e is no answer. But the sum of all is, that over the entire
surface of the earth, and its waters, as influenced by the power of the
air under solar light, there is developed a series of changing forms, in
clouds, plants, and animals, all of which have reference in their action,
or nature, to the human intelligence that perceives them; and on which,
in their aspects of horror and beauty, and their qualities of good and
evil, there is engraved a series of myths, or words of the forming power,
which, according to the true passion and energy of the human race, they
have been enabled to read into religion. And this forming power has been
by all nations partly confused with the breath or air through which it
acts, and partly understood as a creative wisdom, proceeding from the
Supreme Deity; but entering into and inspiring all intelligences that
work in harmony with Him. And whatever intellectual results may be in
modern days obtained by regarding this effluence only as a motion of
vibration, every formative human art hitherto, and the best states of
human happiness and order, may have depended on the apprehension of its
mystery (which is certain,) and of its personality, which is probable.

90. Of its influence on the formative arts, I have a few words to say
separately: my present business is only to interpret, as we are now
sufficiently enabled to do, the external symbols of the myth under which
it was represented by the Greeks as a goddess of counsel, taken first
into that breast of their supreme Deity, then created out of his
thoughts, and abiding closely beside him; always sharing and consummating
his power.

91. And in doing this we have first to note the meaning of the principal
epithet applied to Athena, "Glaukopis," "with eyes full of light," the
first syllable being connected, by its root, with words signifying sight,
not with words signifying color. As far as I can trace the color
perception of the Greeks, I find it all founded primarily on the degree
of connection between color and light; the most important fact to them in
the color of red being its connection with fire and sunshine; so that
"purple" is, in its original sense, "fire-color," and the scarlet or
orange, of dawn, more than any other fire-color. I was long puzzled by
Homer's calling the sea purple; and misled into thinking he meant the
color of cloud shadows on green sea; whereas he really means the gleaming
blaze of the waves under wide light.