GREEK ART

Press, Volume LXX, Issue 21163, 14 May 1934, Page 3

GREEK ART

RELIGIOUS ORIGIN AN ADDRESS BY DR. H. D. BROADHEAD The rhythmic motif found in all Greek art, and its origin in a form of religion and worship, were explained in a public lecture given last night by Dr. H. D. Broadhead, under the auspices of the Theosophical Society. The spirit actuating the genius of early Greek architecture and sculpture was found also on every page of the works of the great Greek writers, said Dr. Broadhead. Indeed, it was found in all their works of art. Curiously enough the Greek drama arose from a definitely religious source and ritual. When the ancient Greek went to the theatre he was engaged in an act of worship of a god. The ancient man was struck, it seemed, with the revival of life in the spring after apparent death in the winter, and he believed in worshipping the god whom he thought held the motive power. They believed that worship, sacrifice, and prayer would assist in the production of a good harvest. In-that way the festival of Dionysus arose. Chorus in Goat Skins Tragedy came from the word tragos, which actually meant a goat, and it was a curious connexion. The chorus singing the praises of Dionysus were clad in goat skins, and really tragedy meant a goat song. The Greeks invented the drama as it was known to-day and it all went back to some form of ritual. Hence, the dramatic form of art had its origin in religious worship, and what applied to drama appliad also to the other forms of art. The Greek gods were personifications of natural forces and they represented a very often not understood and terrifying power. In Egypt there were curious monsters, half human and half beast, representing the powers, but the Greek gods were conceived in human form. The temples took up a great deal of attention. Periodically the Athenians marched solemnly to the Parthenon to do homage to the goddess maiden who presided over the fortunes of the city. Brotherhood Not Understood It was difficult to understand the attitude of the ancient Greek. He opposed himself to the rest of the world calling all others than Greeks, barbarians, meaning foreigners. He showed in his literary work and his art a strong conviction that he belonged to the greatest people, on the earth, and he could not understand the principle of universal brotherhood. It was most characteristic of the old sages and wise men that a saying was, "do nothing in excess; measure in all things ..." The rapt visions of some modern religious geniuses constituted going to excess, according to the ordinary Grees mind. They kept a sane balance in life, and restraint was apparent m all art and activity. The love element which filled the modern novel was non-existent then, and a wife meant little more than a housekeeper. Where emotion had to be shown it was done in a most restrained manner. Ihe Greek was also symbolic in the representation of his subjects and had a wonderful sense of balance and symmetry. He was quick to seTze upon natural beauties and had a keen sense of social decency Dr. Broadhead showed a large number of lantern slides giving examples of Grecian handicraft, architecture and sculpture. '