more popular than in the East, where the jealous separation of the sexes has, in all ages, been extreme. As little can it be said that Homer's poems exhibit a state of society in which females were lightly esteemed. The Trojan war itself originates in the susceptibility of an injured husband: and all Greece takes up arms to avenge his wrong. The plot of the Odyssey hinges mainly on the constant attachment of the hero to the spouse of his youth; and the whole action tends to illustrate the high degree of social and political influence consequent on the exemplary performance of the duties of wife and mother. Nor surely do the relations subsisting between Hector and Andromache, or Priam and Hecuba, convey a mean impression of the respect paid to the female sex in the heroic age. As little can the case be explained by a want of fit or popular subjects of amorous adventure. Many of the favorite Greek traditions are as well adapted to the plot of an epic poem or tragedy of the sentimental order, as any that modern history can supply. Still less can the exclusion be attributed to a want of sensibility, on the part of the Greek nation, to the power of the tender passions. The influence of those passions is at least as powerfully and brilliantly asserted in their own proper sphere of poetical treatment, in the lyric odes, for example, of Sappho or Mimnermus, as in any department of modern poetry. Nor must it be supposed that even the nobler Epic or Tragic Muse was insensible to the poetical value of the passion of love. But it was in the connection of that passion with others of a sterner nature to which it gives rise, jealousy, hatred, revenge, rather than in its own tender sensibilities, that the Greek poets sought to concentrate the higher interest of their public. Any excess of the amorous affections which tended to enslave the judgment or reason was considered as a weakness, not an honorable emotion; and hence was confined almost invariably to women. The nobler sex are represented as comparatively indifferent, often cruelly callous, to such influence; and, when subjected to it, are usually held up as objects of contempt rather than admiration. As examples may be cited the amours of Medea and Jason, of Phædra and Hippolytus, of Theseus and Ariadne, of Hercules and Omphale. The satire on the amorous weakness of the most illustrious of Greek heroes embodied in the last mentioned fable, with the glory acquired by Ulysses from his resistance to the fascinations of Circe and Calypso, may be jointly contrasted with the subjection by Tasso of Rinaldo and his comrades to the thraldom of Armida, and with the pride and pleasure which the Italian poet of chivalry appears to take in the sensual degradation of his heroes. The distinction here drawn by the ancients is the more obvious, that their warriors are least of all men described as indifferent to the pleasures of female intercourse. They are merely exempt from subjection to its unmanly seductions.