'9 Digitized by the Internet i Archive in 2013 http://archive.org/details/westwardempireor01mago WESTWARD EMPIRE; C|i dr^Et irama of f umaii f rcijr^ss. ,l.TrraOE OP "PEOVEEBS FOE THE PEOPLE," " EEFUBLICAN OHEISTIANITT," " 0EAT0E8 OF THE AMEEICAN BEVOLTTTIOir,'" "LIVING 0BAT0B8 IN AMEEICA," ETC., ETC. Westward tlie course of empire takes its way, The four first acts already past ; A fifth shall close the drama with the day, Time's noblest offspring is the last." Geoege Beskeley. NEW YOKK : HARPER & BROTHERS, oa, BY E. L. MAGOON, 329 TO 335 PEARL STREET. 1856. Entered, according to Act of Congress, in the year 1S56, by HARPER AND BROTHERS, In the Clerk's Office for the Southern District of New York. TO CITIZENS WHO TRUST 12^ PROVIDENCE, MEN WHO ARE TRUE TO HUMANITY, AND PATRIOTS ALWAYS HOPEFUL OF THE REPUBLIC, THIS WORK IS FRATERNALLY INSCRIBED. INTRODUCTION. By a natural movement, in not one of its great ele- ments has civilization gone eastward an inch since au- thentic history began. To demonstrate this simple and comprehensive fact is the motive of the following work, and all the great leading events of time are the means employed. Berkeley has suggested a grand outline in his significant stanza, but neither he nor any other author has hitherto attempted to define the acts, and portray the connected scenes, which constitute the one great drama of human progress. Artistic beauty, martial force, scientific invention, and universal amelioration, have thus far illustrated the great progressional law of successive predominance, and these, we believe, will ultimately be consummated in the supreme sway of perfect civiHzation. We are led to this view by taking a catholic survey of every nation that has risen above the historical horizon ; in which course we observe that all are aUke the subjects of Providence, each in its time and place being furnished with a part to act, and a destiny to fulfill. Considered in this light, it may be rev- erently said that human history is a sacred drama, of vi I N T E O D U C T I O X . which God is the poet, each transitional age an act, hu- manity the hero, and the discriminating annalist a pro- phetical interpreter. But this work is not so much the defense of a theory as it is the display of facts, and the deduction of a general principle consequent thereupon. The travels of men, and the trade-currents of God, move spontaneously and per- petually toward the West. The opposite direction is always " down East,'' while all healthful expansion and improvement is "out West.'' The great eastern turn- pike, canal, or railway, was never built, nor has a great eastern ship yet been launched on the deep. If the un- natural name has of late been given to a colossal craft, the misnomer is indicated by the fact, that her first trip is appointed to be a western one, and to terminate in our most eastern harbor, where the most stupendous develop- ment of western commerce just begins. All great enter- prises by land and by sea have ever commenced in the East, and augmented both their efl&ciency and worth through a continuous unfolding toward the setting sun. The latest race is evermore the best, the last half of each great age is most prolific in progressive elements, and the west end of every great town throughout Europe and America is the growing end. An introduction ought to stimulate rational curiosity, while it justifies the labors of the author, by furnishing his reader with a succinct programme of the conditions of the subject. We consider the age of Pericles to have ter- minated four centuries before, and that of Augustus five I N T K O D U C T 1 O N . vii centuries after, the birth of Christ. The age of Leo X. began in the fifth century, mth the fall of the Western Em]3ire, and ended in the sixteenth, soon after the final downfall of the East. The seventeenth century was the great era of colonial empire, and then began the age of Washington. It is not man but God who has thrown these clear lines of demarcation over the entire mass of humanity, as innumerable dates, names, and events, al- luded to in the following work will show. Copious refer- ences to authorities are purposely omitted, as we wish to render the pages as compact as possible with unbroken thought, but the facts themselves can easily be verified by the enlightened reader, or confuted if they are incor- rect. The service we herein attempt is to portray the relations of the present to the past and future, by tracing all the mightiest elements of our civilization to their respective sources, and by indicating the antecedents of those na- tional heroes whose names shine upon the forehead of our age, and whose accumulated productions constitute the grandest inheritance of the remotest posterity. The mighty princes of literature of all climes, " who still rule our spirits from their urns," are summoned into stately procession, followed by the great masters of art, science, philosophy, and religion, each one bearing his own distinct physiognomy, and taking precedence in historical order. It is in this natural course that we would mold numerous and diversified materials into one homogeneous whole. The work is an abbreviated nomenclature of celebrated Vlll INTRODUCTION. personages and events, a bold sketch of the great historical ages, not divided according to arbitrary chronological dates, or a formal geographical plan, but embracing all authentic periods in their indissoluble continuity of development, illustrated by the multifarious monuments which it has successively produced and passed. The philosophy of history resides not in isolated events and detached facts, but flows without interruption down the lapse of ages, the accompaniment of human destiny, and the life of ennobling actions ; at once penetrating all incidents, and perpetuate ing all progress. In the present undertaking, the author proposes in gen- eral terms to remind the reader of the various master pieces which the past has bequeathed, rather than mi- nutely to describe their authors, or criticise their merits. It is not our object to pronounce a judgment upon the characters and achievements of the great actors on the stage we survey, but simply to point out the manifest unity and advancement of the great drama as it proceeds. All minute details are omitted, in order to present as dis- tinctly as possible the main outlines. As we contemplate the vast patrimony of knowledge, whence it came, and whither it leads, we watch the twilight on eastern hills as it brightens into midday, and then goes flooding over the broad expanse of the West. The consecutive series of historical events, though they transpire wide apart, and extend through a long lapse of ages, are never absolutely separated, but in the presence of the great Father are in- timately joined in a sublime association, and mutually co- INTRODUCTION operate for the highest good of the greatest number. Different currents may seem to flow from the most diverse sources, and in opposite directions, but they are all tribu- taries to one centralizing channel, wherein flows forward forever the accumulating aggregate of human fortunes, under the divine control. A papal decree was once ob- tained condemning Galileo's doctrine touching the revolu- tion of the earth ; but that did not arrest pre-ordained planetary motion, nor prevent all sublunary beings from turning with it. Fortunately the tide of improvement has already rolled onward so far, and with such increased might, that Oxford is just as impotent to stay the amel- iorating progress of mankind as was the Vatican, and both must advance with a diviner momentum, or be out- stripped by a younger competitor in the heavenly course. Without an intelligent faith in the divine purpose to incite and control perpetual progress toward the perfection of mankind, history is an insoluble enigma, a huge pile of detached fragments, and the great drama of humanity must forever remain devoid of all proper results. But even Aristotle expressed a worthier view, in saying that every end is great ; it is so, because it forms the beginning of something greater. In nature, nothing actually per- ishes. Death is birth, and the dissolution of every organ- ization is but the development and visible advancement of a fresher type of being. Naturally every substance is conservative of all the vitality it can possibly sustain, and when any given form apparently perishes, it is but to re- veal a still higher life that lay concealed behind it, await- 1* X INTRODUCTION. ing the moment of its appointed succession to power. Thus decay and renewal constitute a perpetual struggle, identical life rising through multifarious death toward the supreme in freedom and power. In proportion to the graduated scale of existence, lesser or greater, lower or higher, this law applies with more palpable justness, and is best exemplified in the unpausing progress which hu- manity makes in its predetermined career. In tracing the evolution of those laws which rule in the various realms of simultaneous growth, we see that, while all are connected, and always act upon each other, some one of them, for the time being, must be preponderant, in order to impart an impulse to the rest, though, in its appointed time, another may be called to succeed, and re- ceive superior expansion. It is that which develops the most advanced nation of a given era, and constitutes the moving centre of progressive civilization. It is the con- necting bond and quickening impulse of those heroes who can marshal motives as well as armies, and make the grand- eur of their own nationality the introduction and nutri- ment of a grander nation to come. The vanguard of the human race, invested with and impelled by this indomita- ble energy, moves in the appointed orbit, losing neither momentum nor effulgence as it advances, but rather in- creasing both. If we inquire as to the area and agency of the chief progression in the domain of human history, it will be found that Japhet has been the constant leader, Europe the intermediate track, and America the manifest goal. From all the premises furnished by experience, and I N T R () D U (J T 1 () N . xi the fullest assurance of faith, we must infer that this con- tinent, ruled by the Republic upon its centre, is destined to garner the selected seed from antecedent harvests, that it may sow world-wide the germs of ultimate and universal worth. Every great epoch has its master impulse, which acts as the precursor of a yet greater one to succeed it. A multi- tude of hearts may throb with ardent impatience, and myriads of hands may be ready to act, but not one profit- able pulsation is there, nor an effective achievement, save as the actuating soul of the age shall animate and direct. All great revolutions in the intellectual world are marked by successive steps of generalization and transitions into wider realms through more expanded truths. We advance from the obscure to the obvious, from single facts to ho- mogeneous combinations, and from particular doctrines to. an all-comprehensive system. Nothing that does not re- late to the perpetual progress of the great drama of divine Providence, and illustrate it, is admitted within our plan. With the whole field of human history before us, we are first to mark the most prominent features, and then trace whatever is subordinate and auxiliary. Four mighty land- marks rise most prominently to the view, around which are concentrated all the beneficent inventions and re- nowned names, universally admired by the civilized world. But, though supreme, these are not separate from inferior agents. True, the chief glory of an age, or people, seems to be the work of a few leading minds, while all others are transient actors on the stage. But each epoch, and all xa I N T R O D U C T I N . connected therewith, is a unit, indissolubly joined to its successors, in the formation of which it has contributed all the primary elements. Every subsequent act is the legit- imate evolution of its predecessor, and from prelude to sequel, there is but one symmetrical development of an infinite plan. There may be deep and dark eddies in the stream, and even long reaches, w^herein the current seems to assume a retrograde course, nevertheless its progress is not for a moment arrested, nor does it ever cease from in- numerable tributaries evermore to augment its force. The spring-head we may not discern, but the main channel can be clearly traced through every clime, without meeting with whirlpools completely stationary, or depths too stag- nant for some lofty use. Veritable history is but an exj^onent of Providence, a vivid commentary on the one great purpose of the divine mind in the work of redemption, and should be written, as it is realized, with this intent. This is the Ariadne clew which alone can guide us through the otherwise inextrica- ble labyrinth. We need, if possible, to reproduce, in sub- dued outline, the comprehensive political and ecclesiastical drama which the Revela tor witnessed, as in a moving pan- orama, reaching from the beginning of sublunary scenes to their end. Such would be the portraiture of great men, great revolutions, and great results, illuminated by the one glorious purpose of the great God. This is signal- ized not only in always providing and fitting instruments for each emergency that may arise, but in subordinating all agents, and the causes which exercise their worth, to INTRODUCTION. Xill the perfection of humanity, by means of salutarj^ discipline. When the ancient muses inspired Herodotus to write, and the genius of the nation prompted him to recite before assembled Greece, it was the first epical announcement of that divine poetry which forever celebrates the destinies ^of our race. An immensity of facts has since been added, and innumerable scenes have further evolved the purposes of the Supreme to such an extent, that the utmost com- prehensiveness of dramatic delineation is requisite to give an adequate idea of tlie ever enlarging orbits of development, through which ^humanity has already passed, together with the legitimate unfoldings which a yet sublimer future will present. This highest ideal is beyond the reach of epical representation, and is of all unities the grandest since it considers the whole human race as one, like an individual soul, having the Infinite as the beginning and end of its finite existence. We are probably in near neighborhood to inventions and improvements soon to eclipse all foregone wonders. The greatest proficient in letters, art, or science, is merely a flugelman in the army of knowledge, and if called to proclaim the miracle of to-day, doubtless he will be further summoned to announce the reward of nocturnal marchings, by the news of a greater miracle, to-morrow. Every year finds us a new stadium in advance ; but it is only at great culminating eras that civilization seems to become aware of the actual speed of its reformatory motion. Victory alwa^^s remains with the new spirit, and freedom, like truth, never can become old ; they are in God, and thereby XIV INTRODUCTION. the final battle and widest conquest must eventually be secured. Not one great campaign was ever lost to human- ity, nor ever will be. Every historical nation bears in its bosom the germs of more prolific and ennobling fruits, which their successors will employ to subdue and adorn hardier and richer fields. The scenery changes with each act performed, but the plot goes steadily forward. Provi- dence is making the tour of the world, and every new phase of civilization is an additional proof of a divinely identical plan. As the age to come shall lapse continu- ously upon the tombs of empires and genei-ations of man- kind, we believe that this era will not descend undistin- guished among the centuries past. The present march of the human mind, and the exalted ends it has in view, are so remarkable, that the period of our existence will ever be distinguished in the esteem of those who will come after us. From the past and the present a glorious future must succeed. We may most reasonably hope that the age now transpiring, the age we have seen born, and which will see us buried, will transmit to our children and their remotest posterity, increasing virtues, and perpetually lessened wrongs. Such, in fine, is the profound and joyous conviction of the author, and to elucidate which has been consecrated a considerable portion of what leisure he has been able to command during the past seven years. Herein will not be found one local allusion, or envenomed word, designed to wound any sect or section. But, with one absorbing purpose, he has pressed steadily forward, laying all avail- INTRODUCTION. XV able resources under contribution, to show how each ad- vancing epoch recasts the history of the past, and foreto- kens the future, in contemplating it from its own point of view. Let us fondly hope that, on the side of the globe opposite to the first Ararat, shall a second be reached by the Ark of conservative civilization, whereon human rea- son and divine righteousness will repose in the sublimest earthly union, and thence send down a perfected race to propagate their virtues, and redeem mankind. Elm. New York, July 4th, 1856. CONTENTS. PART FIRST, AGE OF PERICLES. PAGE Chapter I. — Literature 21 IL— Art 48 m.— SCIEXCE 11 rV". — ^Philosophy 81 Y. — Keligion 92 PART SECOND. AGE OF AUGUSTUS. Chapter L— Literature 121 II. — Art 154 III. — Science 1'76 IV. — Philosophy 193 v.— Religion 208 xviii G O N T E K T S . PART THIRD. AOE OF LEO X. PAGE Chapter I. — Literature 231 IL— Art 265 III.— Science 292 lY.— Philosophy 313 V. — Religiox '325 PART FOURTH. AGE OF WASHINGTON. Chapter I. — Literature 347 IL— Art 3t2 III. — Science 388 ly. — Philosophy 407 v.— Religion 423 PERICLES; OR, THE AGE OF ARTISTIC BEAUTY. PROLOGUE OF MOTTOES. " Could we create so close, tender, and cordial a connection between the citizens of a state, as to induce all to consider themselves as relatives — as fathers, brothers, and sisters, then this whole state would constitute but a single family, be subjected to the most perfect regulations, and become the happiest republic that ever existed upon earth," — Plato. "Although this great edifice of universal history, where the conclusion at least is still wanting, is in this respect incomplete, and appears but a mighty fragment of which even particular parts are less known to us than others ; yet is this edifice suflBciently advanced, and many of its great wing& and members are sufiBciently unfolded to our view, to enable us, by a lucid arrangement of the different periods of history, to gain a clear insight into the general plan of the whole." — ^Frederic Yon Schlegel. " Whatever is necessary exists." — ^De Maistre. " God shall enlarge Japhet, and he shall dwell in the tents of Shem." — Genesis ix. 21. PART FIRST. PERICLES.— AGE OF ARTISTIC BEAUTY. CHAPTER 1. LITERATURE. Civilization is earth's central stream, and all literatures, arts, sciences, philosophies, and rehgions are but tributaries to swell its tide and increase its current. To indicate the successive sources, describe the multiform elements, and demonstrate the progressive aggregation and enrichment of this unity in diversity, is the object of the present work. Much patient and critical research will be requisite at each re- move, but the chief difficulty lies at the threshold of the under- taking. When and with what does authentic history, illustrated through human progress, begin ? Geography, ethnology, and phi- lology must be our chief oracles in reply. Western Asia was doubtless the cradle of the earliest civilized communities, and the source of all authentic improvement. Mount Kylas gave the term koilon, heaven, to the Greeks, and is probably the highest eminence on- earth. Moorcroft viewed it from a table- land more than seventeen thousand feet high, and describes its sides and craggy summits of still more tremendous altitude, apparently covered thickly vdth snow. At its base emerges the Indus, that mighty artery of western India, on the bank of which stands Attac, a name which the great civilizing race afterward applied to the fairest realm of their culture. Standing at this fountain-head, we find increased facilities for striking out the great historico-geograph- ical outline which marks the progress of the patriarch bands of India, Egypt, and Europe. The intimate connection between the 22 PERICLES. Nilitic valley, Greece, and the lands of tlie Indus, is rendered yet more evident by the geographical development of the colonization of eastern Europe, in which the ingenious people of Abu-Sin, Abys- sinians, founded the mercantile and prosperous community of Cor- inthus. Cor-Indus, that is, mouth of the Indus, canied westward, became the classical Corinth. The distance from the Indian shore was not so great but that the sail which spread for Ceylon could waft to the Red Sea, where the fleets of Tyre, of Solomon and of Hiram were to be found. The ancient Institutes of Menu expressly refer to merchants who traffic beyond sea ; and, moreover, that the Hindoos were westward navigators from the earliest ages, the ves- tiges of their religion in the Archipelago abundantly attest. From the same lofty regions descended the Parasoos, that is, warriors of the Axe, to penetrate and give name to Persia, while Colchis and Armenia became as distinctly the product and proof of Indian col- onization. Down this central route came the Pilgrim Fathers of the first great civilizing nations, making the whole mass of authentic geography a venerable journal of emigration on the most gigantic scale. Let us now briefly consider the progressive changes which have passed upon this great geographical chart of historical development, and observe their effects. Successive tribes of living beings have perished thereon, and been replaced with better and nobler races, until at last man came to be lord of earth, and to reap from it all the enjoyments increasing culture could bestow. From the begin- ning, progi'ess has been maintained in and through convulsions, each succeeding tempest alternating with a subhmer calm. Rely- ing on human traditions alone, we can acquaint ourselves with no primary people, no first seat of civilization, no original philosophy, or natural wisdom. Guided by a higher authority, it is necessary to penetrate the intervening mists of symbolical fables, and collect numerous scientific facts, in order to attain secure ground, whereon the first germ of humanity was planted, and whence it has perpet- ually developed itself under the control of unfaltering law. At the farthest horizon of the most venerable antiquity, several light points appear, the harbingers of civilization, radiating toward each other^ and indicating a common point of union in the darkness behind. They resemble the superior lights among the stars of the firmament, LITERATURE. 28 whose brightness we perceive amid the eternal suns of the universe, but whose relative distances from our own planet it is impossible to ascertain. The dwelling of a divine spark in the human bosom has, even from the obscurest height of Caucasus, been recognized in the beautiful tradition of Pi'ometheus ; but the question of the first springing up of mankind can not be fully elucidated by mere antiquarian research. In the last result, that is a matter to be left to the disclosures of revelation and the exercise of faith. The Mosaic narrative of creation is the primitive document of our race, and this commemorates the repeated convulsions and pro- digious corruption of the world, previous to the Noachian flood. Of the earliest period, it says : " The earth was without form, and void ; and darkness was upon the face of the deep : and the Spirit of God moved upon the face of the waters." Gen. i. 2. Of post- diluvian history, every thing was embraced in that last recorded fact of I^oah's life, a prophecy delivered in the infancy of mankind, and which every succeeding development has only tended to illus- trate and confirm. Gen. ix. 18, 19 — " The sons of Noah that went forth from the ark, were Shem, Ham, and Japheth. These are the three sons of N^oah, and of them was the whole (inhabited) earth overspread." On these three races distinct destinies were pro- nounced, they receiving a moral and physical nature accordant to their several allotments. The ofiice of extension was given to Japhet, that of religion to Shem, and servitude to Ham. Ethnology, the science of nations, in its most recent and profound deductions, differs somewhat in detail, but the great conclusion is the same. The threefold branches radiate from a common stock, and in their growth from east to w^est, they mark the high road of universal progress, and adorn the stage on which the entire drama of ancient history has been performed. The prediction of Noah is the record of human destiny, and has been subjected to the severest test. Material vestiges of creation, and the earliest monuments of mind, alike place the origin of man in the central East. The peo - ple of the Brahmins come down from the Hindo-Khu into the plains of the Indus and the Ganges ; Assyria and Bactriana receive their inhabitants from the high lands of Armenia and Persia. Those nations advance rapidly, and, in the remotest antiquity, at- tained a degree of culture of which the temples and monuments of 24 PERICLES. Egypt and India, together with the palaces of Nineveh, are glorious witnesses. As the basis of preliminary improvement, they rapidly developed to a degree, then movement was stayed, and thenceforth their stationary remains mark the oriental boundary of the historic race. Ethnology testifies that Ham peopled Egypt, and that the primary emigration thither from Asia may have been ante-Noachian. The native name of Egypt is Chami, the black ; and this fact is sjonbolically represented by the name of its predestined ancestor, Cham, Shem's eldest brother, Japhet being the youngest of the three. When the comprehensive fortunes of the triple founders of our race were foretold, Shem was called the elder brother of Ja- phet, but not of Ham. Gen. x. 32 — "By these were the nations divided after the flood." Thus the great middle country in west- ern Asia is the central point of the general view. On the south, the race of Ham includes degenerate Egypt, and all the sombre African tribes beyond. In the north Caucasian regions, the race of Japhet spread widely ; and in central Asia the race of Shem. These general positions have been proved by the ethnologists, Pritchard and Bunsen, and are confirmed by the most reliable archaeologists, as well as by the leading physiologists of the world, Morton, Cuvier, and Blumenbach. But we will pass to the third and most copious means of demon- stration, philology. It is believed that a furious religious war, long anterior to the historic Shem, drove a large multitude of oriental inhabitants westward, and that these became the primary stratum of European humanity, afterward superseded by the Japhetic race, wherever the germs of true history took root. The nanies given by the Pelasgi to the chief mountains of Greece, as well as the name itself of that mysterious people, point to an emigration from India, whence a twofold stream of emigration seems to have flowed. We have alluded above to the one which, under the auspices of the semi-historic Shem, passed through Persia and northern Arabia into Egypt, and adjoined the unhistoric Ham. At a later period, whatever of excellence that transition realm developed passed into southern Greece. The other current, the grandest and most pro- lific of all, passed through Persia, along the Caspian sea, over mount Caucasus, and thence through Thrace direct to northern Greece. The productive tribes, at their first appearance on the LITER AT UKE. 25 horizon, enter upon the prospective stage with the elements of lan- guage, and with this fundamental power eliminated for their use, they were formed into the social compact of progressive humanity. The earliest inventors of the glorious art of writing deserve the most grateful regard. The search after them, and their several stages of discovery, tends to strengthen the view held by many, that the common chronology of history embraces too limited a period ; and that hoary India, at an era anterior to human record, originated the first pictorial system and communicated it to the Chinese, whose records attribute their mode of writing to a foreign source. But the yellow races of the far East are destined to remain still in the dawn : the sun of civilization has never risen suflSciently high above them to give vital growth to any product they have either invented or received. But the old emigrants of Egypt soon reduced their pictorial language to rough hieroglyphic outlines, and then to signs yet more approximating sounds, which laid the founda- tion for European alphabets. Assyria, Babylonia, and Persia, have left us no specimens of their writing, aside from the dubious carvings upon the lofty rocks of Asia. But this "handwriting upon the wall," so long ago inter- preted by the prophet Daniel, is now laid open to general compre- hension, through Layard and Rawlinson, as a most important link in the philological chain. It was indeed strange that when the Egj^tians had broken down the thin partition which separated them from phonetic language, their last monuments should exhibit no nearer approach to it than the first. The cuneiform inscriptions of Assyria render the order of progression perfect, connecting the later achievements in literary research with the previous triumphs of Young and Champollion. We discover syllables at length ; and if on the banks of the Nile, we found a full grown adult, but impo- tent and out of the way, we meet, on the banks of the Euphrates, with a vigorous child, yet imperfect certainly, but actually advanc- ing, and in the right path. Leaving the cumbrous and astute para- phernalia of pictorial and symbolic characters, the speaking signs passed from the arrow-points of Assyria into the flexile and immor- tal worth of the Phoenician alphabet. As soon as this invention had been planted in a neighboring state, the alphabetic system was appropriated by the great leader of the Hebrews, when they re- 2 26 PERICLES. turned to the land of their fathers, and became neighbors to the Phoenicians. Certain modifications supervened, adapted to their political and religious institutions ; but the original names of the signs which constitute the Hebrew alj^habet, strikingly prove their derivation from a hieroglyphic system, and indicate clearly a pic- toiial origin. Moreover, the first allusion to writing in the books of Moses is to tjie tablets of stone, " after the manner of a signet," by which we may understand engraved writing, like that of the Assyrian cylinders, or scales. If the Shemitic tongues exhibit undeniable proof of their being derived from the western part of central Asia, the Indo-European languages present no less evidence of the gradual extension of these races from the eastern part. The Shemitic tribes never extended into Europe, except by temporary excursions. With the exception of Armenia, they have not lost ground in Asia, and have, from the beginning, peneti*ated into Africa, where no traces of Japhetic ori- gin are discernible. Of Shem, the Arabic, Aramaic, and Hebrew are the three great monuments. Japhet nationalized the Sanscrit, Persian, and Greek, with all their descendants, the languages of beauty, power and progress everywhere. In early Greece, a purely Egyptian element was planted by Cecrops, a native of Sais, in the Delta, but whether he was a native Copt does not appear. He migrated b.c. about 1550, and mar- ried a daughter of the Pelasgi, so it is not hkely he introduced any of his own language. The same may be said of the colonist Da- naus and his family, though he, as brother of the king Sesostris, was doubtless of unmingled Egyptian race. A much stronger ele- ment must be accounted for in the Phoenician immigration of Cad- mus, and the constant intercourse kept up by that people with con- tinental Greece. Crete should be regarded as the stepping-stone on the auspicious high way, the first amalgam wherein Egyptian, Pelasgic, and Phoenician ci^yilization mingled, and, when properly blended, was transferred to the main land. Then came the purely Japhetic element, and gave tone and character to all. That great genius of Hellas, whose name has perished like that of the inventor of the plow, but who lives enshrined in the most intellectual of all monuments, worked upon this eastern element as he did upon every other capability submitted to his inventive and intellectualiz- LITERATURE. 27 » ing power. He rendered tlie limited alphabet of Shem universal, eliminating the signs for harsh, guttural sounds, and by preserving those which were rejected, in the series of the numerals. The twenty-two letters of Shem became the twenty-four of Japhet, and thus, by their combined energies, a philosophical alphabet was pro- duced, at once the aggregate of all Asiatic idioms, and the guar- anty of all European culture. It was the receiver and transmitter of the most noble treasures ever garnered in the realms of intellect and emotion, a pure medium for the investigating faculty of the senses, as well as the mightiest weapon for the plastic and vitaliz- ing power of imagination, the Greeks ever possessed, and which imperishable heritage they have left as the richest gift to coming generations. During thrice ten centuries of the early world, the various orien- tal nations followed in their development an isolated course ; and two vast peoples, the Chinese and Indians, have remained to this day in a totally sequestered state. They are in the same condition of immobility now, as at the beginning of the historical nations, that is to say, only six, or at most seven centuries before the Chris- tian era. Still, India, with its philosophy and myths, its literature and laws, is worthy of special study, as it presents a page of the primitive annals of the world. But before the brilliant rays of the East streamed toward us from Hellenic sources, every thing seemed obscure — as to an explorer of the majestic tombs of Egypt, the farther he advances within, the more is he deserted by light. The first reliable guide we meet, is the art of writing ; and this, so far from being an invention of recent times, reaches back to the most venerable antiquity. The only key to an understanding of the literature of Media and Persia, and in some respects of Greece, is furnished by the languages of India, and especially by that pre- served in the hymns of the Veda, some of which ascend to the remote era of b. c. 2448. A claim to antiquity so great would appear incredible, were it not sustained beyond a doubt by the Assyrian remains recently exhumed. Like the region of its origin, Sanscrit literature is perfectly anomalous, and bears a striking re- semblance to the extinct relics of that vast area over which it passed, to become the parent of all those dialects which in Europe are called classical. 28 PERICLES. • Escaping from the mummified civilization of Egypt and the inflexible East, we strike more boldly into the high road of all im- provement, and observe how rapidly power of every kind passes from Shem to the irresistible Japhet. The continuous stream of humanity moves clearly and with increased speed through a new and broader channel. As Shem was employed to introduce all religions on earth, so is he made to perform the most prominent part in the theological culture of mankind. But conscious specu- lation, elegant letters, and beautifying art all belong to the younger Japhet, whose heroes are Hellenes, and whose mag-nificent progeny are the myriad multitudes of the entire Indo-Germanic stock. Thus, by the light of linguistic research, we descend from the exalted cradle of the human race to the prepared field of their first grand development. As we approximate the sphere wherein all faculties are free, and each element of excellence soars rapidly to its culminating height, a historical unity becomes manifest in language, wisdom, arts, sciences, and the most comprehensive civih- zation. These innumerable facts are no patch-work of incoherent fragments, no chance rivulets flowing in isolated beds, but tributa- ries to one uninterrupted current, correlative proofs of one and the same grand development. Language, the last struggle of the ago- nized age of Ham, the first triumph of the reason of Shem, was the magnificent medium perfected by Japhet, and through which, under the auspices of the Periclean age, universal man might see all his glories simultaneously revealed. Five hundred years before the Christian era, all nationalities east of Athens had perished ; then and there, in consummate literature, we behold God's vanguard on earth. To the Hellenes, the beautiful of every type was revealed. In fullness, exactness, flexibility and grace, the Greek language surpasses all other linguistic forms, and remains the first great masterpiece of the classic world. As we watch the growth of a tender exotic plant, gradually removed to a higher latitude, and at each stage of its matured beauty experience fresh joy, so the phi- lologist watches the tender shoot of the first European tongue as it unfolds under the mild skies of Ionia, passes to the isles of the JEgean, and finally strikes its strong roots in fruitful Attica. In infancy, it was redolent with the fragrance of festive song ; in ma- turity it scattered abroad priceless worth in every style of litera- LITERATURE. 29 ture, art, science and philosophy ; till at last, touched by the hand of despotism, its living beauty faded, but even in death, like Mc- dora, is still invested with the lingering charms of youth. Literature, as we design to use the term, embraces all those men- tal exertions which relate to man and his welfare ; but which, in their most refined form, display intellect as embodied in written thought. The first great original was produced by the Greeks. It is true they received their alphabet and many imperfect elements from the Asiatic nations, but the perfected whole of a national litera- ture was doubtless their own. The Shemite could even excel in the primitive strains of poetry, but the restrictive power of local attachments rendered him incapable of producing any more regu- lar form. That vivid combination of lyric beauty and epic might, the drama, which constitutes a complete representation of national destinies, was entirely unknown to him. The " Song of Solomon," which best represents the mental character of that race, shows that however near the Hebrew mind in its zenith, might approach the higher forms of art, it could not go beyond the ode. Though the elements of all literature, art and science existed in the east, Se- sostris of the old empire was obliged to borrow from Japhetic in- ventors, as Solomon and Hiram did. The geographical position of Athens is worthy of notice. In the march of civilization from east to west, she stood nearly mid- way, and extended her open palm to receive and impart the physi- cal and intellectual wealth of nations. Her people united the hardi- hood of the mountaineer with the elasticity of maritime tribes, and never had a country of such diversified physical qualities, elicited such varied excellences of mind. We look in vain for like eflfects among the colossal monarchies from which the colonists had been sifted, and are led in wonder to contrast the smallness of the coun- try with the wealth of its products. Ranging from Olympus on the north, to Psenarus, her southern headland, Greece extended but two hundred and fifty miles ; while two thirds of that distance would conduct the traveler from the temple of Minerva, on the eastern promontory of Sunium, to Leucadia her western extreme. But if the superfices of that area were insignificant, whereon the dragon teeth were sown, prolific of all inland fruitfulness, its coasts were rich in harbors, from one of which the Ai'gonauts embarked 30 PERICLES. on their romantic voyage, followed in succeeding ages by numerous larger expeditions in successful search after golden gains. The small but glorious land of Hellas lay within the line of beauty, by which, from the first, the uncouth barbarian was separated from the graceful Greek. Coincident with the happy period of the po- litical history of that land, all her mental glories occupy no greater space than the three centuries which intervened between Solon and Alexander, having Pericles for the culminating point. It is necessary that the fullness of invention should precede the refinement of art, legend before history, and poetry before criti- cism. A long period of traditionary wealth existed between the Trojan war and the arts of peace, upon which the plastic spirit of Greece breathed an energizing originality and independence, creat- ing the variety, beauty, and immortality of unrivaled works. The Hellenic race, children of the beautiful, became veritably a nation, in expressing the first great idea of earth, beauty. This entered into all the elements which composed their interior life, as well as outward expressions, and stamped upon all departments a distinct physiognomy. Uncounted millions had roamed the wilds of Africa and Asia, of whom history takes no account, because they matured no idea ; but the true dawn of improvement began at length to appear, and representative individuals stood forth as the aggregate of anterior worth and progenitors of prospective glories. A great age was easily read in a few resplendent proper names. Pericles was the exactest symbol of his age, his character its pro- duct, and his career its historian. His advent marked the close of a heroic period in the sudden meridian of fascinating civilization. For forty years he was the ruling genius of that glorious city which it was the ambition of his life to adorn for exhibition, and crown for command. Each individuality fashioned by Homer, ex- pressed some distinct quality of heroic power, and thereby repre- sents a separate class. Grace characterizes Nereus, dignity Aga- memnon, impetuosity Hector, massiveness the unswerving prowess of the greater, and velocity the lesser Ajax ; perseverance Ulysses, and intrepidity Diomede ; but in Achilles alone, all these emana- tions of energy and elegance, mingle and are combined in one splendid whole. And so the susceptible intellect of Pericles pre- cipitated the world of beauty held in suspense at the period of his LITEEATURE. 31 birth, and laid every element under contribution to nourish his predilections, supply his resources, and consummate the multifa- rious splendors which forever glorify the culmination of his power. Democratic freedom had inspired lyric melody, epic grandeur, and dramatic force : that music of painting, and sculpture of poetry. Tragedy was exclusively created by the Athenian mind, and joined all the other great masterpieces of human excellence as they gath- ^ed in the order of perfection round the Parthenon. With the epos and di'ama came the harbingers of philosophical history, and historical philosophy. At the feet of Minerva, on the magnificat terrace of the Acropolis, as in the Portico, Lyceum, or Garden, the Japhetic thinker sat in masterly scrutiny over the greatest mystery, the mycrocosm man, and his eternal destiny. Dignified achieve- ments had given rise to historic literature, ethical disquisition re- quired elaborate rhetoric, political debate in the midst of inflamed parties necessitated persuasive speech, and Pericles arose the master of every art. Like the golden lamp, which the exquisite skill ot Callimachus hung in the national temple, and which was fed once a year, the great Athenian saw kindled in his age a pharos of lit- erary splendor which v/ill be the genial guide and model of all masters so long as time shall last. Then did thought begin to throb and glow with ardent aspirations. Indian, Egyptian, and Persian works only attest man's power over the dullness of materialism ; but Greece demonstrated his sovereignty over the might of intel- lect. The East was grand, impressive, awful ; this fair metropolis of the West as infinitely better than all that, she was beautiful. In Athens was exhibited more than power, or genius coarse and unfettered by the instincts of elegant taste ; her ornaments were pure, her magnificence serene. For grace, symmetry, and loveli- ness, we must look for the best models amongst that wonderful people who still remain in the great past, a centre of literary glory above all competition; from whose poets we derive our best ideas of the beautiful and sublime ; from whose artists we copy the eter- nal rules of taste ; and from whose orators we catch the high pas- sions which most thrill the human breast. Such, in general terms, was the age when Pericles ruled in the first of cities, not by the «]iegrading arms of mercenaries, but through the magical influence of genius and talent. 32 PERICLES. From this comprehensive survey, let us descend to a more spe- cific notice of the superior luminaries in that great constellation, as each shines in his appropriate sphere. And first of all, let us contemplate the blind old minstrel we dreamed of in our child- hood, who sang on his way six and twenty centuries ago, and his songs are echoing to the nations with unrivaled enchantment still. Homer was the encyclopaedia of civilization in his time. He fertilized antiquity to such an overflowing extent, that all the parent geniuses were recognized as his children, and the richest harvests ever garnered, were accredited to the seed he had sown. The epic of his creation, mirrored traditionary history in transparent song. The minute was depicted, the grand illuminated, and all the glori- ous world of heroic character and romantic scenery moved past the spectator in serene dignity and poetic splendor. The highest utterance was requisite to embody the intensest conceptions, and the Ionic dialect was exactly fitted to both. Language is the indi- vidual existence of a national spirit, the external reason, as reason is the internal speech ; and the purest of idioms sprang perfected from the hps of Homer, as Minerva came completely armed from the brow of Jove. The hexameter therein assumed the freest and most forcible movement possible within the limits of law, and thenceforth epic composition ever remained Ionic in language, measure, and melody. Looking back upon the succeeding age, and its grateful enthusiasm, we need not wonder that a tyi'ant lived in the afiection, and died under the benediction of Greece, for collect- ing the works of Homer in a volume, and his ashes in an urn. The epic and cyclic poets were followed by lyrical writers, and the dramatists of Athens, who flourished cotemporaneously with all that is most admirable in the kindred productions of music, paint- ing, sculpture, architecture, philosophy, and the civil forms of democratic Hfe. Orpheus, Linus, Musseus, and others, the earliest poets of Greece, but of whom Httle is known, indicate the existence of a mass of poetic material extremely antique, which began to be reduced to writing as soon as the Dorians emerg^ed from barbarism and the ignoble pursuits of war. When they awoke to national consciousness, they found themselves surrounded by an enchanted land, teeming everywhere with the fascination of heroic deeds done by heroic men, and the Cadmean Hesiod arose to gamer the LITERATURE. 33 rich harvest in his immortal songs. Subjected to the outer world, and attracted by all that was novel, beautiful, or sublime, the people listened to tales of deified heroes, whose ' devotion and wanderings filled a preceding age with renown, and their own bosoms with de- light. It was thus that popular legends assumed by degrees an epic dignity, or by more flexile art were perfected into the beauty of festive airs. But into whatever mold the golden current w^as cast, the narrative remained clear, impassioned, varied, minute, as the taste of the age and eagerness of listening multitudes required. Thus Homer and Hesiod were as truly legislators and founders of national polity, as Moses and Zoroaster had been in their respective spheres. The earliest patrons of literature, were the Peisistratidse who endeavored to supply the general want of books, by inscribing the select passages on columns along the public streets. All that was most valuable and attainable, such as fi^agmentary laws, proverbial sentences of wise men, fables of ^sop, verses of Simonides, to- gether with the lyiic poets and tragedians of primitive times, Theognis and Solon, were collected in the library which they were the fii'st to found. By the same conservative foresight. Homer was arranged in continuous form, and superseding the foregoing Kterary world, became the foundation and source of a better one already begun. Archilochus, memorable as the inventor of Iambic verse ; Ter- pander, celebrated for his exquisite talents as a musician ; and Ster- sichorus, of whom a few beautiful fragments remain, bring us to the consideration of that more renowned trio, Sappho, Pindar and Anacreon. The latter was a voluptuary, whose luxurious pictures might please the sensual, but contained nothing beautiful or sub- lime. Pindar was cotemporary with ^schylus, and senior to Bacchy- lides, Simonides of Ceos, Alcman, and Alcseus, all of whom he ex- celled in lyrical excellence. Corinna, his famous teacher, beat him five times in musical composition, the fair rival perhaps triumphing by personal charms, rather than through poetical superiority. But in the highest order of his art, Pindar was almost always declared supreme. He had a particular regard for Pan, and took up his abode contiguous to the temple of that deity, where he composed 2* 34 PERICLES. the hymns which were sung by the Theban virgins in honor of that mystic emblem of universal nature. This Theban eagle, whose pride of place is still undistm-bed in the Grecian heavens, dedicated his chief odes to the glory of the Olympic games, when the selectest aspirants of a mighty nation joined in the competition for prizes awarded there. Saj^pho, it would seem, was endowed with a soul overflowing with acute sensitiveness, that glorious but dangerous gift. Her hfe, as indicated by the relics of her composition, was a current of perpetual fluctuation, like a troubled billow, now tossed to the stars, and anon buried in the darkest abyss. " To such beings," is the remark of Frederick Schlegel, " the urn of destiny assigns the loftiest or most degrading fate ; close as is their inward union, they are, nevertheless, entirely divided, and even in their overflow of harmony, shattered and broken into countless fragments." Few relics of her harp remain, and these are borne dow^n to us on the stream of time, imbued with the lofty tenderness of cureless melan- choly. She was of that old Greek temper that wreathed the skel- eton with flowers, and to her might be applied the legend which testifies that the nightingales of sweetest song were those whose nests were built nearest to the tomb of Orpheus. The early lyrics of Greece were productions full of wonders. They glowed with the hues of that orient of their origin, and where all forms appear in purple glory ; each flow^er beams like a morning ray fasteaied to earth, and eagle thoughts soar to the sun on golden wings. Each style of national poetry grew gracefully and erect, like the palm- tree, with its rich yet symmetrical crown ; and while in broad day it was fairest to the eye, even in gloom it bore nocturnal charms, as glow-worms illuminated the leaves, and birds of sweetest note perched on the boughs to sing. Passing from the fervor of youth to the reflection of maturity, the epic muse retreated before the lyric. Plants of a richer foliage and more pungent perfume sprang up in the garden of poetry. Language more compressed and intense was required, and the -^olic and Doric became the appropriate organ of the latter, as the Ionic had been of the former style. In the Attic era, the partial excellence of earlier times became fully developed under the focal efi"ulgence of universal rays ; and, as the altar of Vesta imited all LITERATURE. 35 the citizens of tlie same town, the crowned champions in every department of letters gathered under " the eye of Greece," and paid tribute to the age of Pericles. Then each leading writer, called to conserve all antecedent worth, lived on the capital amassed hj unskillful predecessors, and with innate facility wrought it into the continuous chain of human improvement, Not in the colossal and impracticable shapes which float in the mists of the hoary North, was this majestic style of literature produced ; nor in the florid barbarism of the effete East and South, but with that profound feeling and piercing expression, elegant and forcible as an arrow from the bow of Ulysses, was it inspired with that lofty spirit of endeavor which leaps evermore towards the azure tent of the stars. If the car of the hero sometimes kindled its axle to a fliame, as it neared the goal, his eye was yet undazzled, his hand faltered not on the curb, but the greater the momentum, the firmer was his grasp. So with the Greek poet, every thing was sohd and refined, harmoniously fitted in the several parts, and superbly burnished as a whole. Though from the day of their becoming nationalized, the Greeks possessed vast stores of unwrought material, yet was jjothing needlessly employed. They enhanced the value Of their products by condensing their worth. What Corinna said to Pind'ar, who, in his youth, showed some inclination to extravagance, " That one must sow with the hand, not with a full sack," illustrates the jjational taste, and exemplifies a principle which pervades their en- tire literature. While always earnest, they never violate decorum, but in the greatest extremes of joy or grief, their heroes, like Po- lyxena, even in death, fall with dignity. It was most natural for the Greeks to symbolize imagination under the image of Pegasus, who bore reins as well as wings. The severity of their taste was yet further indicated by the legend that when borne by this power, Perseus with indecorous temerity flew too near Ol3mipus, he was precipitated by the angry gods, though himself one of their sons. The drama was the youngest and most perfect of Attic creations, and that great cycle of the arts which had an epic origin, naturally returned into itself by means of this. Tragedy was the purest elimination, and its progress may be easily traced. First, a whole populace assembled in some market-place the miscellaneous chorus, or dance ; then the recreation was limited to men capable of bear- 36 PEKICLES. ing arms ; and, finally, the people were separated into spectators and trained performers. The lyric hymn of Apollo blended with dithyrambic odes to Bacchus ; the strophe was distinguished from the antistrophe, and the epode was added ; the dialogue between choragoi and exarchi followed ; and, finally, came the separation of the chorus into these speakers and the choreutse, a distinction as important as the previous one into chorus and spectators. Thus were all the component parts of tragedy completed, before the Per- sian war, when every thing the Greeks did was great and fascinat-* ing, as if created by magic, and their dramatic compositions were the most beautiful of all. The finest genius of a great era always turns toward the highest sphere for exercise, and thus preserves an equilibrium between popular taste and the direction of its talent. When lyrical poetry had transmigrated into choral song, and epic history merged into a dramatic plot and dialogue, the greatest of tragedians extant was appointed to consecrate the union and preserve its worth, ^chy- lus was born at Eleusis, b. c. 525, about the time Phrynichus ele- vated the Thespian romance into dramatic personation, and his advent was opportune to impress upon this department of letters a deep and enduring stamp. With an ardent temperament, early exalted by the fervid strains of Homer, he imbibed, in maturity, the ambrosial influence of the above-named precursor, in company with his senior associate, Pindar, and with him wove thoughts to the lofty music of the dithyrambic ode. Passing through this order of excellence to a still higher range, in the same year Athenian valor lighted the flames of the Persian war at the conflagration of Sardis, the son of Euphorion produced his first tragedy. Pratinas and Choerilus were for a season his competitors ; but he soon dis- tanced them all, and won the ivy chaplet, then first bestowed, instead of the goat and ox, as the most glorious literary crown. At this period the structural skill of the Athenians had greatly improved, and as the celebrity of their drama increased, immense theatres arose on the hill-side, and were thronged by thousands, tier above tier, open to the wonders of expanding nature, em- bellished by the living sun. The JEgean on one hand, and vast mountains on the other, fanned by the breeze and relieved against brilliant skies, were harmonious features which nature accumulated LITERATURE. 37 round the scene. The gigantic proportions of the theatre, and the mighty range of the audience, were fully equaled by the perform- ance itself, when Themistocles felt honored in appearing as chora- gus, and through kindred interpreters ^schylus unfolded the mys- teries of the thrilHng plot. Advancing intellect demanded grand ideal personifications ; and, to meet the cravings of an age which even the perfect epic could no longer satisfy, philosophy passed into poetry, and what Homer had done for more material thought, ^schylus achieved for mind. All the vague mysteries and symbolical ethics of the East were measurably purged from alloy, while their substance was melted into the tortured immortality of Prometheus, and bound to that mount of all literary beauty, the Acropolis. As JEschylus expressed the race and period from which emerged Themistocles and Aristides, Sophocles was the correlative of Phidias, and the great Olympian who was the patron of them both. Indeed, from the majesty of his mien, and the symmetrical grandeur of his genius, he was called the Pericles of poetry. Supreme power lurked in his repose, and his thunders startled all the more because they broke upon the multitude from cloudless skies. Of all the great originals at Athens, the drama was the most in- digenous, and under the culture of Sophocles perfected its growth. Imagination had fulmined with broader and brighter flashes on the preceding generation ; but the works of his hand, though equally fresh from the fountains of nature, were more imbued with reason, and the sohdity of manly strength. The age of Pericles was pecu- harly the age of art ; and Sophocles was but one of many who, to excel in his own department, mastered every cognate secret of wis- dom or beauty, and brought all into subordination to his own absorbing design. He lived at a time when the trophies of Mil- tiades, the ambition of Alcibiades, the extravagance of Cimon, and the taste of Pericles, not less than the science and art, erudition and enthusiasm, philosophy and eloquence, difi'used through all classes of the general populace, rendered the Athenians at once the most competent to appreciate, and the most difficult to please'. Recondite disquisition was a pastime, the Agora itself but a genial academe; so elevated and yet so dehcate were the soul and sensibilities of the excited mass, that the wisest of their 38 PERICLES. sages was justified in asserting that the common people were the most accurate judges of whatever was graceful, harmonious, or sublime. In the growth of a flower there is continued development, visibly marked by successive mutations, but indivisibly connected from beginning to end. Simultaneous with complete maturity glows the instant of consummate bloom, the highest point of fullness, fragrance, and fascination. That splendid culmination in the pro- gressive refinement which adorned and made fruitful the garden of Greece, was signalized by the faultless forms and transparent language left us by Sophocles. The lucid beauty of his works was the chosen mirror of Athens, to reflect internal harmony, and the greatest beauty of soul. The dazzling glories of Greece in general, and of Athens in particular, imbued the great writers with corre- sponding ideas of the greatness of human nature, which they en- deavored to represent in its struggles with fate and the gods. In the Prometheus of JEschylus especially, the wilderness and other natural horrors are made to relieve the statuesque severity of the scene, and are employed, like the chains and wedge, as instruments by which Jupiter seeks to intimidate the benefactor of mankind. But in such delineations as Edipus at Colonus, Ajax, and Philoctetes, Sophocles, in his glorious art, showed a great advancement beyond his predecessors, by intermingling the emotions of human love, and causing the more cheerful sentiments, inspired by lovelier natural scenes, to become important elements, not merely in the imaginative adornment, but also in the dramatic plan. If the Ionic epic was a tranquil lake, mirroring a serene sky in its bosom, and transfiguring diversified charms along its smiHng shores ; the Attic drama became a mighty stream which calmly yet resistlessly courses within its stedfast banks, is impeded by no obstacle, diverted by no attraction, salutes with equal dignity the sunny mead and gloomy mountain shadow, and, after a majestic sweep from its far-ofi" source, mingles its strength at last in the omnipotence of the sea. Thus the highest wealth of refined poetry was preserved in the pure casket of the richest tongue, and the Attic drama was left to man as the master- piece of linguistic art. Sophocles, like the fabled Theban, seems to have built up his elegant fabric with the charms of music ; and if -^schylus first elevated tragedy to heroic dignity, he softened its LITERATURE. 39 rugged strength into harmonious sweetness, and stamped upon the precious treasure the signet of immortal worth. Euripides, hke his predecessors, was a proficient in a great variety of arts, but neither sublime in conception, nor severe in style, as ^schylus and Sophocles had been. But his spirit teemed with splendid and amiable qualities, whose captivating power was highly relished by the age it came to decorate and complete. The ener- getic dignity of the first great master, and the chaste sweetness of his still greater rival, had passed; now appeared one who was indeed worthy of much admiration, but the least divine of the noble triad, whose natural course declined from the elevated cothurnus toward level ground. When Euripides clothed Pentheus in female dress, and exhibited Hercules as a glutton, he showed himself to be the precursor of comedy, that first symptom of literary decline, and thus won the praise of Menander, as he deserved the lash of Aristophanes. The latter, who was his cotemporary, unceasingly castigated his efiemi- nate prettiness, but never attacked the manly elegance of Sophocles, or the gigantic vigor of JEschylus. Agathon, with others of some note, continued for a season to write for the stage ; but in Euripides the forcible and refined tragedy of Greece came to an end. As the nine Muses wept at the funeral of Achilles, so grieved the nations at that mighty fall. There was the wisdom of a deep moral in that Athenian law, which interdicted a judge of the Areopagus from writing a comedy. Until a grosser age supervened, the Greeks were not inclined to scrutinize the ludicrous side of things. The goddess of the Iliad, who warded ofi" the dart from her favorite, was an apt symbol of the Genius of Civilization, throned on the Acropolis, where Beauty, mother of Excellence, threw down her mantle and intercepted the arrows of every foe. Greek farce was often insolent, but never utterly vicious. While Aristophanes portrayed the foibles of town-life with a caustic hand, he ceased not to keep in view a healthful suburb of gardens in redeeming bloom. As Minerva, with precious elixir, concealed the wrinkles of Ulysses, the age of Pericles per- formed well its mission of investing every thing venerable and instructive with the most elaborate charms. All the gentler shapes of fancy that, in the preparatory time, 40 PERICLES. bloomed in the lyrics of Greece, were only flowers unfolding round the aspiring trunk of tragedy, attracted by its superior streng-th, and sheltered by the majesty of its shade, ^schylus, however tri- umphant in the field of martial prowess one day, was the next not less ambitious of poetic garlands at the Olympic games. And Thebes was not more gloriously embalmed in the melody of Pindar, than was Colonos through the art of Sophocles, as her melodious thrush in his verse enjoys a perpetual May. A marked peculiarity of Greek civihzation consists in the fact that literature there led all excellence, illustrated and sustained by the harmonious accompaniment of the sister arts. In the East, each work, whatever its kind, stood imperfect and independent of all beside. But in the best age of the best works in the first lite- rary metropolis, of the West, it would be nearly, if not quite, im- possible to point out a single production that did not refer to the written book, thus furnishing the means of just appreciation, by a comparison with the particular myth or action it was designed to personate. What the wi'iter expressed in words, the correlative artist chanted, painted, sculptured, or built in more material, but not less beautiful forms. The drama most impressively exemplified this fact, using words as a poet, but adding the simultaneous com- mentary of melody, statuesque motion, pictorial resemblance, and architectural grandeur. This was the absorption of the lyric, the personation of the epic, and the consummation of transcendant dra- matic art. Athens was the inventress of learning, and the first great found- ation of republican law. Like the motion of a serpent, which the Egyptians made the emblem of intellectual power, or like the path of lightning through murky air, at each actual advance hu- manity may seem to recede, but every such retrogressive move- ment really accumulates force to carry itself in advance. True, patriotism loves its object to such a degree, that it is ready to incur any sacrifice in favor of those it would benefit, but ceases to be a virtue when it selfishly reclines enamored of its own visage. Nar- cissus was not the type of national benefactors, but the great law- givers of Sparta and Athens were, when they traveled far, and at great hazards, to gather knowledge for the education of their coun- trymen. LITERATURE. 41 The illustrious son of Eumonius was tlie great lawgiver of the Doric race, whose institutions have excited much curiosity, but which are involved in an obscurity too dense to be easily removed. He was one of the very few great spirits of Sparta, and like his co-patriot Leonidas, passed through a dubious path from an obscure birth to everlasting fame. In the light of history, the whole life of the latter, especially, lies in a single action, and we can learn nothing authentic of him until the last few days of his career. In the annals of renown, only one proud page is dedicated to the memory of such men, and that contains nothing but an epitaph. Solon, on the contrary, stands out clearly in the effulgence which under more auspicious influences poured on Attica. He was the second and more successful lawgiver of his race, and also stood pre- eminent among the sages of his land. Success first attended him in poetry, and it was the opinion of Plato, that if he had elabo- rated his compositions with maturer care, they would have equaled the most celebrated productions of the ancients. But the pros- pective good of nations required him to apply the great endow- ments he possessed to moral and political purposes ; and, according to Plutarch, " he cultivated chiefly that part of philosophy which treats of civil obligations." He pursued commerce, traveled widely, and, in patient research, accumulated those stores of observation and erudition which rendered him an honor to Athens, and a great bene- factor to mankind. History, properly so called, originated with the Greeks, and in natural clearness and vivacity, portraiture of diversified incidents and profound observation of man, eminent success was first by that people attained. The great coryphaeus in the prosaic chorus, Herod- otus, has been compared to Homer, on account of his manifold charms and transparency of narrative. The depth and comprehen- siveness of his knowledge, inquiries, attainments, and commentaries on antiquities in general, excite in competent judges the profound- est astonishment. He is called the father of history, as he was the first to pass from the mere traditions which furnished themes to the poets, and gave dignity to didactic prose as an independent branch of literature. Human reason is progressive chiefly by virtue of remembrance and language • hence were the Muses beautifully represented as be- 42 PERICLES. iug the daughters of Memory, the only power through which, in the infancy of letters, the liarvests of thought could be garnered and preserved. The first national annals were cast under the pat- ronage of the fair Nine, but the Muses of the great Dorian turned to the Ionic dialect as their most fitting vernacular. The civiliza- tion of Greece was the first that was unfolded by a natural growth, and its crowning bloom appeared only when every other portion of the wondrous plant had become perfectly matured. It awoke like a joyous infant, under the fairest heavens, and was nourished by all beautifying and ennobling influences. Its life was led apart from exhausting drudgery and effeminate ease, among fair festivals and solemn assemblies, full of healthful exhilaration, innocent curi- osity, and confiding faith. Pindar preferred the Doric dialect to his native ^olic, in which many had sung. Like the other leaders of his race, he imitated his predecessors in nothing, but by invent- ing ; he employed the form demanded by the nature of his art, and chose the language with certainty and care, which refused submis- sion to the yoke of authority. The principle, that in each realm of art, whatever is accidental should be excluded, was thoroughly recognized in Greece, where even what fell in by accident, as the chorus of the drama, soon became entirely fused into the chief parts of the action, like an organic member of the whole. The singer of the Iliad was born under the sky of Ionia, and he molded his native dialect forever to epic poetry. The thoughtful Herodotus preferred the same language to the Doric, his native tongue, and employed the Ionic, which was just then putting forth its fairest buds of promise. Thus, the epos of history was twin-born with the epos of poetry. The wanderings of Ulysses, the Argonauts, and primitive heroes, embrace the whole extent of the then known or imagined world, the various manners, countries, and cities in- cluded. All these the great annalist works into the rich and varie- gated picture, which, like a moving panorama, he unfolds to the enraptured gaze. Minuteness, likeness, and strength were requisite as the medium of expression, and not in the old Doric, but in the new Ionic, were these found happily combined. Hence, in histori- cal writing with the Greeks, as in every other department of art, we see that wonderful concord between the substance and the form, LITERATURE. 43 that harmony of inward and outward music, which is the first and most indispensable condition of beauty. Up to this period, history had been composed expressly for reci- tal at the national games, and was couched in a rhetorical trans- ition from the preceding poetical form. The minstrel of the Ho» meric banquet became the eulogist of his countrymen before ap- plauding thousands at Olympia ; but now arose another master who foresaw that his work would survive the forms of society then exist- ing, and he aimed not so much for a transient hearing, as to be perpetually read. The Attic Thucydides had listened to Herodotus in the great presence of the nation, and became inspired with an enthusiasm which bore him to the height of superior excellence. He was cotemporary with Socrates, and under Anaxagoras and Antiphon, matured that compressed eloquence which was to com- memorate an age then dawning full of stirring incident. He re- nounced the episodic movement common to his great predecessor, and instead of supplying a pastime for the present, aspired to por- tray universal man, and inculcate profound lessons respecting the Providence that rules the world. Thucydides perfected that form of historical writing which is pe- cuharly Greek, and was succeeded by Xenophon, whose third remove was clearly beyond the culminating point. Polybius devel- oped the idea of universal disquisition, and Dionysius of Halicar- nassus, was honored as the first of historic critics ; but after the fall of freedom, there was little worthy for one either to portray or appreciate. It was in the day of Themistocles especially, the Greeks appear to have been sensible that they were instruments in the hands of destiny, and that their greatness was greatly to sway the genera- tions of all coming time. This national consciousness, increasingly intensified in description and illustration, is strongly impressed on the sententious pages of Thucydides. The theme of Herodotus was a particular war, the Persian, and he treated it as an epical artist. But his acuter successor added philosophical composition to the densest power of combination, and was the first to attempt the analysis and portraiture of character. Thus, as in every other literary walk, the march of historical excellence became most ex- tended and regular at the mighty heart of intelhgence ; on the spot 44 PERICLES. where its origin was* indigenous, its perfection was most splendidly evolved. Though fortune for the moment gave the Spartan, Eurybiades, the nominal command at Salamis, genius predestined the Athenian, Themistocles, to actual pre-eminence over his age, that he might command the remotest sequences of events. Certainly he was the greatest of his own age, and was not soon surpassed. Pisistratus, Cimon, Aristides, and Pericles, were of noble birth ; but Themis- tocles was the first, and, except Demosthenes, the greatest of those who rose from the humblest ranks, but none the less ennobled him- self, while he elevated the common fortunes in his own ascent. His genius alone was the architect of all his grandeur, and drew from Diodorus the exclamation, " What other man could, in the same time, have placed Greece at the head of nations, Athens at the head of Greece, himself at the head of Athens ? In the most illustrious age the most illustrious man." But the age of warlike glory ended with the occasion for its use, and an appropriate link was required between the ostentation of Themistocles and the intellectual sovereignty of Pericles. This was supplied in Cimon, who fostered popular spectacles, and invested them with increased magnificence ; built the Theseion, embellished the public buildings before extant, and originated those classic colonnades, beneath which, sheltered from sun or rain, the inquisi- tive citizens were accustomed to hold civil, literary, or artistic debate. The Agora, adorned with oriental planes ; and the palm- groves of Academe, the immortal school of Plato, were his work. Has hand formed the secluded walks, fashioned the foliaged alcoves, adorned each nook \nth. its relevant bust or statue, and poured through the green retreats the melodious waters of the Dissus, in sparkling fountains, or eddying pools, to rest the weary, and exhil- arate the sad. Thus he more fully realized the social policy, com- menced by Pisistratus, who was the first to elicit diversified talents from the recesses of private life, with the intention of causing all to merge into one animated, multifarious, and invincible public life. The works now written, and the subhme creations of art at this time multiplied, were the first foundation of culture for the futurity of the human mind. It was an age that gave to the world what can nowhere else be obtained. The priceless legacy was produced LITERAT URE. 45 by that wonderful people during the brief period of freedom and undiminished greatness, when their literature was made to fulmine on the capacities of man, and reflect the brightest glory on the principles of democratic polity. Pericles was not less ambitious to aggrandize Athens, than were his more martial or plebeian precursors ; but he well understood the destiny of his race, and knew on what surer foundations to build than aristocratic or regal titles, which, if he had the power to possess, he always afiected to despise. The wider extension of national domain was to yield to the loftier cultivation of the national mind. Obedient to his behest, and in harmony with the popular will, all superior proficients gathered round the Acropolis, a spot too sacred for himian habitations, and, by their united labors, soon rendered it the central glory of " a city of the gods." In his youth, Pericles had known Pindar and Empedocles. He had seen the prison of Miltiades, and turned from a music lesson to gaze after Aristides driven into exile, ^schylus he early loved, and exercised maturer thought with Sophocles, in debates on elo- quence. By Euripides had he been instructed in ethical philosophy ; and Protagorus and Democritus, Anaxagoras and Meton, did he question as to the best rules of state polity. Herodotus and Thu- cydides initiated him into history. Acron and Hippocrates imbued him with a beneficent philosophy ; Ictinus built to his order, the Parthenon, worthy of Polygnotus to paint ; while Phidias set up under the same auspices the tutelary deity of the land, in ivory and gold. Thus trained among a people susceptible and fastidious, that had itself become a Pericles, competent to appreciate, in every de- partment the high excellence they inspired and recompensed, he was the first to mirror to themselves fully, the exalted models after which universal poetiy prompted them to aspire. Themistocles had led them to deeds of daring and enterprise, but the adroit son of Xanthippus soon eclipsed every competitor, even that mighty Cimon, whose extraordinary qualities had prepared the way for his supremacy. The grave aspect of Pericles, his composed gait, the decorous arrangement of his robe, and the subdued modulation of his voice, are dwelt upon by his eulogists, just as if his posthumous statue had been the subject of their comments. It was this close and 46 PE JlIC LES. constant attention to the inner spirit and external expression of all thought, art, and manners, that distinguished the memorable period when the grand style characterized every thing. To use the words of Plutarch : " Pericles gave to the study of philosophy the color of rhetoric. The most brilliant imagination seconded all the powers of logic. Sometimes he thundered with vehemence, and set all Greece in flames ; at other times the goddess of persuasion, with all her allurements, dwelt upon his tongue, and no one could de- fend himself from the solidity of his argument, and the sweetness of his discourse." This was the era of great orators, such as Lysias, Eschines, and Isocrates. Like the shout of Stentor, rousing the prowess of com- rades, who, single-handed, rushed upon embattled armies, clad in iron, so awoke mighty eloquence, which shook impassioned democ- racies, annihilated tyrannies, and fostered all ennobling arts. But the age of criticism came after the age of invention ; Aristotle after Sophocles, Longinus after Homer, the Sophists after Pericles. De- mosthenes was the last great writer whose works were addressed to the Greeks as a nation. His was the genius of industry, always luminous and constantly at work; like that Indian bird which could not only enjoy the sunshine all day, but secured no ignoble resemblance at night, by hanging glow-worms on the boughs about its nest. Demosthenes was a great orator, and nothing more. He represented a period of civilization which had passed, and therefore his downfall was ine\dtable. So long as the democratic spirit per- vaded the masses he performed prodigies in the tribune ; but when the empire of beauty was about to be displaced by the empire of force, he ran away at Cherronea, and without dignity. The elo- quence of a great nation, expressed in Pericles, was succeeded by the Phillipics of a great partizan, and when this was silenced, the age of its origin had closed. Pericles was the first to commit his speeches to writing before they were delivered ; and, in liis pride of universal accomplishment, he signalized the zenith of his country's glory and its decline. In all the progress of Greece up to the splendor of her culmination, originality was sought and exemplified only in some one grand pursuit. The epic bard was not ambitious of rending the ivy des- tined to adorn the brows of lyric poets ; nor did the master of LITER ATUKE. 47 tragedy, with unlaced buskin, stride carelessly over Thalia's stage, to lay iri'everent hands on Homer's harp. The historian, studious in private to portray the annals of his country, came not to the Agora to contest honors with the puWic orator ; nor did the latter, with foolish ambition, endeavor to excel the sages who, in the Por- tico, at the Lyceum, or under plane-trees on the banks of the His- sus, explained the problems of the universe ; but each one made s.ome exalted endeavor the speciality of his life, on it concentrated all the rays of his intellect, and scorned no measure of time or toil requisite to insure absolute perfection in his work. Thoughts so elaborated became never setting stars, to cheer the world, and point unerringly through the cycles of a corrupt taste to ideal excellence. As each growth, minute or majestic, was equally perfect of its kind, though differenced by peculiarity of form and tints, the whole was charmingly blended in that wreath of consummate beauty, which, in the age of Pericles, Greece hung round the constitution of the state, high on the central shrine of the most magnificent temple of her gods. CHAPTER II. A KT . Architecture is tlie metapliysics of the fine arts, and should be made the basis of all researches in this department, since it is the oldest and bears the most comprehensive t3rpe. It teems with the oracular inscriptions of entombed empires, and either affords infor- mation where other testimonies are silent, or confirms the facts which more dubious history asserts. Within its ruined temples yet linger the echoes of cycles long since departed, and which symbolized on their track the mightiest imj^ulses of emulative na- tions in those monuments which inventive genius, coalescing with constructive skill, stamped with the attractions of beauty and strength. Egyptian civilization was thoroughly exclusive, and possessed no disposition to diffuse itself. On the contrary, the Indo-Germanic race rapidly assimilated surrounding nations to itself, and with that energetic spirit of propagandism which was its primary element, made the reservoir of its accumulated worth the fountain of all subsequent culture. The great Surya people of northern India are supposed to be the original Cyclopceans who reared the gloomy grandeur of Egyptian Thebes, and the magnificence of Solomon's temple, who constructed the Catabothra of Boeotia, drained the valleys of Thessaly, constructed the canals of Ceylon, and left the venerable walls of Mycenae on their westward course. The monuments of the East attest the unreasoning submission of thousands to despotic power, and teem with the reminiscences of gloomy superstition, but both in outline and execution, the spirit of the beautiful is wanting. Vestiges of Assyiia, like an earlier Pompeii, have lately been disinterred, and we are permitted to look upon, perhaps, the identical figures on which the prophets gazed. ART. 49 and which so moved Aholibah, when "she saw men portrayed upon the wall, the images of the Chaldeans portrayed with vermil- ion, girdled with girdles upon their loins, exceeding in dyed attire upon their heads, all of them princes to look to, after the manner of the Babylonians of Chaldea, the land of their nativity." Ezek. xxiii. 14, 15. Persian art, judging from what has recently been brought to light, combined much of Egypt and Assyria in its man- ner. The types of wisdom and power, and even the Persian alpha- bet, were of Assyrian character. The temple which the monarch of Israel dedicated, and his de^ votion enriched, owed its artistic attractions to Tyrian sldll. The descriptions of these preserved in the archives of Judea, clearly vindicate the justness of Homer's representations respecting the precious metals of the East, and the progress there made in orna- mental art. Even females could divide the prey : " To Sisera, a prey of colors of needle work on both sides, meet for the necks of them that take the spoil." Judg. v. 30. Of such, the treasury of Priam was replenished, and Sidonian artists were not less expert, Helen embroiders a picture of a battle between the Greeks and Trojans ; Andromache transfers flowers to a transparent vail ; and Penelope weaves a web of pensive beauty, honorable to the hand of filial piety, to grace the funeral of Laertes. Many evidences demonstrate that the whole of Greece, from the era of the sup- posed godships of Poseidon and Zeus, down to the close of the Tro- ^*an war, was Indian not only in language and religion, but in all the arts of war and peace. The discovery and use of metals hold the first place in the his- tory of human progress, and in the momentous origin of the mur- derous sword, we have the first of inventions. The fratricide Cain fled to central Asia, the cradle of ambitious conquest, and there hereditary classes, trades, and arts arose. Thence descended east- ward, the nomadic tribes who still wander amid the va?t remains of the primitive mining operations of the oriental world. From the more amiable Seth, the patriarchs of peace emigrated in another direction to people cities, foster science, promote writing, and trans- mit sacred traditions on durable monuments of stone. The strug- gle of contrasted races is the leading subject of all history, and its primary development lies between the passion shown by one for 50 PEEICLES. war, and by the other for more peaceful arts. Moab, AmmoD, Bashan, the giants of barbarism, have ever moved westward in ad- vance of the vanguard of civilization, and been vanquished thereby. The infancy of Greek art was the infancy of a Hercules, who strangled serpents in his cradle. However superior as to intrinsic worth, it must be acknowledged to be an offspring of Egypt. As we have seen in western literature, a kind of hereditary lineage connects it with the East, and this is attested by evidence too pal- pable to be denied. Native elements appear to have combined with foreign art in Assyria ; but Nimroud and Karsabad prove that the style of that intermediate region, at a certain period of its de- velopment, was directly derived from the valley of the Nile. The Assyrian types of art furnished Lydia and Caria, probably, with improved elements, from whom the Asiatic Greeks obtained the means of advancing toward that high excellence which the most re- fined race was destined to achieve. The earliest proofs of their skill come to us on coins, and that the Lydians were the first on earth to excel in that kind of work. Homer distinctly asserts. But wh^ilQ an Asiatic origin must be assigned to all the arts of Greece, it should not be forgotten that the Hellenic organization alone per- fected each and every department with that exquisite refinement which no other people has ever been able to attain. Their wonder- ful originality is indicated by the fact, that their very earliest coin^ possess in their embryo state, the germs of that beauty and sub- limity which afterward were realized by the greatest artists in their grandest works. In the smallest seal, as in the most colossal form, the charming simplicity and repose prevail, which forever mark the leading traits of the Attic mind. Coins made of gold in Asia, preceded the silver coinage of Athens, but even in this earliest im- print of archaic skill, we see rudely executed all that which sub^- quently characterized those groups of Centaurs and Amazons th3i enriched the metopes and pediments of the Parthenon. When compared with Indian and Egyptian remains, the Persian column must be considered as presenting an approximation to ^he perfect form, and yet it lacks that purity of taste, that refined sifid chastened intellect, which distinguishes the works of Greece. The lotus and palm, were indeed imitated at Cai'nak and Persepolis, but Athens saw the acanthus and honeysuckle sm'mount shafts of manly AET. 51 strength with amarynths of beauty such as the East never knew. India excavated the cell, and Egypt quarried the column ; then came Greece to perfect the entablature system, and add that crown- ing glory, the triangular pediment. The three orders in their suc- cession, exhausted every realm of invention, and perfected structu- ral types unsurpassed by human powei^s ; and while the mechanical principles remained identified with the most unadorned Cyclopean gateway, or rudest cromlech, an exquisite system of ornament em- braced every feature, and refined all into consummate dignity and elegance. All the institutions of Greece bore the impressive signet of national character. In government, dialect, and invention, despite minor differences, there was a general uniformity which rendered them distinct, not only from Phoenicians or Egyptians, but also from the kindred inhabitants of Lydia, Italy, and Macedonia. Though at the beginning germs were derived from the East, it is not less true that at the time of ripest maturity not the least tinge of foreign influence was discernible in their literature, politics, religion or art. Grecian architecture, especially, like their poetry, was the natural expression of the national mind. It was influenced by the peculiarity of the land in which it originated, and was more than national ; it was local, bom under the sky of Hellas only, and in no colony did it ever attain the comprehensive beauty which signalized the city of its birth. Sparta might boast of the hard bones and muscles of well-trained athletes, but grace and beauty never entered her walls. The Athenians borrowed materials and suggestions from diverse sources, but their skill was entirely their own. They invented all the component parts of classic architecture, the proportions, characters, and distinctions, with a corresponding nomenclature by which each order and every ornament is still designated. Symmetry, proportion, and decoration ; the soHdity and gracefulness of nature, reUeved by historical sculpture, and illuminated by chromatic splendor, with the perfection of reason interpenetrating and presiding over all, constituted that perfect model of noble simplicity which always attracts and never offends. The Dorians produced the first pure architectural style, and carried it to the highest perfection, without any assistance from the fallen palaces of the Atreidse. The -^schylean majesty was the highest 52 PERICLES. conception of even that extraordinary people. The Parthenon was the noblest production of the noblest masters, and should be accepted as the highest exemplification of the national skill. The order of columns at Persepolis seems to be the proto-Ionic, as certain pillars have been supposed to be proto-Dorics, but neither, in fact, deserve, in the slightest degree, that admiration which belongs legitimately to those honored names. The temple of the Ilissus was the most ancient monument of the true middle order, and was a significant prelude to those more glorious works destined to immortalize the administration of Pericles when freed from the rivalry of Cimon, the restraints of the Areopagus, and the opposing aristocrats. Within twenty years all the grandest works were executed, and then the point of culmination in that lovely land was forever passed. Of the three orders perfected by the Greeks, the Corinthian would appear to be the most entirely original, and, at the time of its invention, the exactest symbol of their mind. The flower had fully bloomed, and decrepitude was already begun. They could no longer adequately execute the Doric order, with its integral sculp- ture and painting, and had ceased to be satisfied with the chaste gracefulness of Asiatic volutes. They began by raising the honey- suckle from around the necking of the Ionic capital, and extended it over a vase-form under a light abacus, intermingled with a few rosettes, but omitting altogether the volutes. To this was after ward added the Persepolitan water-leaf, and finally the crisp acanthus of Attica gave a rich variety to the order, which consti- tutes its crowning charm. The choragic monument of Lysicrates is the only pure type of this style ; and if sculpture and painting must be banished from architecture, this is, doubtless, the most beautiful order extant. Architecture expresses the difference among races, as language does the variety of dialects. The Dorians built in the same style that was employed by Pindar, ^schylus, and Thucydides in speech. The simplicity and elegance of the lonians are exemplified in their temple graces, not less than in Homer's matchless verse, and the smooth rythm of Herodotus. The Corinthians, refined to effeminacy, were the last architectural inventors in the old world, and they stamped upon their production the delicate luxuriance which AKT. 53 characterizes the language of Isocrates. The opposing principles of Dorism and lonism which prevailed in all the institutions of Greece, politics, literature, customs, and art, were boldly embodied in sculp- ture and architecture. The former came from Egypt, and the latter from Asia ; but both were alike indebted to western genius for the refined symmetry which their respective orders finally assumed. The zenith of perfection was not reached until the Doric influence w^as impregnated by the Ionic, the material by the spiritual, and Corinthian delicacy was born to perish in the grave of its exhausted parents. Egyptian sculpture was the archaic state of Greek sculpture, as is clearly indicated by specimens yet extant. The types of the Nile, which remained unchanged through many centuries, were no sooner transferred to the Hissus than a wonderful improvement suc- ceeded. The remains of the temple of Jupiter in ^gina show the metamorphosis of the uncouth East into the refinement of the West in the very act of taking place. The heads of the figures are Egyptian, according to the prescriptive sanctity of priestly rule, heavy and immobile ; but the limbs are detached, and move with the natural freedom of Greek taste. The conservative East regarded innovation as destructive of the divine, while the progressive West - sought for near approach to divinity in increased perfection. Hence the figure of Minerva on this edifice, the central one of the pediment, is more oriental than the rest, as if less liberty should be taken with the personal image of a being fully divine ; but this hereditary scruple was soon overcome, and, in direct contrast with Egypt, Grecian deities became most celestial in form. The progress of perfected sculpture was striking and continuous. The Herma w^as the first step in true statuesque art, when the Greek placed a human head on a pillar by the w^ayside, fashioned after the proportions of the human form. Then the resemblance of life extended to the loins, preparatory to that further realization when the bust spread vital beaut}^ and activity throughout every speaking feature or graceful limb, rendering the statue complete. Last of all came the associated group, simultaneous with architectonic perfec- tion, to which it added manifold charms. Then was the memo- rable era when the images of gods and heroes possessed not less truth and majesty than if the divinities had themselves sat for their 54 PERICLES. pictured or sculptured portraits ; and all this resulted because art had become the greatest national activity, and the entire nation was merely a transcend ant artist. In a chronological review, the ancient monuments of Asia and Egypt must be considered before those of Greece ; but the true history of art, in its continuous development, as in every other civilizing power, began alone with that sagacious people. To the last, the East retained in its sculpture those sym- bolical images which are utterly destructive of elegance in imitative representations ; but the West soon emancipated itself, and came step by step to ehcit from marble perfected human features under the attitude and aspect of divinity. Therein is most clearly traced the mysterious symbolism of the inner mind of that people. The reaspn and imagination of Greece were poured with profusion and power into artistic creations, and the faculties from which these works sprang are in turn most forcibly addressed. Like excites like ; and if ancient sculpture shines on, through all time, with inextinguishable beams, it is simply because the original creation transpired under the transmuting and glorifying influeuce of impas- sioned thought. Supremacy in art among that people was not an accidental inspiration of a few artists, but the predominant spirit of the age and great heritage of a race. Their language was the first organ of speech thoroughly eliminated, and art, its correlative, was the highest material medium of mind. The mystery of the human form was accurately conceived by the Hellenic genius, and thus the mythological Sphinx, whose motto is Man, which had ever been inaccessible to the race of Shem, was by Japhetic intellect clearly revealed. In her most glorious days, the sumptuous temples of Athens, amid the elaborate graces of their moldings, the living foliage of their capitals, and the multiform friezes whereon Lapithae and Centaurs exhibited the most impressive action, did yet preserve the same outline of simplicity with which the wooden hut of Pelasgus was marked. In consequence of the excitement, surprise, joy, and glory of their first conquest over the Persians, the Greeks developed all their en- ergies, and the brief period of their highest excellence terminated soon after the final triumph over that great foe, so inseparable is national enthusiasm from exalted perfection in art. The Parthenon and Propylfea were trophies of Marathon and Salamis, monuments ART. 55 of past success, and pledges of future progress. Tlien supreme hoindge was paid to superior talent ; and popular admiration, as pro- found as it was general, gave birth to those masterly productions jts pantings deserved. The same combination of boldness and gentleness which constitutes the very essence of classic literature, imparted its peculiar expression to the plastic art of Greece. Both, in their best days, were equally imbued with that lofty impulse which aiitique traditions excited, and the national genius was most ambitious to perpetuate. The Persians brought marble with them, intending to erect a memorial of the anticipated victory, which their conquerors appropriated, and commissioned Phidias to cut it into a statue of JSTemesis. Such was the destiny of all oriental elements, and the use made of them by the valiant genius of occidental re- publicans. When the first great battle of opinion had been won, y^and the Persian, like the Mede, was overthrown, a few years of act- ii;^»freedom produced more of civilizing art, than had been gener- ated under the pressure of whole centuries of despotic repose. The art of the first Pharaohs, as well as that of" the last Ptole- mies, is brought down to us in well preserved reUcs, smd by means ofc these, at a single glance, we can survey a boundless historic pe- riod, during which, in the first progressive land, civilization had passed from the lowest to the highest point ; from the Pelasgi to the Parthenon, from the wooden v/orks of Daedalus to the marble glories of Phidias ; from the fabulous Orpheus, and mythological Amphion, to Homer and Sophocles ; in a word, from Cecrops to Pericles, But on the Nile, beyond certain ignoble and arbitrary types, sculpture never advanced. Daedalus is reputed to have been the first statuary in Greece, but he was more of a mechanist than sculptor^ the architect of labyrinths, carver of wood, and inventor of wings. He was the countryman and cotemporary of The- seus, equal to that hero in the adventures of his life, born of a royal race, admired for his works while living, and honored by the Egyp- tians with a special chapel after death. About two centuries later, appeared DijxEmus and Scyllis. They were born in Crete, under the Median empire, but worked at Sicyon, and made statues of Apollo, Diana, Minerva, and Hercules. They were the fii"st to use the white marble of Paros, and gave to each divinity a peculiar personal ap- pearance so entirely distinct, as to cauge the offensive symbohsm of 56 PERICLES. preceding art to be laid aside. The slow progress of sculpture may be further traced, until a single mighty master raised his profession to a height, of which the world had entertained no previous con- ception. The Greeks could produce beauty without meretricious ornament, delicacy without affectation, strength without coarseness, and the highest degree of action without the slightest disturbance of equilibrium. Proud only of progressive invention^ they preserved their first rude monuments side by side with their later master- pieces, and appealed to this aggregate as the true archives of no- bility, their highest credentials to glory. The plastic sense, which usually disappears with the infancy of nations, was fostered to the fullness of adult perfection among this people. Whatever of beauty real objects supplied to their hands, the inspiration of fervid genius transfigured into the most beautiful idealized forms. As was said by one of their number, the higher nature of the divinities passed into the arts ; and we have reason to believe that sculpture especi- ally, did wear a celestial aspect in its representation of glorified heroes and the highest gods. The law which Plato long after pre- scribed to artists, seems to have been instinctively observed from the earliest era, " that they should create nothing illiberal or deformed, as well as nothing immoral and loose, but should everywhere strive to attain to the nature of the beautiful and the becoming." Latent v^orth doubtless lay imprisoned in the uncouth sculpture of the East, but it was only when moved westward, that the fair prisoner was set free ; like Aphrodite, born without a pang, in the enfran- chisement of the sea, and landed on the blooming shore of Paphos, redolent of spontaneous charms. Homer, and the other poets, as they were the fountains of all other elements of culture, nourished also the plastic sense in the common mind. From the tragic writers, especially, emanated a world of sculpture, so that nearly all the great spirits generated in the regions of fable, were happily embodied in substantial art. Hipparchus, a few years before the birth of Phidias, formed the first public library at Athens, and placed therein the complete works of Homer, Hesiod, Sappho, Anacreon, and Simonides. The public games were not less favorable in their influence on plastic art. They were great artistic congresses, wherein each department was exhibited for the special benefit of itself, and in regular succea- ART. 57 Bion ; just like various pieces of music at a modern concert, without discord between them. Not only in the popular poetry, but in the public manners as well, was manifested that refined grace and equa- nimity between excessive freedom and coarse formality, which was embodied in sculpture as its highest form. The second desire of Simonides, was, that he might possess a handsome figure, and the gymnastic exercises customary in the healthful serenity of his native land, did much to realize the wish. The most eminent men in their youth, sought renown in the development of natural qualities, and thereby laid a substantial basis for the magnificence of ac- quired accomplishments. Each successful competitor was honored with a statue of the highest order and most perfect resemblance. Hieratic models were utterly discarded, and not only was the real portrait preserved, but also the very attitude in which the victory was gained. Even horses which had borne off prizes, were repro- duced by the exactest imitative skill, and all the most natural forms were elevated to that ideal of perfection which constituted the models af excellence, and the best incentive to yet higher improve- ment of surpassing worth. We have observed that Hermes were the first sculptured produc- tions of Greece. These most abounded at Athens, where, for a long time, the word Hermoglyph was the only term in use to designate a sculptor of any kind. But soon after the Persians had despoiled that city of her ancient monuments, she acquired immense resources, by which, under the guidance of superlative taste, she soon arose to be the head of the national confederacy, and most splendid abode of art. Architects and sculptors, painters, lapidaries, and w^orkers in precious metals vied with each other in adorning the lettered empress of earth and sea. The monuments of Ictinus, Phidias, CaUicrates, and Mnesicles arose, surrounded with kindred glories, thenceforth to become master-pieces for the emulation of mankind. What was especially needed, was something that would mold all surrounding elements of beauty into one perfect and homogeneous whole, like the unity of diversified expressions in the opera, and this was gloriously realized in the perfected temple. Appropriate material was quarried from Paros and Pentelicus, which when wrought into graceful and sublime forms, stood on the terraced height in serene majesty, and glowed through the sparkling atmos- 3* 58 PERICLES. pliere with enhanced splendor borrowed from harmonized colors and burnished gold. In Greece, history and art from the beginning, were closely allied. The breastplates, helmets, and shields, as well as altars, temples, and tombs, were all made to glorify an honored ancestry, through the blandishments of material art. Homer and Hesiod brightened the dawn of national renown, as they sang the artistic triumphs of Vulcan, embossed on the weapons which Her- cules and Achilles bore. The arcades of nature, and the canopied walks which architecture so magnificently provided, were trans- formed into vast galleries, all aglow with brilliantly harmonized tints ; and a wanderer the most remote from the metropolis, still found the annals of his country embodied in marble, and each great personage strongly characterized by the sculptor's chisel. Every subordinate democracy had its Prytaneum, Odeon, Pnyx, Gymna- sium, and Theatres ; and when Athens usurped pre-eminent control, her citizens were proud to erect public monuments worthy of her ambition, and whose dazzling magnificence should reconcile the other states to her supremacy. So greatly was this the passion of the people themselves, that when Pericles proposed to exonerate them from debts incurred by the immense works of his adminis- tration, if he might be permitted to inscribe them with his owj). name, the proposition was rejected at once, and every responsibihty was cheerfully accepted as their own. Phidias was an Athenian, the son of Charmidas, and cousin to the distinguished painter, Panaenus, whose associated skill he em- ployed on several of his works. Doubtless this fact should explain much of his grace of outline, and power of relief. He proved him- self equally successful in the sublime and minute, by turning from the awful majesty of his marble Jupiter to stamp like perfection on the grasshopper or bee of bronze. This ^schylus of sculpture be- gan with works in ivory, continued to develop his power through statues of metal, and finally attained the highest excellence in co- lossal marble gToups. He was born under the full blaze of Grecian freedom, and carried his profession to the loftiest height of excellence, through a knowledge of all the arts and sciences that could enhance its attraction, or dignify its pursuit. He was not only a painter and poet, but was also familiar with the gorgeous fictions of myth- ology, and the more sober records of history, the knowledge of ART. 59 optics, and the severest discipline of geometric science. It is probable that Phidias planned all the works about the Parthenon, and that Callicrates and Ictinus executed the architectural portions, while Alcamenes and other pupils wrought nearly to the surface most of the sculptural forms. But as his genius outlined the gene- ral plan, so his hand imparted the finishing touch to the varied parts. The most marked characteristic of the first half of the Periclean 5ige was placid majesty. Jupiter sat in supreme quietude, with thunderbolts resting in his lap ; Juno reposed on her own feminine dignity ; and Minerva showed supreme power, less through outward impulse than by sovereign self-control, and inward intent. When the highest period of calm beauty was passed, and another cycle ii'rew n^r, full of force, greater excitement is exhibited in corr^ sponding art, and with increased harmony with the changed spirit -it portrayed. Such was Niobe and her children, pursued by Apollo Diana, Gladiators in mortal struggle, and the passionate group <)f Laoeoon. But at the best period no Greek artist would ever in- troduce in sculpture grim Pluto and sad Proserpine, or the monster Cerberus, He loved every thing that was beautiful ; and, instead of damaging the uniform placidity of his -vvorks with such images