit of humanity over the rude proportions of the primeval figures. So with the dogmas of their philosophy, borrowed from the same sources; all that could beautify the meagre, harmonize the incongruous, enliven the dull, or convert the crude materials of metaphysics into an elegant department of literature, belongs to the Greeks themselves. The Grecian mind became the foundation of the Roman and of all modern literatures, and its master- pieces afford the most splendid examples of artistic beauty and perfection that the world has ever seen.

The history of Greek literature may be divided into three periods. The first, extending from remote antiquity to the age of Herodotus (484 B.C.), includes the earliest poetry of Greece, the ante-Homeric and the Homeric eras, the origin of Greek elegy, epigram, iambic, and lyric poetry, and the first development of Greek philosophy.

The second, or Athenian period, the golden age of Greek literature, extends from the age of Herodotus (484 B.C.) to the death of Alexander the Great (323 B.C.), and comprehends the development of the Greek drama in the works of Aeschylus, Sophocles, and Euripides, and of political oratory, history, and philosophy, in the works of Demosthenes, Thucydides, Xenophon, Plato, and Aristotle.

The third, or the period of the decline of Greek literature, extending from the death of Alexander the Great (323 B.C.) to the fall of the Byzantine empire (1453 A.D.), is characterized by the removal of Greek learning and literature from Athens to Alexandria, and by its gradual decline and extinction.

2. THE LANGUAGE.--Of all known languages none has attained so high a degree of perfection as that of the Greeks. Belonging to the great Indo- European family, it is rich in significant words, strong and elegant in its combinations and phrases, and extremely musical, not only in its poetry, but in its prose. The Greek language must have attained great excellence at a very early period, for it existed in its essential perfection in the time of Homer. It was, also, early divided into dialects, as spoken by the various Hellenic tribes that inhabited different parts of the country. The principal of these found in written composition are the Aeolic, Doric, Ionic, and Attic, of which the Aeolic, the most ancient, was spoken north of the Isthmus, in the Aeolic colonies of Asia Minor, and in the northern islands of the Aegean Sea. It was chiefly cultivated by the lyric poets. The Doric, a variety of the Aeolic, characterized by its strength, was spoken in Peloponnesus, and in the Doric colonies of Asia Minor, Lower Italy, and Sicily. The Ionic, the most soft and liquid of all the dialects, belonged to the Ionian colonies of Asia Minor and the islands of the Archipelago. It was the language of Homer, Hesiod, and Herodotus. The Attic, which was the Ionic developed, enriched, and refined, was spoken in Attica, and prevailed in the flourishing period of Greek literature.

After the fall of Constantinople, in 1453, the Greek language, which had been gradually declining, became entirely extinct, and a dialect, which had long before sprung up among the common people, took the place of the ancient, majestic, and refined tongue. This popular dialect in turn continued to degenerate until the middle of the last century. Recently institutions of learning have been established, and a new impulse given to improvement in Greece. Great progress has been made in the cultivation of the language, and great care is taken by modern Greek writers to avoid the use of foreign idioms and to preserve the ancient orthography. Many newspapers, periodicals, original works, and translations are published every year in Greece. The name Romaic, which has been applied to modern Greek, is now almost superseded by that of Neo-Hellenic.

3. THE RELIGION.--In the development of the Greek religion two periods may be distinguished, the ante-Homeric and the Homeric. As the heroic age of the Greek nation was preceded by one in which the cultivation of the land chiefly occupied the attention of the inhabitants, so there are traces and remnants of a state of the Greek religion, in which the gods were considered as exhibiting their power chiefly in the changes of the seasons, and in the operations and phenomena of outward nature. Imagination led these early inhabitants to discover, not only in the general phenomena of vegetation, the unfolding and death of the leaf and flower, and in the moist and dry seasons of the year, but also in the peculiar physical character of certain districts, a sign of the alternately hostile or peaceful, happy or ill-omened interference of certain deities. There are still preserved in the Greek mythology many legends of charming and touching simplicity, which had their origin at this period, when the Greek religion bore the character of a worship of the powers of nature.

Though founded on the same ideas as most of the religions of the East, and particularly of Asia Minor, the earliest religion of the Greeks was richer and more various in its forms, and took a loftier and a wider range. The Grecian worship of nature, in all the various forms which it assumed, recognized one deity, as the highest of all, the head of the entire system, Zeus, the god of heaven and light; with him, and dwelling in the pure expanse of ether, is associated the goddess of the earth, who, in different temples, was worshiped under different names, as Hera, Demeter, and Dione. Besides this goddess, other beings are united with the supreme god, who are personifications of certain of his energies powerful deities who carry the influence of light over the earth, and destroy the opposing powers of darkness and confusion as Athena, born from the head of her father, and Apollo, the pure and shining god of light. There are other deities allied with earth and dwelling in her dark recesses; and as life appears not only to spring from the earth, but to return whence it sprung, these deities are, for the most part, also connected with death; as Hermes, who brings up the treasures of fruitfulness from the depths of the earth, and Cora, the child, now lost and now recovered by her mother, Demeter, the goddess both of reviving and of decaying nature. The element of water, Poseidon, was also introduced into this assemblage of the personified powers of nature, and peculiarly connected with the goddess of the earth; fire, Hephaestus, was represented as a powerful principle derived from heaven, having dominion over the earth, and closely allied with the goddess who sprang from the head of the supreme god. Other deities form less important parts of this system, as Dionysus, whose alternate joys and sufferings show a strong resemblance to the form which religious notions assumed in Asia Minor. Though not, like the gods of Olympus, recognized by all the races of the Greeks, Dionysus exerted an important influence on the spirit of the Greek nation, and in sculpture and poetry gave rise to bold flights of imagination, and to powerful emotions, both of joy and sorrow.

These notions concerning the gods must have undergone many changes before they assumed the form under which they appear in the poems of Homer and Hesiod. The Greek religion, as manifested through them, reached the second period of its development, belonging to that time when the most distinguished and prominent part of the people devoted their lives to the affairs of the state and the occupation of arms, and in which the heroic spirit was manifested according to these ideas. On Olympus, lying near the northern boundary of Greece, the highest mountain of that country, whose summit seems to touch the heavens, there rules the assembly or family of the gods; the chief of which, Zeus, summons at his pleasure the other gods to council, as Agamemnon summons the other princes. He is acquainted with the decrees of fate, and able to control them, and being himself king among the gods, he gives the kings of the earth their powers and dignity. By his side his wife, Hera, whose station entitles her to a large share of his rank and dominion; and a daughter of masculine character, Athena, a leader of battles and a protectress of citadels, who, by her wise counsels, deserves the confidence which her father bestows on her; besides these, there are a number of gods with various degrees of kindred, who have each their proper place and allotted duty on Olympus. The attention of this divine council is chiefly turned to the fortunes of nations and cities, and especially to the adventures and enterprises of the heroes, who being themselves, for the most part, sprung from the blood of the gods, form the connecting link between them and the ordinary herd of mankind. At this stage the ancient religion of nature had disappeared, and the gods who dwelt on Olympus scarcely manifested any connection with natural phenomena. Zeus exercises his power as a ruler and a king; Hera, Athena, and Apollo no longer symbolize the fertility of the earth, the clearness of the atmosphere, and the arrival of the serene spring; Hephaestus has passed from the powerful god of fire in heaven and earth into a laborious smith and worker of metals; Hermes is transformed into the messenger of Zeus; and the other deities which stood at a greater distance from the affairs of men are entirely forgotten, or scarcely mentioned in the Homeric mythology.

These deities are known to us chiefly through the names given to them by the Romans, who adopted them at a later period, or identified them with deities of their own. _Zeus_ was called by them Jupiter; _Hera_; Juno; _Athena_, Minerva; _Ares_, Mars; _Artemis_, Diana; _Hermes_, Mercury; _Cora_, Proserpine; _Hephaestus_, Vulcan; _Poseidon_, Neptune; _Aphrodite_, Venus; _Dionysus_, Bacchus.

PERIOD FIRST.

FROM REMOTE ANTIQUITY TO HERODOTUS (484 B.C.),

1. ANTE-HOMERIC SONGS AND BARDS.--Many centuries must have elapsed before the poetical language of the Greeks could have attained the splendor, copiousness, and fluency found in the poems of Homer. The first outpourings of poetical enthusiasm were, doubtless, songs describing, in few and simple verses, events which powerfully affected the feelings of the hearers. It is probable that the earliest were those that referred to the seasons and their phenomena, and that they were sung by the peasants at their corn and wine harvests, and had their origin in times of ancient rural simplicity. Songs of this kind had often a plaintive and melancholy character. Such was the song "Linus" mentioned by Homer, which was frequently sung at the grape-picking. This Linus evidently belongs to a class of heroes or demi-gods, of which many instances occur in the religions of Asia Minor. Boys of extraordinary beauty and in the flower of youth were supposed to have been drowned, or devoured by raging dogs, and their death was lamented at the harvests and other periods of the hot season. According to the tradition, Linus sprang from a divine origin, grew up with the shepherds among the lambs, and was torn in pieces by wild dogs, whence arose the festival of the lambs, at which many dogs were slain. The real object of lamentation was the tender beauty of spring, destroyed by the summer heat, and other phenomena of the same kind which the imagination of those times invested with a personal form, and represented as beings of a divine nature. Of similar meaning are many other songs, which were sung at the time of the summer heat or at the cutting of the corn. Such was the song called "Bormus" from its subject, a beautiful boy of that name, who, having gone to fetch water for the reapers, was, while drawing it, borne down by the nymphs of the stream. Such were the cries for the youth Hylas, swallowed up by the waters of a fountain, and the lament for Adonis, whose untimely death was celebrated by Sappho.

The Paeans were songs originally dedicated to Apollo, and afterwards to other gods; their tune and words expressed hope and confidence to overcome, by the help of the god, great and imminent danger, or gratitude and thanksgiving for victory and safety. To this class belonged the vernal Paeans, which were sung at the termination of winter, and those sung in war before the attack on the enemy. The Threnos, or lamentations for the dead, were songs containing vehement expressions of grief, sung by professional singers standing near the bed upon which the body was laid, and accompanied by the cries and groans of women. The Hymenaeos was the joyful bridal song of the wedding festivals, in which there were ordinarily two choruses, one of boys bearing burning torches and singing the hymenaeos to the clear sound of the pipe, and another of young girls dancing to the notes of the harp. The Chorus originally referred chiefly to dancing. The most ancient sense of the word is a _place for dancing_, and in these choruses young persons of both sexes danced together in rows, holding one another by the hand, while the citharist, or the player on the lyre, sitting in their midst, accompanied the sound of his instrument with songs, which took their name from the choruses in which they were sung.

Besides these popular songs, there were the religious and heroic poems of the bards, who were, for the most part, natives of that portion of the country which surrounds the mountains of Helicon and Parnassus, distinguished as the home of the Muses. Among the bards devoted to the worship of Apollo and other deities, were Marsyas, the inventor of the flute, Musaeus and Orpheus. Many names of these ancient poets are recorded, but of their poetry, previous to Homer, not even a fragment remains.

The bards or chanters of epic poetry were called Rhapsodists, from the manner in which they delivered their compositions; this name was applied equally to the minstrel who recited his own poems, and to him who declaimed anew songs that had been heard a thousand times before. The form of these heroic songs, probably settled and fixed by tradition, was the hexameter, as this metre gave to the epic poetry repose, majesty, a lofty and solemn tone, and rendered it equally adapted to the pythoness who announced the decrees of the deity, and to the rhapsodist who recited the battles of heroes. The bards held an important post in the festal banquets, where they flattered the pride of the princes by singing the exploits of their forefathers.

2. POEMS OF HOMER.--Although seven cities contended for the honor of giving birth to Homer, it was the prevalent belief, in the flourishing times of Greece, that he was a native of Smyrna. He was probably born in that city about 1000 B.C. Little is known of his life, but the power of his transcendent genius is deeply impressed upon his works. He was called by the Greeks themselves, _the poet_; and the Iliad and the Odyssey were with them the ultimate standard of appeal on all matters of religious doctrine and early history. They were learned by boys at school, and became the study of men in their riper years, and in the time of Socrates there were Athenians who could repeat both poems by heart. In whatever part of the world a Greek settled, he carried with him a love for the great poet, and long after the Greek people had lost their independence, the Iliad and the Odyssey continued to maintain an undiminished hold upon their affections. The peculiar excellence of these poems lies in their sublimity and pathos, in their tenderness and simplicity, and they show in their author an inexhaustible vigor, that seems to revel in an endless display of prodigious energies. The universality of the powers of Homer is their most astonishing attribute. He is not great in any one thing; he is greatest in all things. He imagines with equal ease the terrible, the beautiful, the mean, the loathsome, and he paints them all with equal force. In his descriptions of external nature, in his exhibitions of human character and passion, no matter what the subject, he exhausts its capabilities. His pictures are true to the minutest touch; his men and women are made of flesh and blood. They lose nothing of their humanity for being cast in a heroic mould. He transfers himself into the identity of those whom he brings into action; masters the interior springs of their spiritual mechanism; and makes them move, look, speak, and do exactly as they would in real life.

In the legends connected with the Trojan war, the _anger of Achilles_ and the _return of Ulysses_, Homer found the subjects of the Iliad and Odyssey. The former relates that Agamemnon had stolen from Achilles, Briseis, his beloved slave, and describes the fatal consequences which the subsequent anger of Achilles brought upon the Greeks; and how the loss of his dearest friend, Patroclus, suddenly changed his hostile attitude, and brought about the destruction of Troy and of Hector, its magnanimous defender. The Odyssey is composed on a more artificial and complicated plan than the Iliad. The subject is the return of Ulysses from a land beyond the range of human knowledge to a home invaded by bands of insolent intruders, who seek to kill his son and rob him of his wife. The poem begins at that point where the hero is considered to be farthest from his home, in the central portion of the sea, where the nymph Calypso has kept him hidden from all mankind for seven years. Having by the help of the gods passed through innumerable dangers, after many adventures he reaches Ithaca, and is finally introduced into his own house as a beggar, where he is made to suffer the harshest treatment from the suitors of his wife, in order that he may afterwards appear with the stronger right as a terrible avenger. In this simple story a second was interwoven by the poet, which renders it richer and more complete, though more intricate and less natural. It is probable that Homer, after having sung the Iliad in the vigor of his youthful years, either composed the Odyssey in his old age, or communicated to some devoted disciple the plan of this poem.

In the age immediately succeeding Homer, his great poems were doubtless recited as complete wholes, at the festivals of the princes; but when the contests of the rhapsodists became more animated, and more weight was laid on the art of the reciter than on the beauty of the poem he recited, and when other musical and poetical performances claimed a place, then they were permitted to repeat separate parts of poems, and the Iliad and Odyssey, as they had not yet been reduced to writing, existed for a time only as scattered and unconnected fragments; and we are still indebted to the regulator of the poetical contests (either Solon or Pisistratus) for having compelled the rhapsodists to follow one another according to the order of 'the poem, and for having thus restored these great works to their pristine integrity. The poets, who either recited the poems of Homer or imitated him in their compositions, were called Homerides.

3. THE CYCLIC POETS AND THE HOMERIC HYMNS.--The poems of Homer, as they became the foundation of all Grecian literature, are likewise the central point of the epic poetry of Greece. All that is most excellent in this line originated from them, and was connected with them in the way of completion or continuation. After the time of Homer, a class of poets arose who, from their constant endeavor to connect their poems with those of this master, so that they might form a great cycle, were called the Cyclic Poets. They were probably Homeric rhapsodists by profession, to whom the constant recitation of the ancient Homeric poems would naturally suggest the idea of continuing them by essays of their own. The poems known as Homeric hymns formed an essential part of the epic style. They were hymns to the gods, bearing an epic character, and were called _proemia_, or preludes, and served the rhapsodists either as introductory strains for their recitation, or as a transition from the festivals of the gods to the competition of the singers of heroic poetry.

4. POEMS OF HESIOD.--Nothing certain can be affirmed respecting the date of Hesiod; a Boeotian by birth, he is considered by some ancient authorities as contemporary with Homer, while others suppose him to have flourished two or three generations later. The poetry of Hesiod is a faithful transcript of the whole condition of Boeotian life. It has nothing of that youthful and inexhaustible fancy of Homer which lights up the sublime images of a heroic age and moulds them into forms of surpassing beauty. The poetry of Hesiod appears struggling to emerge out of the narrow bounds of common life, which he strives to ennoble and to render more endurable. It is purely didactic, and its object is to disseminate knowledge, by which life may be improved, or to diffuse certain religious notions as to the influence of a superior destiny. His poem entitled "Works and Days" is so entirely occupied with the events of common life, that the author would not seem to have been a poet by profession, but some Boeotian husbandman whose mind had been moved by circumstances to give a poetical tone to the course of his thoughts and feelings. The unjust claim of Perses, the brother of Hesiod, to the small portion of their father's land which had been allotted to him, called forth this poem, in which he seeks to improve the character and habits of Perses, to deter him from acquiring riches by litigation, and to incite him to a life of labor, as the only source of permanent prosperity. He points out the succession in which his labors must follow if he determines to lead a life of industry, and gives wise rules of economy for the management of a family; and to illustrate and enforce the principal idea, he ingeniously combines with his precepts mythical narratives, fables, and descriptions. The "Theogony" of Hesiod is a production of the highest importance, as it contains the religious faith of Greece. It was through it that Greece first obtained a religious code, which, although without external sanction or priestly guardians and interpreters, must have produced the greatest influence on the religious condition of the Greeks.

5. ELEGY AND EPIGRAM.--Until the beginning of the seventh century B.C., the epic was the only kind of poetry cultivated in Greece, with the exception of the early songs and hymns, and the hexameter the only metre used by the poets. This exclusive prevalence of epic poetry was doubtless connected with the political state of the country. The ordinary subjects of these poems must have been highly acceptable to the princes who derived their race from the heroes, as was the case with all the royal families of early times. The republican movements, which deprived these families of their privileges, were favorable to the stronger development of each man's individuality, and the poet, who in the most perfect form of the epos was completely lost in his subject, now came before the people as a man with thoughts and objects of his own, and gave free vent to the emotions of his soul in elegiac and iambic strains. The word _elegeion_ means nothing more than the combination of a hexameter and a pentameter, making together a distich, and an elegy is a poem of such verses. It was usually sung at the Symposia or literary festivals of the Greeks; in most cases its main subject was political; it afterwards assumed a plaintive or amatory tone. The elegy is the first regularly cultivated branch of Greek poetry, in which the flute alone and neither the cithara nor lyre was employed. It was not necessary that lamentations should form the subject of it, but emotion was essential, and excited by events or circumstances of the time or place the poet poured forth his heart in the unreserved expression of his fears and hopes.

Tyrtaeus (fl. 694 B.C.), who went from Athens to Sparta, composed the most celebrated of his elegies on the occasion of the Messenian war, and when the Spartans were on a campaign, it was their custom after the evening meal, when the paean had been sung in honor of the gods, to recite these poems. From this time we find a union between the elegiac and iambic poetry; the same poet, who employs the elegy to express his joyous and melancholy emotions, has recourse to the iambus when his cool sense prompts him to censure the follies of mankind. The relation between these two metres is observable in Archilochus (fl. 688 B.C.) and Simonides (fl. 664 B.C.). The elegies of Archilochus, of which many fragments are extant (while of Simonides we only know that he composed elegies), had nothing of that spirit of which his iambics were full, but they contain the frank expression of a mind powerfully affected by outward circumstances. With the Spartans, wine and the pleasures of the feast became the subject of the elegy, and it was also recited at the solemnities held in honor of all who had fallen for their country. The elegies of Solon (592-559 B.C.) were pure expressions of his political feelings. Simonides of Scios, the renowned lyric poet, the contemporary of Pindar and Aeschylus, was one of the great masters of elegiac song.

The epigram was originally an inscription on a tombstone, or a votive offering in a temple, or on any other thing which required explanation. The unexpected turn of thought and pointedness of expression, which the moderns consider the essence of this species of composition, were not required in the ancient Greek epigram, where nothing was wanted but that the entire thought should be conveyed within the limit of a few distichs, and thus, in the hands of the early poets, the epigram was remarkable for the conciseness and expressiveness of its language and differed in this respect from the elegy, in which full expression was given to the feelings of the poet.

It was Simonides who first gave to the epigram all the perfection of which it was capable, and he was frequently employed by the states which fought against the Persians to adorn with inscriptions the tombs of their fallen warriors. The most celebrated of these is the inimitable inscription on the Spartans who died at Thermopylae: "Foreigner, tell the Lacedaemonians that we are lying here in obedience to their laws." On the Rhodian lyric poet, Timocreon, an opponent of Simonides in his art, he wrote the following in the form of an epitaph: "Having eaten much and drank much and said much evil of other men, here I lie, Timocreon the Rhodian."

6. IAMBIC POETRY, THE FABLE AND PARODY.--The kind of poetry known by the ancients as Iambic was created among the Athenians by Archilochus at the same time as the elegy. It arose at a period when the Greeks, accustomed only to the calm, unimpassioned tone of the epos, had but just found a temperate expression of lively emotion in the elegy. It was a light, tripping measure, sometimes loosely constructed, or purposely halting and broken, well adapted to vituperation, unrestrained by any regard to morality and decency. At the public tables of Sparta keen and pointed raillery was permitted, and some of the most venerable and sacred of their religious rites afforded occasion for their unsparing and audacious jests. This raillery was so ancient and inveterate a custom, that it had given rise to a peculiar word, which originally denoted nothing but the jests and banter used at these festivals, namely, _Iambus_. All the wanton extravagance which was elsewhere repressed by law or custom, here, under the protection of religion, burst forth with boundless license, and these scurrilous effusions were at length reduced by Archilochus into the systematic form of iambic metre.

Akin to the iambic are two sorts of poetry, the fable and the parody, which, though differing widely from each other, have both their source in the turn for the delineation of the ludicrous, and both stand in close historical relation to the iambic. The fable in Greece originated in an intentional travesty of human affairs. It is probable that the taste for fables of beasts and numerous similar inventions found its way from the East, since this sort of symbolical narrative is more in accordance with the Oriental than with the Greek character. Aesop (fl. 572 B.C.) was very far from being regarded by the Greeks as one of their poets, and still less as a writer. They considered him merely as an ingenious fabulist, to whom, at a later period, nearly all fables, that were invented or derived from any other source, were attributed. He was a slave, whose wit and pleasantry procured him his freedom, and who finally perished in Delphi, where the people, exasperated by his sarcastic fables, put him to death on a charge of robbing the temple. No metrical versions of these fables are known to have existed in early times.

The word "parody" means an adoption of the form of some celebrated poem with such changes as to produce a totally different effect, and generally to substitute mean and ridiculous for elevated and poetical sentiments. "The Battle of the Frogs and Mice," attributed to Homer, but bearing evident traces of a later age, belongs to this species of poetry.