the vivid poetry of Homer. While yet a boy, and probably about the
time when Phrynichus first elevated the Thespian drama, he is said to
have been inspired by a dream with the ambition to excel in the
dramatic art. But in Homer he found no visionary revelation to assure
him of those ends, august and undeveloped, which the actor and the
chorus might be made the instruments to effect. For when the idea of
scenic representation was once familiar, the epics of Homer suggested
the true nature of the drama. The great characteristic of that poet
is individuality. Gods or men alike have their separate,
unmistakeable attributes and distinctions--they converse in dialogue--
they act towards an appointed end. Bring Homer on the stage, and
introduce two actors instead of a narrator, and a drama is at once
effected. If Phrynichus from the first borrowed his story from Homer,
Aeschylus, with more creative genius and more meditative intellect,
saw that there was even a richer mine in the vitality of the Homeric
spirit--the unity of the Homeric designs. Nor was Homer, perhaps, his
sole though his guiding inspiration. The noble birth of Aeschylus no
doubt gave him those advantages of general acquaintance with the
poetry of the rest of Greece, which an education formed under the
lettered dynasty of the Pisistratidae would naturally confer on the
well-born. We have seen that the dithyramb, debased in Attica to the
Thespian chorus, was in the Dorian states already devoted to sublime
themes, and enriched by elaborate art; and Simonides, whose elegies,
peculiar for their sweetness, might have inspired the "ambrosial"
Phrynichus, perhaps gave to the stern soul of Aeschylus, as to his own
pupil Pindar, the model of a loftier music, in his dithyrambic odes.

V. At the age of twenty-five, the son of Euphorion produced his first
tragedy. This appears to have been exhibited in the year after the
appearance of Aristagoras at Athens,--in that very year so eventful