Modern Painters Volume III Part 14

-- 11. It is only farther to be noted, that the Greek conception of G.o.dhead, as it was much more real than we usually suppose, so it was much more bold and familiar than to a modern mind would be possible.

I shall have something more to observe, in a little while, of the danger of our modern habit of endeavoring to raise ourselves to something like comprehension of the truth of divinity, instead of simply believing the words in which the Deity reveals Himself to us.

The Greek erred rather on the other side, making hardly any effort to conceive divine mind as above the human; and no more shrinking from frank intercourse with a divine being, or dreading its immediate presence, than that of the simplest of mortals. Thus Atrides, enraged at his sword's breaking in his hand upon the helmet of Paris, after he had expressly invoked the a.s.sistance of Jupiter, exclaims aloud, as he would to a king who had betrayed him, "Jove, Father, there is not another G.o.d more evil-minded than thou!" and Helen, provoked at Paris's defeat, and oppressed with pouting shame both for him and for herself, when Venus appears at her side, and would lead her back to the delivered Paris, impatiently tells the G.o.ddess to "go and take care of Paris herself."

-- 12. The modern mind is naturally, but vulgarly and unjustly, shocked by this kind of familiarity. Rightly understood, it is not so much a sign of misunderstanding of the divine nature as of good understanding of the human. The Greek lived, in all things, a healthy, and, in a certain degree, a perfect life. He had no morbid or sickly feeling of any kind. He was accustomed to face death without the slightest shrinking, to undergo all kinds of bodily hards.h.i.+p without complaint, and to do what he supposed right and honorable, in most cases, as a matter of course. Confident of his own immortality, and of the power of abstract justice, he expected to be dealt with in the next world as was right, and left the matter much in his G.o.ds' hands; but being thus immortal, and finding in his own soul something which it seemed quite as difficult to master, as to rule the elements, he did not feel that it was an appalling superiority in those G.o.ds to have bodies of water, or fire, instead of flesh, and to have various work to do among the clouds and waves, out of his human way; or sometimes, even, in a sort of service to himself. Was not the nourishment of herbs and flowers a kind of ministering to his wants? were not the G.o.ds in some sort his husbandmen, and spirit-servants? Their mere strength or omnipresence did not seem to him a distinction absolutely terrific. It might be the nature of one being to be in two places at once, and of another to be only in one; but that did not seem of itself to infer any absolute lordliness of one nature above the other, any more than an insect must be a n.o.bler creature than a man, because it can see on four sides of its head, and the man only in front. They could kill him or torture him, it was true; but even that not unjustly, or not for ever. There was a fate, and a Divine Justice, greater than they; so that if they did wrong, and he right, he might fight it out with them, and have the better of them at last. In a general way, they were wiser, stronger, and better than he; and to ask counsel of them, to obey them, to sacrifice to them, to thank them for all good, this was well; but to be utterly downcast before them, or not to tell them his mind in plain Greek if they seemed to him to be conducting themselves in an unG.o.dly manner,--this would not be well.

-- 13. Such being their general idea of the G.o.ds, we can now easily understand the habitual tone of their feelings towards what was beautiful in nature. With us, observe, the idea of the Divinity is apt to get separated from the life of nature; and imagining our G.o.d upon a cloudy throne, far above the earth, and not in the flowers or waters, we approach those visible things with a theory that they are dead, governed by physical laws, and so forth. But coming to them, we find the theory fail; that they are not dead; that, say what we choose about them, the instinctive sense of their being alive is too strong for us; and in scorn of all physical law, the wilful fountain sings, and the kindly flowers rejoice. And then, puzzled, and yet happy; pleased, and yet ashamed of being so; accepting sympathy from nature, which we do not believe it gives, and giving sympathy to nature, which we do not believe it receives,--mixing, besides, all manner of purposeful play and conceit with these involuntary fellows.h.i.+ps,--we fall necessarily into the curious web of hesitating sentiment, pathetic fallacy, and wandering fancy, which form a great part of our modern view of nature. But the Greek never removed his G.o.d out of nature at all; never attempted for a moment to contradict his instinctive sense that G.o.d was everywhere. "The tree _is_ glad,"

said he, "I know it is; I can cut it down; no matter, there was a nymph in it. The water _does_ sing," said he; "I can dry it up; but no matter, there was a naiad in it." But in thus clearly defining his belief, observe, he threw it entirely into a human form, and gave his faith to nothing but the image of his own humanity. What sympathy and fellows.h.i.+p he had, were always for the spirit _in_ the stream, not for the stream; always for the dryad _in_ the wood, not for the wood. Content with this human sympathy, he approached the actual waves and woody fibres with no sympathy at all. The spirit that ruled them, he received as a plain fact. Them, also, ruled and material, he received as plain facts; they, without their spirit, were dead enough. A rose was good for scent, and a stream for sound and coolness; for the rest, one was no more than leaves, the other no more than water; he could not make anything else of them; and the divine power, which was involved in their existence, having been all distilled away by him into an independent Flora or Thetis, the poor leaves or waves were left, in mere cold corporealness, to make the most of their being discernibly red and soft, clear and wet, and unacknowledged in any other power whatsoever.

-- 14. Then, observe farther, the Greeks lived in the midst of the most beautiful nature, and were as familiar with blue sea, clear air, and sweet outlines of mountain, as we are with brick walls, black smoke, and level fields. This perfect familiarity rendered all such scenes of natural beauty unexciting, if not indifferent, to them, by lulling and overwearying the imagination as far as it was concerned with such things; but there was another kind of beauty which they found it required effort to obtain, and which, when thoroughly obtained, seemed more glorious than any of this wild loveliness--the beauty of the human countenance and form. This, they perceived, could only be reached by continual exercise of virtue; and it was in Heaven's sight, and theirs, all the more beautiful because it needed this self-denial to obtain it. So they set themselves to reach this, and having gained it, gave it their princ.i.p.al thoughts, and set it off with beautiful dress as best they might. But making this their object, they were obliged to pa.s.s their lives in simple exercise and disciplined employments. Living wholesomely, giving themselves no fever fits, either by fasting or over-eating, constantly in the open air, and full of animal spirit and physical power, they became incapable of every morbid condition of mental emotion. Unhappy love, disappointed ambition, spiritual despondency, or any other disturbing sensation, had little power over the well-braced nerves, and healthy flow of the blood; and what bitterness might yet fasten on them was soon boxed or raced out of a boy, and spun or woven out of a girl, or danced out of both. They had indeed their sorrows, true and deep, but still, more like children's sorrows than ours, whether bursting into open cry of pain, or hid with shuddering under the veil, still pa.s.sing over the soul as clouds do over heaven, not sullying it, not mingling with it;--darkening it perhaps long or utterly, but still not becoming one with it, and for the most part pa.s.sing away in das.h.i.+ng rain of tears, and leaving the man unchanged; in nowise affecting, as our sorrow does, the whole tone of his thought and imagination thenceforward.

How far our melancholy may be deeper and wider than theirs, in its roots and view, and therefore n.o.bler, we shall consider presently; but at all events, they had the advantage of us in being entirety free from all those dim and feverish sensations which result from unhealthy state of the body. I believe that a large amount of the dreamy and sentimental sadness, tendency to reverie, and general patheticalness of modern life results merely from derangement of stomach; holding to the Greek life the same relation that the feverish night of an adult does to a child's sleep.

-- 15. Farther. The human beauty, which, whether in its bodily being or in imagined divinity, had become, for the reasons we have seen, the princ.i.p.al object of culture and sympathy to these Greeks, was, in its perfection, eminently orderly, symmetrical, and tender.

Hence, contemplating it constantly in this state, they could not but feel a proportionate fear of all that was disorderly, unbalanced, and rugged. Having trained their stoutest soldiers into a strength so delicate and lovely, that their white flesh, with their blood upon it, should look like ivory stained with purple;[61] and having always around them, in the motion and majesty of this beauty, enough for the full employment of their imagination, they shrank with dread or hatred from all the ruggedness of lower nature,--from the wrinkled forest bark, the jagged hill-crest, and irregular, inorganic storm of sky; looking to these for the most part as adverse powers, and taking pleasure only in such portions of the lower world as were at once conducive to the rest and health of the human frame, and in harmony with the laws of its gentler beauty.

-- 16. Thus, as far as I recollect, without a single exception, every Homeric landscape, intended to be beautiful, is composed of a fountain, a meadow, and a shady grove. This ideal is very interestingly marked, as intended for a perfect one, in the fifth book of the Odyssey; when Mercury himself stops for a moment, though on a message, to look at a landscape "which even an immortal might be gladdened to behold." This landscape consists of a cave covered with a running vine, all blooming into grapes, and surrounded by a grove of alder, poplar, and sweet-smelling cypress. Four fountains of white (foaming) water, springing _in succession_ (mark the orderliness), and close to one another, flow away in different directions, through a meadow full of violets and parsley (parsley, to mark its moisture, being elsewhere called "marsh-nourished," and a.s.sociated with the lotus);[62] the air is perfumed not only by these violets and by the sweet cypress, but by Calypso's fire of finely chopped cedar wood, which sends a smoke as of incense, through the island; Calypso herself is singing; and finally, upon the trees are resting, or roosting, owls, hawks, and "long-tongued sea-crows." Whether these last are considered as a part of the ideal landscape, as marine singing-birds, I know not; but the approval of Mercury appears to be elicited chiefly by the fountains and violet meadow.

-- 17. Now the notable things in this description are, first, the evident subservience of the whole landscape to human comfort, to the foot, the taste, or the smell; and, secondly, that throughout the pa.s.sage there is not a single figurative word expressive of the things being in any wise other than plain gra.s.s, fruit or flower. I have used the term "spring" of the fountains, because, without doubt, Homer means that they sprang forth brightly, having their source at the foot of the rocks (as copious fountains nearly always have); but Homer does not say "spring," he says simply flow, and uses only one word for "growing softly," or "richly," of the tall trees, the vine, and the violets. There is, however, some expression of sympathy with the sea-birds; he speaks of them in precisely the same terms, as in other places of naval nations, saying they "have care of the works of the sea."

-- 18. If we glance through the references to pleasant landscape which occur in other parts of the Odyssey, we shall always be struck by this quiet subjection of their every feature to human service, and by the excessive similarity in the scenes. Perhaps the spot intended, after this, to be most perfect, may be the garden of Alcinous, where the princ.i.p.al ideas are, still more definitely, order, symmetry, and fruitfulness; the beds being duly ranged between rows of vines, which, as well as the pear, apple, and fig-trees, bear fruit continually, some grapes being yet sour, while others are getting black; there are plenty of "_orderly_ square beds of herbs," chiefly leeks, and two fountains, one running through the garden, and one under the pavement of the palace to a reservoir for the citizens. Ulysses, pausing to contemplate this scene, is described nearly in the same terms as Mercury pausing to contemplate the wilder meadow; and it is interesting to observe, that, in spite of all Homer's love of symmetry, the G.o.d's admiration is excited by the free fountains, wild violets, and wandering vine; but the mortal's, by the vines in rows, the leeks in beds, and the fountains in pipes.

Ulysses has, however, one touching reason for loving vines in rows.

His father had given him fifty rows for himself, when he was a boy, with corn between them (just as it now grows in Italy). Proving his ident.i.ty afterwards to his father, whom he finds at work in his garden, "with thick gloves on, to keep his hands from the thorns,"

he reminds him of these fifty rows of vines, and of the "thirteen pear-trees and ten apple-trees" which he had given him; and Laertes faints upon his neck.

-- 19. If Ulysses had not been so much of a gardener, it might have been received as a sign of considerable feeling for landscape beauty, that, intending to pay the very highest possible compliment to the Princess Nausicaa (and having indeed, the moment before, gravely asked her whether she was a G.o.ddess or not), he says that he feels, at seeing her, exactly as he did when he saw the young palm-tree growing at Apollo's shrine at Delos. But I think the taste for trim hedges and upright trunks has its usual influence over him here also, and that he merely means to tell the princess that she is delightfully tall and straight.

-- 20. The princess is, however, pleased by his address, and tells him to wait outside the town, till she can speak to her father about him. The spot to which she directs him is another ideal piece of landscape, composed of a "beautiful grove of aspen poplars, a fountain, and a meadow," near the road-side; in fact, as nearly as possible such a scene as meets the eye of the traveller every instant on the much-despised lines of road through lowland France; for instance, on the railway between Arras and Amiens;--scenes, to my mind, quite exquisite in the various grouping and grace of their innumerable poplar avenues, casting sweet, tremulous shadows over their level meadows and labyrinthine streams. We know that the princess means aspen poplars, because soon afterwards we find her fifty maid-servants at the palace, all spinning, and in perpetual motion, compared to the "leaves of the tall poplar;" and it is with exquisite feeling that it is made afterwards[63] the chief tree in the groves of Proserpine; its light and quivering leaf.a.ge having exactly the melancholy expression of fragility, faintness, and inconstancy which the ancients attributed to the disembodied spirit.[64] The likeness to the poplars by the streams of Amiens is more marked still in the Iliad, where the young Simois, struck by Ajax, falls to the earth "like an aspen that has grown in an irrigated meadow, smooth-trunked, the soft shoots springing from its top, which some coach-making man has cut down with his keen iron, that he may fit a wheel of it to a fair chariot, and it lies parching by the side of the stream." It is sufficiently notable that Homer, living in mountainous and rocky countries, dwells thus delightedly on all the _flat_ bits; and so I think invariably the inhabitants of mountain countries do, but the inhabitants of the plains do not, in any similar way, dwell delightedly on mountains.

The Dutch painters are perfectly contented with their flat fields and pollards: Rubens, though he had seen the Alps, usually composes his landscapes of a hayfield or two, plenty of pollards and willows, a distant spire, a Dutch house with a moat about it, a windmill, and a ditch. The Flemish sacred painters are the only ones who introduce mountains in the distance, as we shall see presently; but rather in a formal way than with any appearance of enjoyment. So Shakspere never speaks of mountains with the slightest joy, but only of lowland flowers, flat fields, and Warwicks.h.i.+re streams. And if we talk to the mountaineer, he will usually characterize his own country to us as a "pays affreux," or in some equivalent, perhaps even more violent, German term: but the lowland peasant does not think his country frightful; he either will have no ideas beyond it, or about it; or will think it a very perfect country, and be apt to regard any deviation from its general principle of flatness with extreme disfavor; as the Lincolns.h.i.+re farmer in Alton Locke: "I'll shaw 'ee some'at like a field o' beans, I wool--none o' this here darned ups and downs o' hills, to shake a body's victuals out of his inwards--all so vlat as a barn door, for vorty mile on end--there's the country to live in!"

I do not say whether this be altogether right (though certainly not wholly wrong), but it seems to me that there must be in the simple freshness and fruitfulness of level land, in its pale upright trees, and gentle lapse of silent streams, enough for the satisfaction of the human mind in general; and I so far agree with Homer, that if I had to educate an artist to the full perception of the meaning of the word "gracefulness" in landscape, I should send him neither to Italy nor to Greece, but simply to those poplar groves between Arras and Amiens.

-- 21. But to return more definitely to our Homeric landscape. When it is perfect, we have, as in the above instances, the foliage and meadows together; when imperfect, it is always either the foliage or the meadow; preeminently the meadow, or arable field. Thus, meadows of asphodel are prepared for the happier dead; and even Orion, a hunter among the mountains in his lifetime, pursues the ghosts of beasts in these asphodel meadows after death.[65] So the sirens sing in a meadow; and throughout the Odyssey there is a general tendency to the depreciation of poor Ithaca, because it is rocky, and only fit for goats, and has "no meadows;" for which reason Telemachus refuses Atrides's present of horses, congratulating the Spartan king at the same time on ruling over a plain which has "plenty of lotus in it, and rushes," with corn and barley. Note this constant dwelling on the marsh plants, or, at least, those which grow in flat and well-irrigated land, or beside streams: when Scamander, for instance, is restrained by Vulcan, Homer says, very sorrowfully, that "all his lotus, and reeds, and rushes were burnt;" and thus Ulysses, after being s.h.i.+pwrecked and nearly drowned, and beaten about the sea for many days and nights, on raft and mast, at last getting ash.o.r.e at the mouth of a large river, casts himself down first upon its _rushes_, and then, in thankfulness, kisses the "corn-giving land," as most opposed, in his heart, to the fruitless and devouring sea.[66]

-- 22. In this same pa.s.sage, also, we find some peculiar expressions of the delight which the Greeks had in trees, for, when Ulysses first comes in sight of land, which gladdens him, "as the reviving of a father from his sickness gladdens his children," it is not merely the sight of the land itself which gives him such pleasure, but of the "land and _wood_." Homer never throws away any words, at least in such a place as this; and what in another poet would have been merely the filling up of the deficient line with an otherwise useless word, is in him the expression of the general Greek sense, that land of any kind was in nowise grateful or acceptable till there was _wood_ upon it (or corn; but the corn, in the flats, could not be seen so far as the black ma.s.ses of forest on the hill sides), and that, as in being rushy and corn-giving, the low land, so in being woody, the high land, was most grateful to the mind of the man who for days and nights had been wearied on the engulphing sea. And this general idea of wood and corn, as the types of the fatness of the whole earth, is beautifully marked in another place of the Odyssey,[67] where the sailors in a desert island, having no flour or corn to offer as a meat offering with their sacrifices, take the leaves of the trees, and scatter them over the burnt offering instead.

-- 23. But still, every expression of the pleasure which Ulysses has in this landing and resting, contains uninterruptedly the reference to the utility and sensible pleasantness of all things, not to their beauty. After his first grateful kiss given to the corn-growing land, he considers immediately how he is to pa.s.s the night: for some minutes hesitating whether it will be best to expose himself to the misty chill from the river, or run the risk of wild beasts in the wood. He decides for the wood, and finds in it a bower formed by a sweet and a wild olive tree, interlacing their branches, or--perhaps more accurately translating Homer's intensely graphic expression--"changing their branches with each other" (it is very curious how often, in an entanglement of wood, one supposes the branches to belong to the wrong trees), and forming a roof penetrated by neither rain, sun, nor wind.

Under this bower Ulysses collects the "_vain_ (or _frustrate_) outpouring of the dead leaves"--another exquisite expression, used elsewhere of useless grief or shedding of tears;--and, having got enough together, makes his bed of them, and goes to sleep, having covered himself up with them, "as embers are covered up with ashes."

Nothing can possibly be more intensely possessive of the _facts_ than this whole pa.s.sage; the sense of utter deadness and emptiness, and frustrate fall in the leaves; of dormant life in the human body,--the fire, and heroism, and strength of it, lulled under the dead brown heap, as embers under ashes, and the knitting of interchanged and close strength of living boughs above. But there is not the smallest apparent sense of there being _beauty_ elsewhere than in the human being. The wreathed wood is admired simply as being a perfect roof for it; the fallen leaves only as being a perfect bed for it; and there is literally no more excitement of emotion in Homer, as he describes them, nor does he expect us to be more excited or touched by hearing about them, than if he had been telling us how the chamber-maid at the Bull aired the four-poster, and put on two extra blankets.

-- 24. Now, exactly this same contemplation of subservience to human use makes the Greek take some pleasure in _rocks_, when they a.s.sume one particular form, but one only--that of a _cave_. They are evidently quite frightful things to him under any other condition, and most of all if they are rough and jagged; but if smooth, looking "sculptured," like the sides of a s.h.i.+p, and forming a cave or shelter for him, he begins to think them endurable. Hence, a.s.sociating the ideas of rich and sheltering wood, sea, becalmed and made useful as a port by projecting promontories of rock, and smoothed caves or grottoes in the rocks themselves, we get the pleasantest idea which the Greek could form of a landscape, next to a marsh with poplars in it; not, indeed, if possible, ever to be without these last: thus, in commending the Cyclops' country as one possessed of every perfection, Homer first says: "They have soft _marshy_ meadows near the sea, and good, rich, crumbling, ploughing-land, giving fine deep crops, and vines always giving fruit;" then, "a port so quiet, that they have no need of cables in it; and at the head of the port, a beautiful clear spring just _under a cave_, and _aspen poplars all round it_."[68]

-- 25. This, it will be seen, is very nearly Homer's usual "ideal;"

but, going into the middle of the island, Ulysses comes on a rougher and less agreeable bit, though still fulfilling certain required conditions of endurableness; a "cave shaded with laurels," which, having no poplars about it, is, however, meant to be somewhat frightful, and only fit to be inhabited by a Cyclops. So in the country of the Laestrygons, Homer, preparing his reader gradually for something very disagreeable, represents the rocks as bare and "exposed to the sun;" only with some smooth and slippery roads over them, by which the trucks bring down wood from the higher hills. Any one familiar with Swiss slopes of hills must remember how often he has descended, sometimes faster than was altogether intentional, by these same slippery woodman's track roads.

And thus, in general, whenever the landscape is intended to be lovely, it verges towards the ploughed land and poplars; or, at worst, to _woody_ rocks; but, if intended to be painful, the rocks are bare and "sharp." This last epithet, constantly used by Homer for mountains, does not altogether correspond, in Greek, to the English term, nor is it intended merely to characterize the sharp mountain summits; for it never would be applied simply to the edge or point of a sword, but signifies rather "harsh," "bitter," or "painful," being applied habitually to fate, death, and in Od. ii.

333. to a halter; and, as expressive of general objectionableness and unpleasantness, to all high, dangerous, or peaked mountains, as the Maleian promontory (a much dreaded one), the crest of Parna.s.sus, the Tereian mountain, and a grim or untoward, though, by keeping off the force of the sea, protective, rock at the mouth of the Jarda.n.u.s; as well as habitually to inaccessible or impregnable fortresses built on heights.

-- 26. In all this I cannot too strongly mark the utter absence of any trace of the feeling for what we call the picturesque, and the constant dwelling of the writer's mind on what was available, pleasant, or useful; his ideas respecting all landscape being not uncharacteristically summed, finally, by Pallas herself; when, meeting Ulysses, who after his long wandering does not recognize his own country, and meaning to describe it as politely and soothingly as possible, she says:[69]--"This Ithaca of ours is, indeed, a rough country enough, and not good for driving in; but, still, things might be worse: it has plenty of corn, and good wine, and _always rain_, and soft nouris.h.i.+ng dew; and it has good feeding for goats and oxen, and all manner of wood, and springs fit to drink at all the year round."

We shall see presently how the blundering, pseudo-picturesque, pseudo-cla.s.sical minds of Claude and the Renaissance landscape painters, wholly missing Homer's practical common sense, and equally incapable of feeling the quiet natural grace and sweetness of his asphodel meadows, tender aspen poplars, or running vines,--fastened on his _ports_ and _caves_, as the only available features of his scenery; and appointed the type of "cla.s.sical landscape"

thenceforward to consist in a bay of insipid sea, and a rock with a hole through it.[70]

-- 27. It may indeed be thought that I am a.s.suming too hastily that this was the general view of the Greeks respecting landscape, because it was Homer's. But I believe the true mind of a nation, at any period, is always best ascertainable by examining that of its greatest men; and that simpler and truer results will be attainable for us by simply comparing Homer, Dante, and Walter Scott, than by attempting (what my limits must have rendered absurdly inadequate, and in which, also, both my time and knowledge must have failed me) an a.n.a.lysis of the landscape in the range of contemporary literature. All that I can do, is to state the general impression which has been made upon me by my desultory reading, and to mark accurately the grounds for this impression, in the works of the greatest men. Now it is quite true that in others of the Greeks, especially in aeschylus and Aristophanes, there is infinitely more of modern feeling, of pathetic fallacy, love of picturesque or beautiful form, and other such elements, than there is in Homer; but then these appear to me just the parts of them which were not Greek, the elements of their minds by which (as one division of the human race always must be with subsequent ones) they are connected with the mediaevals and moderns. And without doubt, in his influence over future mankind, Homer is eminently the Greek of Greeks; if I were to a.s.sociate any one with him it would be Herodotus, and I believe all I have said of the Homeric landscape will be found equally true of the Herodotean, as a.s.suredly it will be of the Platonic; the contempt, which Plato sometimes expresses by the mouth of Socrates, for the country in general, except so far as it is shady, and has cicadas and running streams to make pleasant noises in it, being almost ludicrous. But Homer is the great type, and the more notable one because of his influence on Virgil, and, through him, on Dante, and all the after ages: and in like manner, if we can get the abstract of mediaeval landscape out of Dante, it will serve us as well as if we had read all the songs of the troubadours, and help us to the farther changes in derivative temper, down to all modern time.

-- 28. I think, therefore, the reader may safely accept the conclusions about Greek landscape which I have got for him out of Homer; and in these he will certainly perceive something very different from the usual imaginations we form of Greek feelings. We think of the Greeks as poetical, ideal, imaginative, in the way that a modern poet or novelist is; supposing that their thoughts about their mythology and world were as visionary and artificial as ours are: but I think the pa.s.sages I have quoted show that it was not so, although it may be difficult for us to apprehend the strange minglings in them of the elements of faith, which, in our days, have been blended with other parts of human nature in a totally different guise. Perhaps the Greek mind may be best imagined by taking, as its groundwork, that of a good, conscientious, but illiterate, Scotch Presbyterian Border farmer of a century or two back, having perfect faith in the bodily appearances of Satan and his imps; and in all kelpies, brownies, and fairies. Subst.i.tute for the indignant terrors in this man's mind, a general persuasion of the _Divinity_, more or less beneficent, yet faultful, of all these beings; that is to say, take away his belief in the demoniacal malignity of the fallen spiritual world, and lower, in the same degree, his conceptions of the angelical, retaining for him the same firm faith in both; keep his ideas about flowers and beautiful scenery much as they are,--his delight in regular ploughed land and meadows, and a neat garden (only with rows of gooseberry bushes instead of vines,) being, in all probability, about accurately representative of the feelings of Ulysses; then, let the military spirit that is in him, glowing against the Border forager, or the foe of old Flodden and Chevy-Chase, be made more princ.i.p.al, with a higher sense of n.o.bleness in soldiers.h.i.+p, not as a careless excitement, but a knightly duty; and increased by high cultivation of every personal quality, not of mere s.h.a.ggy strength, but graceful strength, aided by a softer climate, and educated in all proper harmony of sight and sound: finally, instead of an informed Christian, suppose him to have only the patriarchal Jewish knowledge of the Deity, and even this obscured by tradition, but still thoroughly solemn and faithful, requiring his continual service as a priest of burnt sacrifice and meat offering; and I think we shall get a pretty close approximation to the vital being of a true old Greek; some slight difference still existing in a feeling which the Scotch farmer would have of a pleasantness in blue hills and running streams, wholly wanting in the Greek mind; and perhaps also some difference of views on the subjects of truth and honesty. But the main points, the easy, athletic, strongly logical and argumentative, yet fanciful and credulous, characters of mind, would be very similar in both; and the most serious change in the substance of the stuff among the modifications above suggested as necessary to turn the Scot into the Greek, is that effect of softer climate and surrounding luxury, inducing the practice of various forms of polished art,--the more polished, because the practical and realistic tendency of the h.e.l.lenic mind (if my interpretation of it be right) would quite prevent it from taking pleasure in any irregularities of form, or imitations of the weeds and wildnesses of that mountain nature with which it thought itself born to contend. In its utmost refinement of work, it sought eminently for orderliness; carried the principle of the leeks in squares, and fountains in pipes, perfectly out in its streets and temples; formalized whatever decoration it put into its minor architectural mouldings, and reserved its whole heart and power to represent the action of living men, or G.o.ds, though not unconscious meanwhile, of

"The simple, the sincere delight; The habitual scene of hill and dale The rural herds, the vernal gale; The tangled vetches' purple bloom; The fragrance of the bean's perfume,-- Theirs, theirs alone, who cultivate the soil, And drink the cup of thirst, and eat the bread of toil."

[59] Compare Lay of the Last Minstrel, canto i. stanza 15., and canto v. stanza 2. In the first instance, the river-spirit is accurately the Homeric G.o.d, only Homer would have believed in it,--Scott did not; at least not altogether.

[60] Compare the exquisite lines of Longfellow on the sunset in the Golden Legend:--

"The day is done, and slowly from the scene The stooping sun upgathers his spent shafts, And puts them back into his golden quiver."

[61] Iliad iv. 141.

[62] Iliad ii. 776.

[63] Odyssey, x. 510.

[64] Compare the pa.s.sage in Dante referred to above, Chap. XII. -- 6.

[65] Odyssey, xi. 571. xxiv. 13. The couch of Ceres, with Homer's usual faithfulness, is made of a _ploughed_ field, v. 127.

[66] Odyssey, v. 398.

[67] Odyssey, xii. 357.

[68] Odyssey, ix. 132. &c. Hence Milton's

"From haunted spring, and dale, Edged with poplar pale."

[69] Odyssey, xiii. 236. &c.

[70] Educated, as we shall see hereafter, first in this school, Turner gave the hackneyed composition a strange power and freshness, in his Glaucus and Scylla.

CHAPTER XIV.

OF MEDIaeVAL LANDSCAPE:--FIRST, THE FIELDS.

-- 1. IN our examination of the spirit of cla.s.sical landscape, we were obliged to confine ourselves to what is left to us in written description. Some interesting results might indeed have been obtained by examining the Egyptian and Ninevite landscape sculpture, but in nowise conclusive enough to be worth the pains of the inquiry; for the landscape of sculpture is necessarily confined in range, and usually inexpressive of the complete feelings of the workman, being introduced rather to explain the place and circ.u.mstances of events, than for its own sake. In the Middle Ages, however, the case is widely different. We have written landscape, sculptured landscape, and painted landscape, all bearing united testimony to the tone of the national mind in almost every remarkable locality of Europe.