But Bacchylides was no optimist. "Tis best for mortals," he cries, "not to have been born, or to look upon the light of the sun. No mortal is happy all his days." In one of the pæans of Bacchylides we have a foretaste of Aristophanes, who in the lyric songs of his 'Peace' dwells upon the same theme.

TO MORTAL men Peace giveth these good things:
Wealth, and the flowers of honey-throated song;
The flame that springs

On carven altars from fat sheep and kine,

Slain to the gods in heaven; and all day long,

Games for glad youths, and flutes, and wreaths, and circling

wine.

Then in the steely shield swart spiders weave

Their web and dusky woof;

Rust to the pointed spear and sword doth cleave;

The brazen trump sounds no alarms;

Nor is sleep harried from our eyes aloof,

But with sweet rest my bosom warms:

The streets are thronged with lovely men and young, And hymns in praise of boys like flames to heaven are flung.

Translation of J. A. Symonds.

Pindar is the last of the great writers whose poetry was exclusively lyric. With the rise of the drama, lyric poetry came to be regarded mainly as the handmaid of tragedy and comedy; and though a few forms, such as the dithyramb, continued to enjoy an independent existence, still these either failed to attract real genius, and so fell into decline, or they suffered from the tendency to magnify the accompaniments of music and dance, and thus lost the virtue of a high poetical tone.

It is however a peculiarity of Greek poetry that none of the earlier forms are completely lost, but are absorbed in the later. When we reach the drama, we find that this splendid creation of Hellenic genius gathers up in one beautiful and harmonious web the various threads of the poetic art.

The drama, as is well known, originated in the songs which were sung in the festivals of Bacchus. Tragedy is literally the goat-ode; that is, the choral song chanted by satyrs, the goat-footed attendants of Bacchus. At first, then, tragedy was of a purely lyric character,a story in song with expressive dance and musical accompaniment. The further history of tragedy and comedy is, in brief, the development of dialogue and the harmonizing of the lyric and dramatic elements. The greatest impetus was given to dialogue in Attica

through the recitations of Homeric poetry by professional bards. Epic metre, however, was unsuited to dramatic dialogue, which, after essaying the lighter trochaic line, finally adopted the more conversational iambic verse which Archilochus had used so effectively for satire.

Already at the end of the sixth century B. C., the drama presents the twofold character which in Greece it never lost, the chorus and the dialogue, the former due to Dorian lyric poetry, the latter to the Ionic verse-forms of Archilochus. With the full development of dramatic form the lyric was reduced from its supreme position to an inferior station, in which it should no longer be the controlling element, but merely the efficient and beautiful handmaid of dramatic dialogue. In Eschylus the lyric still assumes undue proportions; in Sophocles the lyric and dramatic are blended in perfect harmony; but in Euripides the work of disintegration has set in, and the lyric tends to become a mere artistic appendage.

All works on Greek literature treat this subject more or less fully. Flach's 'Geschichte der Griechischen Lyrik' (Tübingen: 1883) is the most complete work on the whole field. Symonds's 'Greek Poets' and Jebb's 'Classical Greek Poetry' are both excellent. The Greek student finds Bergk's 'Poetæ Lyrici Græci' (Leipzig: 1882) indispensable. An attractive and convenient edition of the 'Poeta Lyrici Græci Minores' is that by Pomtow (Leipzig: 1885). Farnell's 'Greek Lyric Poetry' (Longmans: 1891) is confined to the "melic » writers. The most popular treatment of Greek music will be found in Naumann's History of Music,' edited by Sir F. Gore Ouseley (Cassell & Co.). Chappell's History of Music' (London: 1874) is a standard work. Monro's The Modes of Ancient Greek Music' (Clarendon Press: 1894) is intended for the specialist.

It Rushton Fairclough

CHANN LADY 19 UHI AND was born on Aur 26th, 1787, at Tbing . where now his statue stares, Although the place itself is a duli Fittle urly. "sity town, the region round about is filed with romante associations. Near by are the ancestral castles of the lichenstaters and II benzollerns, of the femay that dominated the brilliant period of Walter vịn der. V welweide and of that under which the Gurman empti - rogained her ancent lustre. Through the valky runs the Het along which swept the armies of the Sabian emperors to their new dominions in Italy. It was amid these romantic marones that Uhland's gese grew to maturity. In Tibingen he was ecated, and there in 1816 le took his degree in law. For two years be practiced in the ministry of justice at Stuttgart. When in 185 the question of a constration was precipitated by the King of Würtenberg, IBand 1st lato p viutie verse, and that year he published his first corection of poems. He sprang at once into unbounded popularity. Goethe, who recognized that such popular enthusiasm in.pited mert somewhere, found it in the ballads, and when Uhlad went into politics Goethe remonstrated: there were many men in Salia, be sa 1. cable of serving the State, but there was only one sich poet as Uhland. Nevertheless the political career which the poet began in 1819, when he was clected to the assembly, was continued at intervals throughout his Ffe. He received in 18 the coveted professorship of German language and literatur at the University of Tübingen; Lut since he was not pernaited 12 tele h's seat in the Assenily at the same time, he resigned from cond pest 13 1833. He was one of the most prominent of opp dens to the roval Constitution. In 1839 he refused re-elect and lived in retirement until in 1848 he was elected to the N: Assembly at Frankfort.

As le trem pel ties and poetry, Thland was, like Rücker. ished scholar. Schérer 16gar led him as one of the four science of Romance philology; and his contributions to studies are of permanent vibe. One exquisite mon.