11. The above statements merely go to establish the fact, that the choral lyric poetry, chiefly and originally belonged to the Dorians. In what manner this fact is to be accounted for, what were the causes of this phenomenon, can only be explained in a general history of the lyric poetry of the Greeks, a subject at once the most attractive and most difficult which remains for the industry of the present age. In the absence of such an investigation, I may be permitted to offer on that question a few remarks, which the occasion prevents me from supporting with a detailed body of evidence.
In the first place then it will, I believe, be safe to give up the notion that the lyric was regularly and gradually developed from epic poetry. The epic poetry, beginning at a period when the Achæans were yet in possession of Peloponnesus,[1735] retaining till the latest times a peculiar dialect, and continued under [pg 379] its ancient form by Greeks of all races,[1736] does not show any tendency to produce an offspring so unlike itself; and what could be more different than the recitation of a single bard and the religious songs of a chorus? From the time that there were Greeks and a Greek language there were doubtless songs at processions, both at festivals and to the temples, as well as during the sacrifice; and these varying according to the mode of worship and attributes of the god. And in none were they so early reduced to rule as in the worship of Apollo; to which, as has been already shown,[1737] the ancient nomes, the pæans, and hyporchemes, and other varieties of lyric poetry, either in part or wholly, owed their origin. Now since this worship was originally Doric, and its chief temples were always in Doric countries, we can see a reason why in the ceremonial, that is the choral, poetry, the Doric dialect should have preponderated. Its form was, on the whole, originally a Doric variety of the epic hexameter; which was the rhythm of the ancient nomes composed by the minstrels Philammon, Olen, and Chrysothemis.[1738] Their ancient strains, which were sung and danced to, must have been very different from the delivery of the Homeric rhapsodists, a sort of chaunting recitation; for Terpander is said to have first set them, as well as the laws of Lycurgus,[1739] to a [pg 380] regular tune; whereas these ancient religious hymns had such tunes from the beginning; while the mode to which they were set can hardly have been any other than the Doric. The attempt to vary the rhythm probably began by breaking the dactylic hexameters into shorter portions, in order to produce new combinations of less uniform verses, and thus gave rise to the antistrophic form of metre.[1740] A different origin must, however, as is natural, be assigned to the anapæstic military songs; nor can we suppose that pæans and hyporchemes ever followed the laws of hexameters; the pæonian variety must have been earlier than Alcman, who made use of Cretic hexameters. Generally indeed Alcman, however early his age, made use of a great variety of metres; the reason of which probably is, that before his time Terpander had mixed the Greek and Asiatic music; besides which, Alcman had doubtless, from his Lydian origin, an inclination to the eastern style of music; for in this a large portion of his songs, in which the logaœdic metre prevailed, were evidently composed:[1741] he was also acquainted with Phrygian melodies.[1742] But the diversity of his metres was only to express the variety of his muse, which sometimes adored the gods in [pg 381] solemn choruses (in which, when he danced himself, he implored the sweetly-singing virgins to be the supports of his age[1743]), now wrote bridal-hymns and drinking-songs; a sufficient refutation of the notion that life at Sparta was one unvaried scene of gloominess and melancholy; in which town these songs continued nevertheless to be popular until the time of Epaminondas.[1744]
12. If the essence of art consists in investing an idea of the mind with a sensible and bodily form, and this in a corresponding and satisfactory manner, we must certainly ascribe great skill in art to the Dorians, for (as we have before remarked) they delighted more in imitation than in creation or action. This remark applies to the Greeks in general, and particularly to the Dorians, as distinguished from later times; hence the attention of that race to the beauty of form; “Give us what is good and what is beautiful” was the Spartan prayer.[1745] Whoever had enjoyed [pg 382] the benefits of the public education, participated in all that was beautiful in the city,[1746] their whole existence was influenced by a sense of beauty, which was expressed in the most ancient production of the people—in their religion.
We may here be permitted to annex a few remarks on the art of sculpture; and we will curtail them the more, as it does not bear so much upon national manners as music, which formed a part of the education of the people, while the former art was consigned to the care of a few. Although from what we have observed elsewhere, it would be difficult to describe all in the ancient sculpture that was peculiar to the Doric nation, and that originated from them, we may still draw some conclusions from what has been already stated. There was in the Doric character a certain healthy sensibility, and a delight in the unadorned and unveiled forms of nature. That this very much favoured and assisted the progress of the above art is obvious; and that the human form was accurately studied and understood in the Doric schools of art is shown in those specimens of their works which have been preserved. The physical beauty of this race, ennobled and exposed to view by gymnastic[1747] and warlike exercises, gave a right direction to the study of sculpture; and the prevailing religion, the worship of Apollo, by the energy of the figure and variety of the attributes of that god, shows not only the original talent of this people for sculpture, but it was fitted to lead them by a succession of compositions to the highest excellence. On the other hand, we may infer from some of the [pg 383] above remarks, that the Dorians considered the beauty of art to consist more in proportion, harmony, and regularity, than in a superabundance of glitter and ornament; and this is exemplified by the character of Doric architecture. Lastly, hence arises the composure and evenness of mind which so greatly distinguished the Dorians, who anxiously preserved the usages of their fathers as much in the art of sculpture as in music.
Although historical tradition does not extend so far as to prove and verify this view of the subject, still it agrees with all that is characteristic of the Dorians. In the first place then, we know that sculpture was diligently cultivated at an early time in several Doric cities; first perhaps in Crete, the most ancient abode of Doric civilisation;[1748] then in Ægina,[1749] Sicyon, Corinth, Argos,[1750] and Sparta; for that the latter city, particularly at the time of the Persian war, was distinguished by its active pursuit of the arts, has been sufficiently proved in a former part of this work.[1751] Sicyon produced the Apollo of Canachus, of which we have elsewhere endeavoured to give an idea;[1752] and about the same time the Æginetan artists appear to have produced those groups of heroes, the fragments of which are the only sure records which we possess of the peculiarities of that school. For the information which we receive from Pausanias and others goes no further than that in Ægina many statues of the most ancient kind were sculptured, and that a certain hardness of style was preserved there longer than in [pg 384] Attica. The fragments, however, which remain, attest a liveliness of conception, and a truth of imitation, which in many points may be called perfect, and which excite our admiration, and even astonishment. On the other hand, we may remark in the countenances of the heroes, who evidently bear a Greek national physiognomy, though rudely and unpleasingly conceived, that respect for ancient customs which was a fundamental principle of the early times. That this happened at a time when Athens had already cast off every shackle, is a strong characteristic trait of the Dorians. These works, however, possess many other singularities, which cannot be referred to any peculiar disposition of that race.
Chapter VIII.
§ 1. History and rhetoric little cultivated by the Dorians. § 2. Apophthegmatic style of expression used by the Dorians. § 3. Apophthegms of the Seven Sages. § 4. Griphus invented by the Dorians. § 5. Symbolical language of the Pythagorean philosophy.
1. It has been shown in the preceding chapter that the national and original poetry of the Doric race was not the epic, but the lyric; which is occupied rather in expressing inward feelings, than in describing outward objects. If this predilection may be considered as natural to the whole race, it will enable us to explain why history neither originated among, nor was cultivated by the Dorians. For both its progress and invention we are indebted to the Ionians, who were [pg 385] also the first to introduce prose-composition in general.[1753] The Dorians, however, did not always retain this incapacity; for we are told that the Spartans gladly listened to the sophist Hippias of Elis, speaking of the families of heroes and men, the settlements by which the cities had in ancient times been founded, and of ancient events in general.[1754] This naturally suggests the remark, that the Dorians paid more attention to the events of the past than of the present time; in which they are greatly opposed to the Ionians, who from their governments and geographical position were more thrown into society, and interested themselves more in the passing affairs of the day. Hence some of the early writers on mythical history were Dorians, as Acusilaus for example; but the contemporary historians were almost exclusively Ionians and Athenians;[1755] for Herodotus, who in his early years [pg 386] had lived for some time at Samos, and after his various travels wrote his History at Thurii, can hardly be considered as a genuine Dorian.[1756] Nor would it be difficult to account for the entire ignorance of the arts of rhetoric and logic in the Doric states (for the schools of rhetoricians and sophists in Sicily are evidently to be traced to the peculiar character of those islanders),[1757] or to see why the perfection of these, both in theory and practice, as well as that of the regular drama, was left to the Athenians.
2. But instead of the pointed and logical reasoning, and the fervid declamation of the Athenians, the Doric race had a peculiar manner of expressing itself, viz. by apophthegms, and sententious and concise sayings. [pg 387] The object appears to have been, to convey as much meaning in as few words as possible, and to allude to, rather than express, the thoughts of the speaker. A habit of mind which might fit its possessor for such a mode of speaking, would best be generated by long and unbroken silence; which was enjoined to his scholars by Pythagoras, and by Sparta enforced on all youths during their education:[1758] it being intended that their thoughts should gain force and intensity by compression.[1759] Hence the great brevity of speech,[1760] which was the characteristic of all the genuine Dorians, especially of the Spartans,[1761] Cretans,[1762] and Argives,[1763] forming a remarkable contrast with the copious and headlong torrent of eloquence which distinguished the Athenians. The antiquity of this characteristic of the Spartans is proved by the fact of Homer's attributing it to Menelaus,