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1have never visited in their studies, to seek seriously to fix the year and the day when this quarrel took place. A man, strongly imbued with the spirit of Homer or of Sophocles, would never see in Ulysses a real man, a king who, returning to his isle after long wanderings, kills in cold blood a crowd of lovers of his wife and rests confident of the conjugal fidelity of that spouse abandoned for twenty years, and whom he had won in the course,' although, according to the most common reports, she was delivered of a son in his absence^; nor in CEdipus, another king, who, without knowing it, without wishing it, always innocent, kills his father, espouses his mother and, driven to parricide and incest by an irresistible destiny, tears out his eyes and condemns himself to wander over the earth, to be a frightful example of celestial wrath. The platitudes and ridicule of the deed related by Homer, and the horror which resulted from that presented on the stage by Sophocles, are sufficient evidence against their reality. If the poem of the one and the tragedy of the other do not conceal, under the coarse exterior which covers them, a secret fire which acts unknown to the reader, never would a sane man tolerate a presentation, on the one side, of vice changed into virtue, and on the other, virtue changed into vice, and the gods operating this strange metamorphosis against all the laws of natural justice. He would throw aside the book with disgust, or, agreeing with the judicious reflection of an ancient Greek writer, exclaim with him^: If Homer had merely thought with respect to the gods what he said, he would have been an impious, sacrilegious man, a veritable Salmoneus, a second Tantalus ; but let us guard against doing him this wrong, or taking for guides those who, misunder-
2' Pausanias, 1. iii., p. 93. " Acron, In Epist. Horat., i., 2. Certain authors say that Penelope had conceived this son when Mercury disguised as a goat had forced her virginity. (Lucian, Dialog. Dear., t. i., p. 176.) 3 H^raclides, entre les petits mythologues. The Essence and Form of Poetry 1 1 standing the allegorical genius of this great poet, and hesitating before the outer court of his mysterious poetry, have never succeeded in understanding the sublime philosophy which is enclosed therein. You are not, Messieurs, of those designated by Heraclides in the words I have just quoted. Members of these celebrated Academies where Homer and Sophocles have found so many admirers, defenders, and illustrious disciples, you can easily admit that I see in these great men more than ordinary poets, that I place their glory elsewhere than in their talent, and that I say, particularly of Homer, that his most just claims to immortality are less in the form than in the essence of his poetry, because a form, however admirable it may be, passes and yields to time which destroys it, whereas the essence or the spirit which animates it, immutable as the Divinity from which it emanates by inspiration, resists all vicissitudes and seems to increase in vigour and Sclat, in proportion as the centuries passing away reveal its force and serve as evidence of its celestial origin. I flatter myself that my sentiments in this regard are not foreign to yours and that the successors of Comeille, Racine, and Boileau hear with pleasure these eulogies given to the creator of epopoeia, to the founders of dramatic art, and agree with me in regarding them as particular organs of the Divinity, the instruments chosen for the instruction and civilization of men.
3If you deign, Messieurs, to follow the development of my ideas with as much attention as indulgence, you already know that what I call the essence or spirit of poetry, and which, following upon the steps of the founder of the Academy and of the regenerator of the sciences of Europe, I distinguish from its form, is no other thing than the allegorical genius, immediate production of the inspiration ; you also imderstand that I mean by inspiration, the infusion of this same genius into the soul which, having power only 12 The Golden Verses of Pythagoras
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
1have never visited in their studies, to seek seriously to fix the year and the day when this quarrel took place. A man, strongly imbued with the spirit of Homer or of Sophocles, would never see in Ulysses a real man, a king who, returning to his isle after long wanderings, kills in cold blood a crowd of lovers of his wife and rests confident of the conjugal fidelity of that spouse abandoned for twenty years, and whom he had won in the course,' although, according to the most common reports, she was delivered of a son in his absence^; nor in CEdipus, another king, who, without knowing it, without wishing it, always innocent, kills his father, espouses his mother and, driven to parricide and incest by an irresistible destiny, tears out his eyes and condemns himself to wander over the earth, to be a frightful example of celestial wrath. The platitudes and ridicule of the deed related by Homer, and the horror which resulted from that presented on the stage by Sophocles, are sufficient evidence against their reality. If the poem of the one and the tragedy of the other do not conceal, under the coarse exterior which covers them, a secret fire which acts unknown to the reader, never would a sane man tolerate a presentation, on the one side, of vice changed into virtue, and on the other, virtue changed into vice, and the gods operating this strange metamorphosis against all the laws of natural justice. He would throw aside the book with disgust, or, agreeing with the judicious reflection of an ancient Greek writer, exclaim with him^: If Homer had merely thought with respect to the gods what he said, he would have been an impious, sacrilegious man, a veritable Salmoneus, a second Tantalus ; but let us guard against doing him this wrong, or taking for guides those who, misunder-
2' Pausanias, 1. iii., p. 93. " Acron, In Epist. Horat., i., 2. Certain authors say that Penelope had conceived this son when Mercury disguised as a goat had forced her virginity. (Lucian, Dialog. Dear., t. i., p. 176.) 3 H^raclides, entre les petits mythologues. The Essence and Form of Poetry 1 1 standing the allegorical genius of this great poet, and hesitating before the outer court of his mysterious poetry, have never succeeded in understanding the sublime philosophy which is enclosed therein. You are not, Messieurs, of those designated by Heraclides in the words I have just quoted. Members of these celebrated Academies where Homer and Sophocles have found so many admirers, defenders, and illustrious disciples, you can easily admit that I see in these great men more than ordinary poets, that I place their glory elsewhere than in their talent, and that I say, particularly of Homer, that his most just claims to immortality are less in the form than in the essence of his poetry, because a form, however admirable it may be, passes and yields to time which destroys it, whereas the essence or the spirit which animates it, immutable as the Divinity from which it emanates by inspiration, resists all vicissitudes and seems to increase in vigour and Sclat, in proportion as the centuries passing away reveal its force and serve as evidence of its celestial origin. I flatter myself that my sentiments in this regard are not foreign to yours and that the successors of Comeille, Racine, and Boileau hear with pleasure these eulogies given to the creator of epopoeia, to the founders of dramatic art, and agree with me in regarding them as particular organs of the Divinity, the instruments chosen for the instruction and civilization of men.
3If you deign, Messieurs, to follow the development of my ideas with as much attention as indulgence, you already know that what I call the essence or spirit of poetry, and which, following upon the steps of the founder of the Academy and of the regenerator of the sciences of Europe, I distinguish from its form, is no other thing than the allegorical genius, immediate production of the inspiration ; you also imderstand that I mean by inspiration, the infusion of this same genius into the soul which, having power only 12 The Golden Verses of Pythagoras
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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