persecuted for their opinions, they never ceased to love their country, or to wish to live at peace with their enemies and serve her. Rarely has a body of men produced nobler characters. This book fills a vacuum in French history.
Modern Greek Literature is by no means so wild and imperfect as might be expected from a nation in such a chaotic and uncultivated condition. The people of Greece are hardly more civilized than the Servians, the Dalmatians, or any other of the half-savage tribes that inhabit the south-eastern corner of Europe, but the influence exercised by the antique glory of the land still remains to develop among them a degree of artistic power and beauty unknown to their neighbors. And little as Greece has gained generally from the introduction of German royalty and German office-holders, it has no doubt profited by the greater attention thus excited toward the works of the mighty poets who stand alone and unharmed after all else that their times produced has fallen into ruin. Thus, since the incoming of the Bavarians there has been growing up a disposition in favor of the early literature, and against the newer and less elegant forms of the modern language. The purification of the latter, and its restoration to something like the old classical perfection, the abandonment of rhyme, which is the universal form of the proper new Greek verse, and even the employment of the ancient mythological expressions, are the characteristic aims of some of the most gifted of living Hellene writers. In this way there are two distinct classes of cotemporaneous literature to be found in the Peninsula; the one consists of these somewhat reactionary and romantic lovers of the past, the other of the fresh, native products of the people, independent as far as possible of antiquity, and altogether unaffected by learned studies. The latter is mainly lyric in its character, and has often a wild beauty, which is none the less attractive because it is purely natural. These songs deal more with nature than those of the Sclavonic tribes, with which Mrs. Robinson has made us so well acquainted. The brooks, the hills, the sky, the birds, appear in them, and for human interest, some adventurous Klepht, some fighting and dying robber, is brought upon the scene.
The best of the Romaic literature is no doubt the dramatic. This is natural, for the Greeks are still a representative and dramatic people. Until comparatively lately the poets confined themselves, if not to modern subjects, at least to the modern genius of their language. Their dramas were written in rhyme, and with a total disregard of the antique principles of rhythm. Quantity was supplanted by following the accents, and the exterior of the piece was more that of a French play than like the drama of any other nation. The specimen of this style most accessible to American students is the Aspasia of Rizos, published in Boston some twenty years ago, a tragedy, by the way, well worth reading. But latterly, the antique tendency prevailing, plays are written in the old measures, and with all the old machinery. This is in fact a revolutionary proceeding, but we hope may not be without its use, for Greece is not now rich enough to make useless experiments. One of these plays has been translated into German, and thus made accessible to those of the readers of that language whose studies have not reached into the musical Romaic. It is called The Wedding of Kutrulis, an Aristophanic Comedy, by Alexandros Rhisos Rhangawis. The form used by the great Athenian satirist is perfectly reproduced, and an original and hearty wit is not wanting. The Aristophanic dress is justified by the poet in some lines which we thus render into the rudeness of English:
Though he trimeters boldly arranges together, and anapæsts weaves with each other,
'Tis not weakness in words that compels him, nor fear at the rhymes' double ringing;
In spans he can syllables harness with skill, as a fledgling should do of the muses,
And where thoughts and poetic ideas there are none, words can heap up in ἱα and ἁζει,
But mid the verdure of laurels eternally green, and by Castaly's ever pure fountains,
There found he all broken and voiceless the pipe that, in rage at these poets profaning,
At these now-a-day sons of Marsyas, the noble old Muse had flung from her.
The subject and story of this comedy are drawn from the actual life of the people. Spyros, a tavern-keeper in Athens, has promised his daughter Anthusia to Kutrulis, a rich tailor. The young lady's notions are however above tailors; her husband must wear epaulettes and orders. If Kutrulis wants her hand, he must become minister. He despairs at first, but as others have become ministers, there is a chance for him. Accordingly, the needful intrigues and solicitations are set on foot. The strophe of the chorus by the sovereign public is too characteristic and too Attic for us not to try to render it, though perhaps only the few who have dipped in the well of the antique drama can appreciate it:
O muse of the billiard room,
Thou that from mocha's odor-pouring steam,
And from the ringlets, white-curling from pipes on high
Thine inspiration drawest, of venal sort!
Here's a new minister must be appointed now.
Up and strike the praising strings!
Up, O muse of the mob's grace,
Put forth in the rosy pages of newspapers
Dithyrambic articles!
The hero praise aloud!
To succeed in his ambition, Kutrulis must choose a party with which to identify himself. Accordingly the Russian, the British and the French parties, the three into which Greek public men are divided, are introduced, and each urges the reasons why he should become its partisan. This gives the poet an admirable opportunity for the use of satire, which he improves excellently. Kutrulis pledges himself to each of these candidates for his support, but mean while his friends have spread the report that he has actually been appointed minister. Now the swarm of office-seekers and speculators of all sorts come to solicit his favor and exhibit their own corruption. This part of the drama is treated with keen effect. While the report of his appointment is believed by himself and others, Kutrulis marries the scheming Anthusia, who presently wakes from her illusion to find that she is only a tailor's wife after all. She declares that by way of revenge she will compel her husband to give her a new dress every week, and the piece ends to the amusement of everybody.
M. Planche, the oldest Professor and the most learned Grecian at Paris, has just issued the first number of a Dictionnaire du Style poétique dans la Langue Grecque. This dictionary is in fact a concordance of Greek, Latin, and French poetry. It offers a complete and curious illustration of the origin and growth of figurative words and phrases, and of their transfer from one language to another. The word anchor, for instance, was one of the earliest among the Greeks, a marine people, to take on a metaphorical sense. We see this even in Pindar, who speaks of his heroes as casting anchor on the summit of happiness. M. Planche follows this typical use of the word in Virgil, in Ovid, and in Racine, the last of whom says in the Pleaders:
"Natheless, gentlemen,
The anchor of your goodness us assures."
To the curious student of words and their internal senses this Dictionary is evidently a book worth having.
M. Elias Regnault has undertaken to continue the Dix Ans of Louis Blanc, in the shape of L'Histoire de Huit Ans 1840—48. Few works had ever so powerful an influence as Blanc's "Ten Years." The events of the eight years of which Regnault proposes a history were in no inconsiderable degree fruits of this work.
Mr. Hallam, on the 13th of February, sent a letter to the Society of Antiquaries, in London, announcing in consequence of his recent bereavement, he wished at the next anniversary to relinquish the office of Vice-President, which he had filled for the last thirty years; having been a member of the Society for more than half a century, and having during that period contributed many papers to its transactions. A resolution was proposed by Mr. Payne Collier, seconded by Mr. Bruce, expressive of respect for Mr. Hallam, sincere sympathy with his afflictions, and sorrow at his retirement. In a subsequent letter, Mr. Hallam stated that he should continue to be a member of the Society.
General Sir William Napier has published
