[10] _Some Aspects of Greek Genius_, p. 252. See also his remarks, pp. 246-248, concluding thus: "The great period, indeed, of the Attic drama, when the dialectic movement of thought was in full operation, can hardly be called 'simple' in Schiller's sense" [he is quoting Schiller on "Simple and Sentimental Poetry," where in the opening paragraph Schiller applies the word _naiv_, simple, to a natural object, as meaning that state in which nature and art stand contrasted and the former shames the latter]; "yet even then, as in Homer, nature is but the background of the picture, the scene in which man's activity displays itself. The change of sentiment sets in only from the time of Alexander onwards. Nature is then sought for her own sake; artists and poets turn to her with disinterested love; her moods are lovingly noted, and she is brought into close relationship with man." [11] _Studies of the Greek Poets_, Vol. II, p. 258. [12] See _Social Life in Greece_ (Mahaffy), p. 426, and _What have the Greeks done for Modern Civilization?_ (Mahaffy, 1909), p. 11: "External nature was the very thing that the Greeks, all through their great history, felt less keenly than we should have expected. Their want of a sense of the picturesque has ever been cited as a notable defect." See also W. R. Hardie, _Lectures on Classical Subjects_ (1903), p. 8: "To what extent do the modern feelings and fancies about Nature appear in the ancient poets?... The usual and substantially true answer is that they appear to a very slight extent. Like Whitehead, the Greek is slow to recognize 'a bliss that leans not to mankind.'" [13] _Culturstudien aus drei Jahrhunderten_ (2nd Edition, 1859), p. 63. [14] See S. H. Butcher, _Some Aspects of the Greek Genius_, pp. 265, 266: "Mountains and lonely woods and angry seas, in all periods of Greek literature, so far from calling out a sublime sense of mystery and awe, raise images of terror and repulsion, of power divorced from beauty and alien to art. Homer, when for the moment he pauses to describe a place, chooses one in which the hand of man is visible; which he has reclaimed from the wild, made orderly, subdued to his own use. Up to the last days of Greek antiquity man has not yet learnt so to lose himself in the boundless life of Nature, as to find a contemplative pleasure in her wilder and more majestic scenes." See also J. A. Symonds, _Studies of the Greek Poets_, Vol. II, p. 257: "The Greeks and Romans paid less attention to inanimate nature than we do, and were beyond all question repelled by the savage grandeur of marine and mountain scenery, preferring landscapes of smiling and cultivated beauty to rugged sublimity or the picturesqueness of decay...." See also W. R. Hardie, _Lectures on Classical Subjects_, pp. 3, 9, 17, and Friedlander, _Roman Life and Manners_, Vol. I. pp. 391, 392, 393, 395. [15] _Ueber die Entstehung und Entwicklung des Gefühls für das Romantische in der Natur_, pp. 4, 10.