THREE:Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphrodit�� no longer figured as the lover of Ar��s or Anchis��s, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103Here, then, we find, chiefly among the rustic population, a religion intimately associated with morality, and including the doctrine of retribution after death. But this simple faith, though well adapted to the few wants of its original votaries, could not be raised to the utmost expansion and purity of which it was susceptible without being brought into vivifying contact with that other Olympian religion which, as we have seen, belonged more peculiarly to the ruling aristocracy. The poor may be more moral than the rich, and the country than the town; nevertheless it is from dwellers in cities, and from the higher classes, including as they do a large percentage of educated, open-minded individuals, that the impulses to moral progress always proceed. If the narrowness and hardness of primitive social arrangements were overcome; if justice was disengaged from the ties of blood-relationship, and tempered with consideration for inevitable error; if deadly feuds were terminated by a habitual appeal to arbitration; if the worship of one supreme ideal was substituted for a blind sympathy with the ebb and flow of life on earth; if the numerical strength of states was increased by giving shelter to fugitives; if a Hellenic nation was created and held together by a common literature and a common civilisation, by oracles accessible to all, and by periodical games in which every free-born Greek could take part; and, lastly, if a brighter abode than the slumberous garden of Persephon�� was assigned after death to the godlike heroes who had come forth from a thrice repeated ordeal with souls unstained by sin;55��all this was due to the military rather than to the industrial classes, to the spirit that breathes through Homer69 rather than to the tamer inspiration of Hesiod��s muse. But if justice was raised to an Olympian throne; if righteous providence, no less than creative power, became an inalienable attribute of Zeus; if lyric poetry, from Archilochus to Simonides and Pindar, is one long hymn of prayer and praise ever turned upward in adoring love to the Divine; we must remember that Themis was a synonyme for Earth, and that Prometheus, the original friend of humanity, for whose benefit he invented every useful art, augury included, was her son. The seeds of immortal hope were first planted in the fructifying bosom of D��m��t��r, and life, a forsaken Ariadn��, took refuge in the mystical embraces of Dionysus from the memory of a promise that had allured her to betray. Thus, we may conjecture that between hall and farm-house, between the Olympian and the Chthonian religions, there was a constant reaction going on, during which ethical ideas were continually expanding, and extricating themselves from the superstitious elements associated with their earliest theological expression.