To those unknown artists of the prehistoric age, to the language-builders and myth-makers, architects of cathedrals not raised with hands, but with the spirit of man, for humanity to dwell therein, poets of the characters of nations, sculptors of the substance of the very soul, melodists who improvised the themes upon which subsequent centuries have written variations, we ought to erect our noblest statues and our grandest temples. The work of these first artificers is more astonishing in its unconsciousness, more effective in its spontaneity, than are the deliberate and calculated arts of sculptor, painter, poet, philosopher, and lawgiver of the historic periods. Some such reflections as these are the natural prelude to the study of a literature like that of the Greeks. Language and mythology form the vestibules and outer courts to Homer, Pheidias, Lycurgus. It is common to divide the history of Greek literature into three chief periods: the first embracing the early growth of poetry and prose before the age in which Athens became supreme in Hellas--that is, anterior to about 480 B.C.; the second coinciding with the brilliant maturity of Greek genius during the supremacy of Athens--that is, from the termination of the Persian war to the age of Alexander; the third extending over the decline and fall of the Greek spirit after Alexander's death--that is, from B.C. 323, and onwards, to the final extinction of Hellenic civilization. There is much to be said in favor of this division. Indeed, Greek history falls naturally into these three sections. But a greater degree of accuracy may be attained by breaking up the first and last of these divisions, so as to make five periods instead of three. After having indicated these five periods in outline, we will return to the separate consideration of them in detail and in connection with the current of Greek history.