What is the foundation of that interest all men feel in Greek history, letters, art and poetry, in all its periods, from the heroic or Homeric age, down to the domestic life of the Athenians and Spartans, four or five centuries later? This period draws us because we are Greeks. It is a state through which every man in some sort passes. The Grecian state is the era of the bodily nature, the perfection of the senses,—of the spiritual nature unfolded in strict unity with the body. In it existed those human forms which supplied the sculptor with his models of Hercules, Phœbus, and Jove; not like the forms abounding in the streets of modern cities, wherein the face is a confused blur of features, but composed of incorrupt, sharply defined and symmetrical features, whose eye-sockets are so formed that it would be impossible for such eyes to squint, and take furtive glances on this side and on that, but they must turn the whole head.
The manners of that period are plain and fierce. The reverence exhibited is for personal qualities, courage, address, self-command, justice, strength, swiftness, a loud voice, a broad chest. Luxury is not known, nor elegance. A sparse population and want make every man his own valet, cook, butcher, and soldier, and the habit of supplying his own needs educates the body to wonderful performances. Such are the Agamemnon and Diomed of Homer, and not far different is the picture Xenophon gives of himself and his compatriots in the Retreat of the Ten Thousand. "After the army had crossed the river Teleboas in Armenia, there fell much snow, and the troops lay
