XXIII. While such was the influence of their religion on the morals and the philosophy of the Greeks, what was its effect upon their national genius?
We must again remember that the Greeks were the only nation among the more intellectual of that day, who stripped their deities of symbolical attributes, and did not aspire to invent for gods shapes differing (save in loftier beauty) from the aspect and form of man. And thus at once was opened to them the realm of sculpture. The people of the East, sometimes indeed depicting their deities in human forms, did not hesitate to change them into monsters, if the addition of another leg or another arm, a dog’s head or a serpent’s tail, could better express the emblem they represented. They perverted their images into allegorical deformities; and receded from the beautiful in proportion as they indulged their false conceptions of the sublime. Besides, a painter or a sculptor must have a clear idea presented to him, to be long cherished and often revolved, if we desire to call forth all the inspiration of which his genius may be capable; but how could the eastern artist form a clear idea of an image that should represent the sun entering Aries, or the productive principle of nature? Such creations could not fail of becoming stiff or extravagant, deformed or grotesque. But to the Greek, a god was something like the most majestic or the most beautiful of his own species. He studied the human shape for his conceptions of the divine. Intent upon the natural, he ascended to the ideal. [61]
If such the effect of the Grecian religion upon sculpture, similar and equal its influence upon poetry. The earliest verses of the Greeks appear to have been of a religious, though I see no sufficient reason for asserting that they were therefore of a typical and mystic, character. However that be, the narrative succeeding to the sacred poetry materialized all it touched. The shadows of Olympus received the breath of Homer, and the gods grew at once life-like and palpable to men. The traditions which connected the deities with humanity--the genius which divested them of allegory--gave at once to the epic and the tragic poet the supernatural world. The inhabitants of heaven itself became individualized--bore each a separate character--could be rendered distinct, dramatic, as the creatures of daily life. Thus--an advantage which no moderns ever have possessed--with all the ineffable grandeur of deities was combined all the familiar interest of mortals; and the poet, by preserving the characteristics allotted to each god, might make us feel the associations and sympathies of earth, even when he bore us aloft to the unknown Olympus, or plunged below amid the shades of Orcus.
