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20 artistic spirit of the Greeks was bright, cheerful, joyous, indicating facility and grace: the modern tends more to gloomy grandeur, a circumscribed, unconscious grace and perfection, in contrast with a limitless and vague sublimity.

This latter characteristic existed in a degree also among the Jews, and from the same cause to which the moderns owe it,—a more sublime and terrible religious belief, that carried the mind beyond all visible space and power. The Christian revelation has modified this effect, not by rendering the idea of the Supreme more familiar, but by presenting a divine perfection as a model to every man.

The Greek did not criticise himself, because he had no higher standard than the action of creatures like himself. The Christian criticises himself from a standard of ineffable perfection, so that the idea of struggle and difficulty, even of the greatest struggle the powers are capable of, is inseparable from that of the true Christian.

This element being thus in general existence throughout the world, even those who are unmoved by the demands of religion partake of the idea of an indefinitely exalted standard towards whatever excellence they incline; and, as human exertions are limited, instead of resting with that we can easily accomplish, a longing for the indefinite springs up in every ardent breast, and finds a response, as every genuine feeling does, in nature, and demands it of art.

How is it that, while we receive a deeper answer from nature, art has become incapable of adequately responding to it? Instead of producing greater works than of old, we fail of reaching the ancient excellence. Is it that outward nature has become too great to our apprehension, that man has been invested with attributes too internal to be represented by outward form; that thus these outward arts decay; and, if this hypothesis be correct, that we must find in poetry and music what the other arts can no longer represent?

However these things may be, we cannot leave this part of our subject, without recurring once more to &quot;Hamlet,&quot; in illustration of what we have been saying. In the Greek works, individual character is subordinate to the general