LITMIR.BIZ

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The abyss increases around them. Some fall. It is well done. Others stop and retrace their steps; there is sad weariness.

      The bold ones continue; those predestined persist. The dreadful declivity sinks beneath them and tries to draw them in; glory is traitorous. They are eyed by the eagles; the lightning plays about them; the hurricane is furious. No matter, they persevere. They ascend. He who arrives at the summit is thy equal, Homer!

      Those names that we have mentioned, and those which we might have added, repeat them again. To choose between these men is impossible. There is no method for striking the balance between Rembrandt and Michael Angelo.

      And, to confine ourselves solely to the authors and poets, examine them one after the other. Which is the greatest? Every one.

      1. One, Homer, is the huge poet-child. The world is born, Homer sings. He is the bird of this aurora. Homer has the holy sincerity of the early dawn. He almost ignores shadow. Chaos, heaven, earth; Geo and Ceto; Jove, god of gods; Agamemnon, king of kings; peoples; flocks from the beginning; temples, towns, battles, harvests; the ocean; Diomedes fighting; Ulysses wandering; the windings of a sail seeking its home; Cyclops; dwarfs; a map of the world crowned by the gods of Olympus; and here and there a glimmer of the furnace permitting a sight of hell; priests, virgins, mothers; little children frightened by the plumes; the dog who remembers; great words which fall from gray-beards; friendships, loves, passions, and the hydras; Vulcan for the laugh of the gods, Thersites for the laugh of men; two aspects of married life summed up for the benefit of ages in Helen and Penelope; the Styx; Destiny; the heel of Achilles, without which Destiny would be vanquished by the Styx; monsters, heroes, men; thousands of landscapes seen in perspective in the cloud of the old world,—this immensity, this is Homer. Troy coveted, Ithaca desired. Homer is war and travel,—the first two methods for the meeting of mankind. The camp attacks the fortress, the ship sounds the unknown, which is also an attack; around war every passion; around travels every kind of adventure,—two gigantic groups; the first, bloody, is called the Iliad; the second, luminous, is called the Odyssey. Homer makes men greater than Nature; they hurl at each other rocks which twelve pairs of oxen could not move. The gods hardly care to come in contact with them. Minerva takes Achilles by the hair; he turns round in anger: "What do you want with me, goddess?" No monotony in these puissant figures. These giants are graduated. After each hero, Homer breaks the mould. Ajax, son of Oïleus, is less high in stature than Ajax, son of Telamon. Homer is one of the men of genius who resolve that beautiful problem of art (the most beautiful of all, perhaps),—the true picture of humanity obtained by aggrandizing man; that is to say, the creation of the real in the ideal. Fable and history, hypothesis and tradition, the chimera and knowledge, make up Homer. He is fathomless, and he is cheerful. All the depth of ancient days moves happily radiant and luminous in the vast azure of this spirit. Lycurgus, that peevish sage, half way between a Solon and a Draco, was conquered by Homer. He turned out of the way, while travelling, to go and read, at the house of Cleophilus, Homer's poems, placed there in remembrance of the hospitality that Homer, it is said, had formerly received in that house. Homer, to the Greeks, was a god; he had priests,—the Homerides. Alcibiades gave a bombastic orator a cuff for boasting that he had never read Homer. The divinity of Homer has survived Paganism. Michael Angelo said, "When I read Homer, I look at myself to see if I am not twenty feet in height." Tradition will have it that the first verse of the Iliad should be a verse of Orpheus. This doubling Homer by Orpheus, increased in Greece the religion of Homer. The shield of Achilles[1] was commented on in the temples by Damo, daughter of Pythagoras. Homer, as the sun, has planets. Virgil, who writes the Æneid, Lucan, who writes "Pharsalia," Tasso, who writes "Jerusalem," Ariosto, who composes "Roland," Milton, who writes "Paradise Lost," Camoëns, who writes the "Lusiades," Klopstock, who wrote the "Messiah," Voltaire, who wrote the "Henriade," gravitate toward Homer, and sending back to their own moons his light reflected in different degrees, move at unequal distances in his boundless orbit. This is Homer. Such is the beginning of the epic poem.

      2. Another, Job, began the drama. This embryo is a colossus. Job begins the drama, and it is forty centuries ago, by placing Jehovah and Satan in presence of each other; the evil defies the good, and behold the action is begun. The earth is the place for the scene, and man the field of battle; the plagues are the actors. One of the wildest grandeurs of this poem is that in it the sun is inauspicious. The sun is in Job as in Homer; but it is no longer the dawn, it is midday. The mournful heaviness of the brazen ray falling perpendicularly on the desert pervades this poem, heated to a white heat. Job sweats on his dunghill. The shadow of Job is small and black, and hidden under him, as the snake under the rock. Tropical flies buzz on his sores. Job has above his head the frightful Arabian sun,—a bringer-up of monsters, an amplifier of plagues, who changes the cat into the tiger, the lizard into the crocodile, the pig into the rhinoceros, the snake into the boa, the nettle into the cactus, the wind into the simoon, the miasma into the plague. Job is anterior to Moses. Far into ages, by the side of Abraham, the Hebrew patriarch, there is Job, the Arabian patriarch. Before being proved, he had been happy,—"the greatest man in all the East," says his poem. This was the labourer-king. He exercised the immense priesthood of solitude; he sacrificed and sanctified. Toward evening he gave the earth the blessing,—the "berac." He was learned; he knew rhythm; his poem, of which the Arabian text is lost, was written in verse,—this, at least, is certain as regards from verse 3 of chap. III. to the end. He was good; he did not meet a poor child without throwing him the small coin kesitha; he was "the foot of the lame man, and the eye of the blind." It is from that that he was precipitated; fallen, he became gigantic. The whole poem of "Job" is the development of this idea,—the greatness that may be found at the bottom of the abyss. Job is more majestic when unfortunate than when prosperous. His leprosy is a purple cloth. His misery terrifies those who are there; they speak not to him until after a silence of seven days and seven nights. His lamentation is marked by they know not what quiet and sad sorcery. As he is crushing the vermin on his ulcers, he calls on the stars. He addresses Orion, the Hyades, which he names the Pleiades, and the signs that are at noonday. He says, "God has put an end to darkness." He calls the diamond which is hidden, "the stone of obscurity." He mixes with his distress the misfortune of others, and has tragic words that freeze,—"The widow is desolate." He smiles also, and is then more frightful yet. He has around him Eliphaz, Bildad, Zophar,—three implacable types of the friendly busybody, of whom he says, "You play on me as on a tambourine." His language, submissive toward God, is bitter toward kings: "The kings of the earth build solitudes," leaving our wit to find out whether he speaks of their tomb or their kingdom. Tacitus says, "Solitudinem faciunt." As to Jehovah, he adores him; and under the furious scourging of the plagues, all his resistance is confined to asking of God, "Wilt thou not permit me to swallow my spittle?" That dates four thousand years ago. At the same hour, perhaps, when the enigmatical astronomer of Denderah carves in the granite his mysterious zodiac, Job engraves his on human thought; and his zodiac is not made of stars, but of miseries. This zodiac turns yet above our heads. We have of Job only the Hebrew version, written by Moses. Such a poet, followed by such a translator, makes us dream! The man of the dunghill is translated by the man of Sinai. It is that, in reality, Job is a minister and a prophet. Job extracts from his drama a dogma. Job suffers, and draws an inference. Now, to suffer and draw an inference is to teach; sorrow, when logical, leads to God. Job teaches. Job, after having touched the summit of the drama, stirs up the depths of philosophy. He shows first that sublime madness of wisdom which, two thousand years later, by resignation making itself a sacrifice, will be the foolishness of the cross,—stultitiam crucis. The dunghill of Job, transfigured, will become the Calvary of Jesus.

      3. Another, Æschylus, enlightened by the unconscious divination of genius, without suspecting that he has behind him, in the East, the resignation of Job, completes it, unwittingly, by the revolt of Prometheus; so that the lesson may be complete, and that the human race, to whom Job has taught but duty, shall feel in Prometheus Right dawning. There is something ghastly in Æschylus from one end to the other; there is a vague outline of an extraordinary Medusa behind the figures in the foreground. Æschylus is magnificent and powerful,—as though you saw him knitting his brows beyond the sun. He has two Cains,—Eteocles and Polynices; Genesis has but one. His swarm of sea-monsters come and go in the dark sky, as a flock of driven birds. Æschylus has none of the known proportions. He is rough, abrupt,

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