His most important work is his “History of Ancient
and Modern Literature.” Throughout his exposition he
is a propagandist of his special ideas; but the book
is of lasting importance as the earliest attempt to
present a systematic view of literary development as a
whole.—_Sime._
Extracts from History of Literature.
LITERARY INFLUENCE OF THE BIBLE.—On attentively considering the
influence exercised by the Bible over mediæval as well as more modern
literature and poetry, and the effects of the Scriptures, viewed as
a mere literary composition on language, art, and representation,
two important elements engage our observation. The first of these is
complete simplicity of expression or the absence of all artifice.
Almost exclusively treating of God and the moral nature of man,
the language of the Scriptures is throughout living and forcible,
devoid of metaphysical subtleties and of those dead ideas and empty
abstractions which mark the philosophy of all nations—from the
Indians and Greeks down to modern Europeans—whenever they undertake
to represent those exalted objects of contemplation, God and man,
by the light of unassisted reason. . . . Corresponding simplicity or
absence of affectation also mark the poetical portions of Holy Writ,
notwithstanding the copiousness of noble and sublime passages with
which they abound. . . . The second distinctive quality of the Bible,
in reference to external form and mode of representation, exerting
an immense influence over modern diction and poesy, is the all
pervading typical and symbolic element—not only of its poetical but
of the didactic and historical books. In the case of the Hebrews this
peculiarity may be partially regarded as a national peculiarity,
in which the Arabs, their nearest of kin, participated. It is not
impossible that the prohibition concerning graven images of the
Divinity contributed to cherish this propensity; the imagination
restricted on one side sought an outlet in another. The same results
flowed from similar causes among the followers of Mahomet. In those
portions of Holy Writ in which oriental imagery is less dominant, as
for instance in the books of the New Testament, symbolism nevertheless
prevails. This spirit has, to a great extent, influenced the
intellectual development of all Christian races.
MEDIÆVAL GOTHIC ARCHITECTURE.—The real mediæval is nowhere so
thoroughly expressed as in the memorials of the architectural style
erroneously called gothic, the origin of which, as also its progressive
features, may, to this day, be said to be lost in obscurity and doubt.
The misnomer is now generally admitted, and it is commonly understood
that this mediæval style did not originate with the Goths, but sprung
up at a later date, and speedily attained its full maturity without
exhibiting various gradations of formation. I allude to that style of
Christian art which is distinguished by its lofty vaults and arches,
its pillars which resemble bundles of reeds, and general profusion of
ornament modeled after leaf and flower. . . . Whoever the originators,
it is evident that their intention was not merely to pile up huge stone
edifices, but to embody certain ideas. How excellent soever the style
of a building may be, if it convey no meaning, express no sentiment,
it can not strictly be considered a creation of art; for it must be
remembered that this, at once the most ancient and sublime of creative
arts, can not directly stimulate the feelings by means of actual appeal
or faculty of representation. Hence architecture generally bears
a symbolical hidden meaning, whilst the Christian architecture of
mediæval Germany does so in an eminent and especial degree. First and
foremost there is the expression of devotional thought towering boldly
aloft from this lowly earth toward the azure skies and an omnipotent
God. . . . The whole plan is replete with symbols of deep significance,
traced and illustrated in a remarkable manner in the records of the
period. The altar pointed eastward; the three principal entrances
expressed the conflux of worshipers gathered together from all quarters
of the globe. The three steeples corresponded to the Christian Trinity.
The quire arose like a temple within a temple on an increased scale
of elevation. The form of the cross had been of early establishment
in the Christian church, not accidentally, as has been conjectured
by some, but with a view to completeness, a constituent part of the
whole. The rose will be found to constitute the radical element of all
decoration in this architectural style; from it the peculiar shape of
window, door and steeple is mainly derived in their manifold variety of
foliated tracery. The cross and the rose are, then, the chief symbols
of this mystic art. On the whole, what is sought to be conveyed is the
stupendous idea of eternity, the earnest thought of death, the death of
this world, wreathed in the lovely fullness of an endless blooming life
in the world that is to come.