CHAPTER XIV
LITERATURE AND PAINTING CONTINUED: LYRIC AND DRAMATIC
POETRY

Lyric Poetry. -- We return once more to the observations of Jahn as to the influence of poetry on painting, and have to consider whether either in method of representing a story, or in general tone, vases reflect the influence of that lyric poetry of Greece which succeeded the epic. In some cases the lyric poets did not accept the epic version of a tale, but preferred a refinement of their own invention. Could versions of myth, which were due to some innovating poet, find a place in art? From what has already been said as to the relations of literature and art this would seem unlikely. Nor do I think we have any satisfactory examples of it, though some have been suggested by archaeologists. One of the greatest poetical innovators was Stesichorus of Himera, who lived about 600 B.C., and who is said to have introduced new elements and new motives into current and Homeric myth. Among other such innovations, he declared that Helen had never really been at Troy, that the Trojans held but a ghost or simulacrum of her, while the real Helen tarried in Egypt. Thus he tried to save the reputation of the heroine. He also found difficulties in the tale that Artemis had turned the inquisitive Actaeon into a stag, to be pulled down by his own dogs, and feigned rather that the goddess had merely thrown a stag's skin over his shoulders. It is most unlikely that such rationalism as this

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