_Influence of Literature: Pindar, Æschylus, Sophocles_.--More familiar and apparently more answerable is the question concerning the influence of the poetic masterpieces of this period, the works of Pindar and the Attic drama, on the general history of Greek religion. The subject is obviously too complex for the scope of this summary, and has been handled by many scholars in large treatises. There is only room here for the most general statement of facts, tendencies and effects. As exponents of the highest contemporary religious thought the names of Pindar, Æschylus, Sophocles and Euripides are those of primary authority. It is easy and interesting to collect religious citations from their works, to compare these one with another and with the current polytheism. It is far more difficult to decide generally and in regard to any special point how far any one of them could have influenced or modified the popular religion. Nor are all these four on the same footing in respect of opportunity. For Pindar writes for dynasts and aristocrats and, being a hireling, might be thought fettered in the free expression of his sentiments; and in any case his public was more limited than that which the three dramatists addressed. Therefore their message was likely to reach further and to penetrate the Greek mind more deeply than anything that Pindar had to say; and that this was actually the case can be proved. Nevertheless, Pindar must be reckoned with as an original thinker who spoke words of power; in spite of his profession, his mind remained imperial and free; and in his attitude to the public religion he is to be grouped with Æschylus and Sophocles; and all three stand together and apart {105} from Euripides. All three show the virility, the mental tranquillity combined with imagination and audacity, that marked the typical character of the greatest age of Hellas. And all three genially and without querulous protest, though with some freedom of criticism, accept the existing religious order, desiring to ennoble it, not to destroy it. Pindar himself was the establisher of certain new cults, and the first great literary preacher in Greece of Orphic eschatology, and, we may say, the first great poet in Europe who raised the theme of Paradise to the level of the highest poetry. Such a marvel of song on the mysteries of life and death as the second Olympian ode was a new voice in Hellas; how far it echoed, and with what influence on the faith of the people, is impossible to measure with accuracy. For the progress of this new eschatology, which is a weighty subject for the history of later Hellenism, we have some important negative evidence in the fact that neither Æschylus nor Sophocles show any knowledge of Orphism or interest in it, or any preoccupying concern with the state of the soul after death; nor in their occasional utterances concerning posthumous judgment do they go beyond the popular traditional view: though the thoughtful refinement