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[Conttinued from page 194.]
There are instances in which one art
has been adequately interpreted in terms
of another—for example, Keats’s Ode to
a Grecian Urn or Homer’s description
of the Shield of Achilles. But it is
noticeable that in each case the descrip-
tion is in terms appropriate to poetry.
The sculptured ornaments of the Shield
are described as if they were actual
scenes in nature. The fact takes no
thought of the limits of the sculptor’s
art. As another instance may be cited
Paul Veronese’s use of sculpture in one
of his paintings. The statue in the back-
ground of his picture is found to be
“picturesque’—designed with another
motive than that of pure form.
employed simply as an accessory for
pictorial ends.
A similar aim underlies the best illus-
trations of literary masterpieces. The
tribal pride, exhaustless animal spirits
and a simple, tender sentiment.
The poetry of ancient Babylonia which
has been preserved, consists almost
wholly of religious verse—prayers,
hymns, and penitential psalms. But un-
der the grip of a priestly formalism,
their poetry tended to become barren
and mechanical. An occasional noble
passage is the most of which this poetry
can boast. It-is interesting chiefly be-
cause of its effect on the Hebrew lyric.
The Hebrews were of a naturally
poetic temperament. Their common life
found a full expression in song and a
large body of their folk literature has
been lost. The Old Testament bears
record of the popularity of wedding
songs, elegies, songs of pilgrimage, rid-
dles and the like. They also passed
easilv from prose to poetry and lyrical
passages are scattered through the en-
tire Bible.
In form the lyric was often elaborate.
Assonance is common. Acrostics and
similar features are often found. But
the one needful acquisition for him who
would understand Hebrew poetry is an
appreciation of parallelism. This is the
formative principle of their poetry. It
arises from a feeling that repetition in
another form adds force to the thought.
Its simplest form is a parallelism in
couplets, but it may affect combinations
of couplets or even a whole psalm. The
parallelism often becomes antithesis, one
half of a couplet being the direct oppo-
site of the other. An appreciation of
this characteristic furnishes a key to
many of the psalms. But the Hebrew
lyric is best judged by its content. The
poet was more concerned with thought
than with form. In his sympathy with
things Divine and human the Hebrew
perfected the lyric of aspiration—only
given in all its power to those who look
into the face of God.
PROF. GOODELL’S LECTURE.
The second lecture in the series on
Lyric Poetry was given Wednesday
evening, January 31, 1900, in the Art
School—the subject The Greek Lyric.
A brief summary of the lecture fol-
lows:
The body of verse that may be in-
cluded under the title of Greek lyric
poetry is the product of more than ten
centuries, beginning as early as 700
B.C. Its character and poetic quality
are about as various as the character
and poetic quality of English lyric
verse. The whole gamut of human
emotions here found expression in the
various dialects of the race.
The names in this field of which we
hear oftenest are probably Sappho and
Anakreon. The latter may stand as
the type of the gentlemanly voluptuary ;
pleasure, love and wine are his favorite
themes, treated so delicately and with
stich a wealth of humorous fancy that
his songs were imitated and his sug-
gestions elaborated by like-minded suc-
cessors without end. Of Sappho it
pesesesesesesesesesesese
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daclameiacuermbadan amen
sevebicwletusrscaanseaes
fr
Fi
fr
Ch
fr
fr
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fh
fh
Gr
fr
the
It is
Y ATE “AT UIMINGE
may be said that no ancient name looms
up so large on so small a basis of real
knowledge. One complete poem of
twenty-eight lines, sixteen .lines of
another that seems nearly complete, one
or two perhaps complete in four lines
and a few scraps of varying interest—
that is all we have. Yet even that is
enough to show her extraordinary power
as a poet of love and nature. The
peculiarity of her love poems to us is
that their glow of passion is lavished
upon women. This seems strange to
us because such friendships between
women have so little place in our litera-
ture. Sappho’s work shows a delicate
harmony of tone-color and phrases of
remarkable directness of imaginative
power in the use of imagery from
nature.
The choral poet chose an elaborate
and massive metrical structure. The
accompanying rhythmic motions com-
bined with the music to make the elabo-
rate structure intelligible and impressive.
The prince of choral poets is Pindar,
and the lack of both music and dance
increases our difficulty in understanding
his poetic form. His sentences are of-
ten complicated; he is a cunning work-
man in language, the style adapted to
public musical rendering and very little
adapted to reading. The epinikian odes
of Bacchylides, though sraceful and per-
haps more popular, did not equal those
of Pindar in that field.
The Greek tragic choruses contain a
peculiarly full and varied expréssion of
humanity. A character or group of
characters utters in appropriate lyric
form the sentiment or the emotion that
- grows naturally for such characters, out
of the dramatic situation. The first re-
quisite for understanding most of the
Greek dramatic lyrics is the power of
entering into the mental and moral at-
titudes of chorus. The whole range of
thoughts and feelings that arise when
the spectacle of life on its more serious
side is reflected in a contemplative and
poetic soul—that is the manifold sub-
ject of the choral song in all three
tragedians.
Sustained elevation of thought and
feeling requires a putting forth of
energy beyond what the mass of men.
undergo willingly; and the delights
which require strenuous effort for their
attainment seem too severe. It is there-
fore not surprising that Greek letters at-
tract in general only the more aspiring
and at the same time stronger spirits,
and that Greek lyric is the last to at-
tract the student of Greek letters. Yet
there will always be those to whom the
severe and strenuous joys yield a satis-
fying reward. The ultimate aim of a
university is to increase their number.
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