Nay, I shall suck—thou canst not choose but pay the penalty— The red gore from thy living limbs, and win me out of thee The banquet of a draught that shall with awful anguish flow. Yea, I will waste thy living frame, then drag thee far below, There to pay all thy penalty, the mother-murder’s woe. So shall all else that have transgressed, Have sinned against a God, a guest, Or parents, mark how each receives The dues of sin that Justice gives. For Hades ’neath the earth waits every soul, A mighty judge who watcheth to enscroll All sins on his eternal memory’s roll.[136]

Of the rewards of the righteous in the next life Aeschylus has no word to say. There is no Elysium or Islands of the Blest.

Aeschylus represents the Athens of the Persian Wars; Sophocles belongs to the Periclean age. He was born fifteen years before the battle of Salamis and led the chorus which sang a paean to celebrate the Greek victory. To his contemporaries his life seemed happy, as if he were beloved by the gods above all other men. In 468 b.c. he was successful in contending for the tragic prize with Aeschylus, and he continued to write until his death in 406. Instead of the rugged strength and passion that we find in Aeschylus, Sophocles displays a sunny and gentle nature that naturally sought out the kindly and mediating elements in life. A conservative, he was not an innovator, critic, or teacher, as both Aeschylus and Euripides were; he does not make his characters reason much on the deeper things of life or criticize the traditional order.

Yet in one sense he is the most religious of the Greek poets, showing a faith in divine government and a wide outlook on the universe which the two other tragedians did not display. He does not break with the traditional belief as to the nature of the gods; indeed at most points he follows closely the Homeric conception; they are still to his mind the givers of evil as well as of good to men, and in fact his chorus in the Antigone quotes with approval the ancient saying that evil seems good soon or late to him whose mind the god draws to mischief.[137] Although he does not follow Pindar and Aeschylus in ascribing to divine beings a pure morality, yet he is inclined to believe with the elder poets that “Justice revealed from of old sits with Zeus in the might of the eternal laws.”[138] There are only two passages in which his characters may be said to criticize the gods. In the first Philoctetes, smarting under his suffering and neglect, exclaims:

No evil yet was crushed. The Heavens will ever shield it. ’Tis their sport To turn back all things rancorous and malign From going down to the grave, and send instead The good and true. Oh, how shall we commend Such acts, how construe them? When I extol Things god-like, I find evil in the Gods.[139]

But it must be observed that any other sentiment would have been out of character for Philoctetes at this point. The second is a fragment from his lost play, Aleites, in which some speaker, contemplating the prosperity of the wicked and the misfortunes of the good, declares that the gods ought not to order things thus for mortals, but that on the contrary the pious should have some evident profit from their piety and the unjust should pay the penalty for their wrongs that all might see.[140] But this fragment is so at variance in sentiment with Sophocles’ general attitude that it has been conjectured, not without probability, that it came from Euripides. Even if we reject this conjecture, as I think we must, we need not suppose that the sentiments which the poet puts into the mouths of his characters always represent his real view. A dramatist, as we must remind ourselves, should make the speakers in his play express sentiments in harmony with their characters and for the most part will have them utter moral ideas with which most of his audience is in sympathy, unless indeed he would play the part of innovator or prophet. As a matter of fact Sophocles’ own attitude seems to be expressed in another fragment: “No man is wise save him whom god honors; but if one look unto the gods, even if the god bid him depart from justice, there he must go. For nothing to which the gods lead men is base.”[141] This seems the key to Sophocles’ religious attitude. He is confident that however things may seem to us in our short-sightedness, if we could only see the purposes of the gods in their totality, we should know that they are good.

The bases of man’s life and action, his highest duty, Sophocles teaches is piety and discretion, σωφροσύνη. When in the Philoctetes Heracles appears, he urges upon the heroes that when they return to Troy they be mindful, in laying waste the land, to show reverence towards the gods:

But, take good heed, Midst all your spoil to hold the gods in awe. For our great Father counteth piety Far above all. This follows men in death, And fails them not when they resign their breath.[142]

And the chorus sings at the end of the Antigone:

Wise thought hath the first place in happiness Before all else, and piety to Heaven Must be preserved. High boastings of the proud Bring sorrows to the height to punish pride:— A lesson men shall learn when they are old.[143]

In the Ajax Athena says:

Then, warned by what thou seest, be thou not rash To vaunt high words toward Heaven, nor swell thy port Too proudly, if in puissance of thy hand Thou passest others, or in mines of wealth. Since Time abases and uplifts again All that is human, and the modest heart Is loved by Heaven, who hates the intemperate will.[144]

There is an extraordinary passage in the Oedipus Coloneus where Oedipus is made to say, when his strength fails him and he cannot go to the altar to sacrifice, but must send one of his daughters: “For I think that one soul suffices to pay this debt for ten thousand, if it come with good will (purity) to the shrine.”[145] Piety, reverence, and purity, these to Sophocles are the highest qualities of man.

For the poet the moral order was unchanging, dependent not upon caprice but having a divine source and a divine sanction; the laws of heaven are therefore superior to those of man, and man’s obedience to the higher law is made his duty and the means of his consecration. In an ode in Oedipus the King, which is called forth by the king’s harshness and by the suspicion that he is not wholly guiltless, as well as by the queen’s bold contempt for Apollo’s oracle, the chorus sings:

O may I live Sinless and pure in every word and deed Ordained by those firm laws, that hold their realm on high! Begotten of Heaven, of brightest Ether born, Created not of man’s ephemeral mould, They ne’er shall sink to slumber in oblivion. A Power of God is there, untouched by Time.[146]

That is, the chorus here pray that they may always show their piety and reverence by obeying the divine laws. This sentiment is repeated more than once in the extant tragedies; as when Odysseus warns Agamemnon not to refuse burial to the body of Ajax: “’Tis not he, ’tis the law of heaven that thou would’st hurt.”[147] Through this belief Sophocles justified Antigone in her decision to defy the edict of the state, for Creon had ordained that her brother Polynices might not be buried, since he had attacked Thebes. But Greek belief regarded it as a sacred duty of the next of kin to bury their dead, and this duty Antigone could not but fulfil, although she knew that death would be her lot. When Creon asks her if she did indeed dare to transgress his edict, she replies:

I heard it not from Zeus, nor came it forth From Justice, where she reigns in the Underworld. They too have published to mankind a law. Nor could I think thine edict of such might That one who is mortal thus could overrule The infallible, unwritten laws of Heaven. Their majesty begins not from today But from eternity, and none can tell The hour that saw their birth.[148]

It was for this same principle that Socrates, a generation later, gave up his life. In his defense he told his jury why: “Perhaps someone may say, ‘But Socrates, can you not go off and live in exile, give up talking and be quiet?’ This is the very point on which it is hardest to persuade some of you, for if I say that this is exile to be disobeying the god and therefore that it is impossible to keep quiet, you will not believe me, but will say that I am ironical.”[149] Socrates believed that he had a divine commission to question and examine others, and that duty he must perform as the heroine in the tragedy must perform hers, cost him what it might.

The eternal problem of human suffering, the fact that pain and misfortune are not always the result of wrong doing, but that the innocent suffer while the guilty escape, was a matter with which Sophocles was much concerned. His predecessor Aeschylus had tried to show in opposition to experience that sin always preceded pain; and in Sophocles the doom of Creon and his house is due to the king’s proud resentment wherein he sinned against heaven’s law. But in the same play the heroine Antigone, who has obeyed the divine mandates, is forced to suffer a most pathetic fate. King Oedipus was not intentionally guilty, and the fate of the innocent queen Deianeira surpasses in pathos that of any other tragic heroine. She was impelled by the tender desire to recall the love of her faithless husband, and the poet acquits her of blame, “She erred, though she intended well.”[150] But none the less she involved both husband and herself in dreadful doom.

The tragic poet found his solution of this ancient perplexing problem only in the larger view, which regarded the individual as but a slight factor in the economy of the whole. At times suffering was regarded as a means of discipline: “The soul that has been bedded in misfortune sees many things.”[151] Thus through pain one learns and has his nature developed. Theseus, in the Oedipus Coloneus, offers a kindly welcome to the exile Oedipus and his daughters, for his own sufferings in exile have produced a spirit of kindliness and charity in him. Oedipus himself in the same play is unlike the headstrong king of the earlier tragedy; suffering and time have chastened and enlightened him, though they have not made him mild in spirit.

Sophocles also displays great sympathy with human weakness and suffering. This appears in his treatment of the character of Deianeira, and above all in the tender pathos with which he brings out the human longings of Antigone, who though she has nobly obeyed heaven’s unwritten law, yet shrinks from suffering and death and from the loss of all that youth promises. It is not surprising, therefore, that we find in Sophocles mercy emphasized as a divine attribute, and this quality in the gods held up as an example to men. On this Polynices makes his appeal to Oedipus:

But seeing that Zeus on his almighty throne Keeps Mercy in all he does to counsel him, Thou, too, my father, let her plead with thee![152]

The sentiment is not far from Portia’s plea:

It is enthroned in the hearts of kings, It is an attribute to God himself; And earthly power doth then show likest God’s When mercy seasons justice.

Sophocles’ sympathy for undeserved suffering, his understanding of the weakness of men, of their liability to error, and his faith in the gods, all led him to try to take the larger view of the ills of life, to which the philosopher Heraclitus had already given expression when he said that god does all things for the harmony of the whole; and that while men regard some things as right and others wrong, to god all things are fair and good and right. The individual is only a part of the great whole, and when human experiences are regarded sub specie aeternitatis, we shall find that that which seems evil is only permitted to make a just and harmonious unity. The poet tried to conceive of the life of man,

As a great whole, not analyzed to parts But each part having reference to all.

Looked at from this universal point of view the sufferings of Philoctetes, Antigone, Deianeira, and Oedipus are justified to men.

It was natural that Sophocles should use many Homeric concepts with reference to the condition of men and the life after death. In the Antigone alone is there any personal hope of future happiness. It may well be that the poet’s sense of what was fitting dramatically is responsible for his conservative attitude; he was dealing with traditional material, and using themes and incidents which were far remote in time from his audience. It may have seemed to him that fidelity to his subject and the requirements of artistic unity prevented his putting into the mouths of his characters sentiments which an early age could hardly have conceived. Sophocles was not animated by the iconoclasm which we shall find in the bolder Euripides; but if the future life is not pictured in Sophocles’ extant tragedies, we need not doubt for a moment that he believed in immortality. He had been initiated into the Mysteries and one of the finest expressions of the ecclesiastical confidence which the initiates felt came from his pen: “Thrice blessed are those mortals who have seen these rites and then go to the house of Hades, for they alone have life there; but all others have only woe.”[153]

Such, in brief, were the teachings of some of the greatest poets of the sixth and fifth centuries before our era. But these represent only one side of Greek thought in this time. In Athens there were influences, political, social, and intellectual, which were working profound changes. Pindar, Aeschylus, and Sophocles belonged to an older order; the voices of the new age will concern us in our next lecture.