VII. Thus summoning before us the external character of the Athenian drama, the vast audience, the unroofed and enormous theatre, the actors themselves enlarged by art above the ordinary proportions of men, the solemn and sacred subjects from which its form and spirit were derived, we turn to Aeschylus, and behold at once the fitting creator of its grand and ideal personifications. I have said that Homer was his original; but a more intellectual age than that of the Grecian epic had arrived, and with Aeschylus, philosophy passed into poetry. The dark doctrine of fatality imparted its stern and awful interest to the narration of events--men were delineated, not as mere self-acting and self-willed mortals, but as the agents of a destiny inevitable and unseen--the gods themselves are no longer the gods of Homer, entering into the sphere of human action for petty motives and for individual purposes--drawing their grandeur, not from the part they perform, but from the descriptions of the poet;--they appear now as the oracles or the agents of fate--they are visiters from another world, terrible and ominous from the warnings which they convey. Homer is the creator of the material poetry, Aeschylus of the intellectual. The corporeal and animal sufferings of the Titan in the epic hell become exalted by tragedy into the portrait of moral fortitude defying physical anguish. The Prometheus of Aeschylus is the spirit of a god disdainfully subjected to the misfortunes of a man. In reading this wonderful performance, which in pure and sustained sublimity is perhaps unrivalled in the literature of the world, we lose sight entirely of the cheerful Hellenic worship; and yet it is in vain that the learned attempt to trace its vague and mysterious metaphysics to any old symbolical religion of the East. More probably, whatever theological system it shadows forth, was rather the gigantic conception of the poet himself, than the imperfect revival of any forgotten creed, or the poetical disguise of any existent philosophy. However this be, it would certainly seem, that, in this majestic picture of the dauntless enemy of Jupiter, punished only for his benefits to man, and attracting all our sympathies by his courage and his benevolence, is conveyed something of disbelief or defiance of the creed of the populace--a suspicion from which Aeschylus was not free in the judgment of his contemporaries, and which is by no means inconsonant with the doctrines of Pythagoras.