(480-330 B.C.)
The Attic Period.—In their wars with the Persians (492-479 B.C.), the Hellenic people fully demonstrated their military superiority, vindicating their manhood on the fields of Marathon and Platæa, and in the sea-fight with Xerxes at Salamis. Under the stimulus of these national triumphs, conducing to national unity, as well as of the free institutions now generally established, the Greek mind was awakened to renewed action; literature made unprecedented growth, and in the fifth century B.C. matured its choicest products.
Athens, the laurel-crowned saviour of Greece, hitherto but an indifferent contributor to art and poetry, now became the centre of letters, aspiring through her statesman Pericles (469-429 B.C.) to both literary and political supremacy. Her Attic dialect, nervous but not rough, harmonious without a too effeminate softness—the perfection of the Greek language—materially helped to make her the “mother of eloquence,” the home of poets and philosophers, the school of the nations; while Pericles extended her imperial dominion over many cities and islands, and filled her coffers with their tribute. Her sculptor Phidias devoted his genius to the erection and decoration of public edifices; his grand creations in marble adorned her fanes; and the Parthenon, whose classic beauty has passed into a proverb, owed to him its graceful embellishments as well as its renowned statue of Minerva. Another colossal image of the goddess surmounted the Athenian Acropolis, which was crowned with noble temples; and votaries of the sister art added to the attractions of the city with their brush and colors.
It was at this noonday of Attic glory that Grecian literature reached its meridian. Then lyric verse climbed to heights before unattained; and dramatic poetry, tragic and comic, held its listeners spell-bound. History found distinguished representatives in Herodotus the Ionian, and later in Thucydides and Xenophon, the Athenians. Philosophy, in no other age or clime, has had worthier teachers than Socrates, Plato, and Aristotle; while the art of persuasion seemed to be impersonated in Pericles, Isoc’rates, Æschines (es’ke-neez), Demosthenes—all true sons of Attica.
Pindar.—Lyric poetry culminated in the sublime odes of Pindar, who ushered in the golden age. Pindar was born of noble parents about 520 B.C., near Thebes, a city of Bœotia. The celestials are fabled to have danced at his birth, and the dropping of honey on his infant lips by a swarm of bees was interpreted as an omen of a brilliant literary career.
An early display of poetical talent led his father to yield to the boy’s desire and send him to Athens for instruction; thence he returned to Thebes, to study under the direction of the Bœotian poetesses, Myrtis and Corinna, who gave the finishing touches to his education. At the age of twenty, he composed an ode which established his reputation throughout Greece, and brought him into great request with princes and heroes who craved immortality for victories at the national games. Corinna was the rival of his youth; though she reproached Myrtis for entering the lists against Pindar, she was herself tempted to contend with her former pupil, and five times bore away from him the fillet of victory.
Pindar made choral poetry his profession, and was handsomely paid out of the treasuries of the Greek princes and free cities for laudatory odes written to their order. But he never descended to flattery or falsehood; on the contrary, he leavened his panegyrics with salutary advice, and fearlessly denounced pride, cupidity, and tyranny, even in monarchs. To the king of Cyrene, for example, whose tyranny afterward cost him his throne, he said: “It is easy for a fool to shake the stability of a city, but it is hard to place it again on its foundations.”
Pindar’s home was at Thebes, near Dirce’s fountain;[28] but he travelled much in Greece. For a time he was the honored guest of the Athenians; and no wonder, for when his native city sided with Persia in the deadly struggle with that empire, the poet condemned so pusillanimous a course and upheld Athens in her resistance, styling her “the Pillar of Greece.” It is told that he received from the Athenians a gift of 10,000 drachmas ($1,800), and that when the Thebans mulcted him for the bold expression of his views, the former generously paid the fine. At Delphi, which Pindar often visited, the people contributed their finest fruits for his entertainment by order of the priestess; and an iron chair was set apart for his use in the temple, where he was wont to sit and sing the praises of Apollo, god of poetry. He lived four years with Hiero, and doubtless sojourned with others of his patrons. But Pindar was no boon companion of kings like Simonides, and while he accepted their costly presents he never forfeited the respect of his countrymen.
Pindar died at the age of eighty, in the theatre, it is related, amid the acclamations of the audience. He had been taking part as usual, and overcome with weariness, rested his head on the knees of a favorite pupil, and fell into a slumber from which his friends vainly strove to wake him. A tradition, more in accordance with the Greek love of the marvellous, informs us that a few days before he died Proserpine (goddess of the lower world) appeared to him, and having reproached him for slighting her in his odes, announced that he should soon compose a song in her honor within the confines of her own kingdom. Shortly after, Pindar’s death occurred; and on the following day, Thebes resounded with a hymn to Proserpine sung by an old woman, who declared the poet’s ghost had dictated it to her in a dream.
Statues were erected to Pindar at Athens and in the hippodrome of Thebes; a hundred years after, when Alexander the Great destroyed the latter city in consequence of its rebellion, he bade his soldiers spare the house hallowed by having once been the residence of the Theban bard. Statues and dwelling have since passed away, and the only surviving monument of Pindar is that reared by himself in the deathless odes he has left us.
The Pindaric Ode.—Pindar’s fertile pen enriched every department of lyric poetry; but all his compositions are lost except a few fragments of pæans and dirges, with forty-five Triumphal Odes (which we have entire) written to commemorate victories at the Great Games of Greece.
These games were celebrated at Olympia, Delphi, Neme’a, and on the Corinthian Isthmus: they consisted of athletic sports, races, literary and musical contests. All Greece was represented at them. Peasant and prince, trader and priest, poet and historian, painter and sculptor, hurried to the exciting scene as contestants or spectators; and the simple crown of olive or laurel, pine or parsley, that was placed on the conqueror’s brow, was valued beyond price. All that was needed to complete the triumph was an ode in its honor from the Great Lyrist. This, when obtained, was sung at an honorary banquet or solemn procession, amid great rejoicings; and was annually rehearsed in the victor’s native town to the accompaniment of soul-stirring music—for his family, town, and state, participated in the victor’s glory.
Pindar’s Style is original, chaste, full of splendor and majestic energy. The Theban eagle, as he has often been called, soaring to the sun, seems to disdain the commonplace in his solitary flight. His style, however, is not faultless. The over-boldness of his metaphors confuses; his massing of magnificent images and high-sounding epithets wearies; his Doric condensation obscures his meaning; his metre is too complicated for the uneducated ear, and his transitions are so abrupt that the reader has difficulty in finding the connection. His subjects were hard to treat; but Pindar found material and lent variety to his odes by skilfully interweaving legendary lore, history, and fragments of mythology. This was by Corinna’s advice; but her young pupil carried it to such excess in his first attempt that his fair teacher warned him, “One should sow with the hand, not with the whole sack.”
Pindar’s tone is everywhere moral. He merits indeed the title of “Sacerdotal Poet;” for he upheld the religion of Greece in its purity, rejecting all sensual notions of “the blessed ones,” and asserting his faith in their holiness and justice. He taught the immortality of the soul; “things of a day” are men, but after death there is in store “a gladsome life.” His belief in an existence beyond the grave is indicated in the following lines from one of his dirges. And here be it observed that no translation can do justice to Pindar; the Doric diamonds cease to flash when removed from their Doric setting.
The more characteristic extract given below consists of portions of the Seventh Olympic Ode, in which the poet sings the praises of Diag’oras of Rhodes for having gained a victory with the cestus (made of leather thongs and worn round the hands in boxing). This ode was so much admired by the Rhodians that they wrote it in golden letters on the wall of Minerva’s temple at Lindus. It relates the birth of their patron goddess and the story of their own origin, closing with an invocation to Jupiter, who was worshipped on Ataby’ris, a mountain of the island. Here stood a temple, dedicated to him, containing the fabulous brazen bulls that bellowed when any calamity threatened.
ODE TO DIAGORAS.
Antimachus.—An elegiac poet of the golden age was Amtim’achus of Col’ophon, whose “Ly’de,” an elegy on his lost love, enjoyed considerable celebrity. When, however, Antim’achus undertook to read his long “Theba’is” to an audience, their patience became exhausted and one after another departed, until finally he had but a single listener left,—the young Plato.
Rise of the Attic Drama.—The Greek drama, like the Hindoo, had a religious origin. In the festivals of Bacchus, the wine-god, which consisted of licentious dances and songs round his altar by persons disguised in goat-skins as fauns and satyrs (beings half-man and half-goat), we must look for its earliest phase. From the dress of those who composed the chorus, or because a goat was sacrificed, or a goat-skin of wine awarded to the poet who wrote the best ode for the occasion, such ode was called a tragedy (goat-song); and the name was afterward extended to the entire department of dramatic poetry to which these rude hymns gave rise.
Comedy, on the contrary, was elaborated from the village-songs rife during the gala-days of the vintage, when companies of noisy revellers (in Greek, kōmoi), their cheeks stained with wine-lees, went about from town to town, plunging into all kinds of excesses, and garnishing their songs with jokes at the expense of the spectators.
The Father of Greek tragedy was Thespis, the Icarian,[29] who refined the coarse Bacchanalian orgies, and introduced a single actor (generally sustaining the part himself), to alternate with the chorus or enter into a dialogue with its leaders (536 B.C.). Between the hymns, the poet, having smeared his face with paint, would mount a table and recite with copious gestures some mythological legend, perhaps relating to Bacchus.
With a trained chorus, Thespis strolled about Greece, stopping at the towns to give his exhibitions on the wagon which carried his machinery and skin-clad troupe. Dancing was a prominent feature of his entertainments. His pupil Phryn’icus improved the performance by exchanging myths for real events and introducing female characters; but the recitations were still disconnected and the plays lacked method; albeit Phryn’icus was fined by the Athenians for moving their feelings too deeply by one of his pieces.
Birth of Tragedy.—Out of these rude materials, Æschylus, who was born about ten years after the first Thespian exhibition, constructed genuine tragedy. He added a second actor and remodelled the chorus, making it secondary to the dialogue, and instituting a connection between its songs and the events represented on the stage. Appropriate theatrical costumes, stationary scenery, painted masks, and thick-soled buskins to increase the height of the performers, complete the list of his innovations. Thus the goat-song of early days developed into the true drama (action), the crowning effort of Greek genius. Athens had the honor of creating and perfecting it; while in other departments of verse she fell behind her neighbors, in dramatic poetry she eclipsed them all.
The love of the theatre grew into a passion at Athens. When the first rude structure of boards gave way under the weight of the audience, her citizens erected a permanent edifice of semicircular form, whose seats, rising in tiers, were hewn in the rocky side of the Acropolis. This new theatre accommodated thirty thousand persons, who sat under the shadow of Athens’ patron-goddess, and with reverent gaze watched actors and chorus go through their parts round the altar of Bacchus.
The performances took place by day, and in the open air, the theatre not being roofed. They began immediately after the morning meal, and on great occasions seats were secured and occupied during the preceding night. It was the custom of those who desired a comfortable sitting to bring their own cushions. Tickets of admission at first cost one drachma (18 cents); but Pericles reduced the price to six cents, and thus placed dramatic entertainments within the reach of the poorest citizens. The audience sometimes remained in the theatre twelve hours, gossiping during the intervals, and refreshing themselves with cake, wine, and sweetmeats.—In ancient Greece, the actor’s profession was lucrative and honorable; dramatic authors not unfrequently performed parts in their own plays. (Read Donaldson’s “Theatre of the Greeks.”)
Under the favoring skies of Athens the drama advanced to perfection with marvellous rapidity. In the hands of Æschylus it was all grandeur; Sophocles invested it with beauty, and Euripides with pathos. These three tragic poets, almost contemporaries, were the brightest ornaments of the Attic capital, where there were many bright. Their triumphs cover a period of seventy-eight years (484-406 B.C.), including the proud age of Pericles, but extending beyond it till the Peloponnesian War had deprived Athens of her supremacy. Simultaneously with Sophocles and Euripides flourished Aristophanes, under whom comedy reached its climax.
It has been computed that during the golden age 250 dramatic poets flourished, who produced more than 3,400 plays. Out of this vast number, only 44 have survived to our time.
Æschylus (525-456 B.C.).—Eleusis, a hamlet of Attica, was the birthplace of Æschylus. It is related that in his youth he was charged with watching grapes, and overcome by slumber, saw Bacchus in his dreams, who bade him devote himself to tragedy. The boy forgot not the injunction; he applied himself diligently to study, and in his twenty-fifth year contended, though unsuccessfully, for the chaplet of ivy.
Ten years afterward, he acquitted himself so bravely in the battle of Marathon as to receive a special prize, and have his deeds immortalized in a painting which was hung in the theatre at Athens. He also won distinction at Salamis and Platæa; and the name of one of his brothers was long remembered in connection with the sinking of the Persian admiral’s galley. During the flourishing period of Athenian history that followed, the literary reputation of Æschylus became as great as his military renown. He was the hero of thirteen poetical victories.
In 468 B.C. Æschylus left Athens for the court of Hiero, the Syracusan prince, round which so many great men clustered. According to some, the unjust award of the tragic prize to Sophocles, for political reasons, was the cause of his going. The more probable account is that his exile followed a public accusation of impiety, for disclosing certain religious mysteries in one of his plays. The popular excitement ran high; the poet was attacked with stones, when his brother happily averted the fury of the mob by uncovering before them the stump of his own arm, which had been mutilated at Salamis in defence of his country.
Hiero received our author hospitably; and the poet made return by writing for him a drama called “the Women of Etna.” Æschylus may have visited Athens after this; but if so, he returned to Sicily to die, in the sixty-ninth year of his age. While he sat in a field near Gela absorbed in thought, so the fable goes, an eagle, hovering over the spot with a tortoise in its talons, let the tortoise fall on his bald crown, which it mistook for a shining cobble-stone, for the purpose of breaking the shell. The bird’s aim was true; and the blow fractured the poet’s skull. Thus, in fulfilment of an oracular prediction, Æschylus received his death-stroke from heaven.
In sublimity and power of dealing with the terrible, Æschylus is unequalled. Even the resources of the versatile Greek tongue were hardly adequate to the expression of his conceptions. He found congenial subjects only among the gods and demigods of mythology or the tragical events of the heroic period. His genius enabled him to give life and shape to the vast and the supernatural, as few others have done—and most effectively, though his plot is always simple.
Sir Walter Scott thus speaks of Æschylus in his Essay on the Drama:—“At his summons, the mysterious and tremendous volume of destiny, in which are inscribed the dooms of gods and men, seemed to display its leaves of iron before the appalled spectators; the more than mortal voices of deities, Titans, and departed heroes, were heard in awful conference; Olympus bowed, and its divinities descended; earth yawned, and gave up the pale spectres of the dead; and the yet more undefined and grisly forms of those infernal deities who struck horror into the gods themselves. All this could only be dared and done by a poet of the highest order.”
But seven of the seventy-five tragedies of Æschylus are extant. Of these, “Prometheus Chained” is considered the greatest, and from it we have selected our extracts. The opening scene is laid on the grim ocean’s shore near frowning Caucasus, to which, in obedience to Jove’s command, the giant Prometheus is to be chained. For thirty thousand years a vulture is to tear his vitals, constantly growing out afresh, as a punishment for his having given fire to mortals, and taught them useful arts in opposition to the will of heaven. Strength and Force, grandly personified, drag the victim to the place of torture; and Vulcan, the god of fire, rivets his fetters to the rock. The chorus is composed of sea-nymphs, who come to offer their sympathy to the sufferer and advise him to submit; but Prometheus, who is the embodiment of stern independence, fortitude, and decision, endures unyieldingly to the last. Even amid “the thunder’s deepening roar, blazing wreaths of lightning, and eddying sands whirled on high,” while the earth rocks to its centre, and “boisterous billows rise, confounding sea and sky,” he hurls a proud defiance at his oppressors.
SCENE FROM PROMETHEUS CHAINED.
Prometheus may be regarded as typifying the spirit of progress, bound by the shackles of inevitable destiny, chafing under its enslavement, but enduring contumely and suffering rather than yield to tyranny. The weird wail of Io on leaving Prometheus, wrung from her by the persecution of Juno, is thus rendered by Mrs. Browning, with all the wildness and fire of the original:—
EXTANT PLAYS OF ÆSCHYLUS.
The three tragedies last named constitute what is called a trilogy, or group of three dramas founded upon one story. “Prometheus Chained” was one of a trilogy, of which the other two members are lost.
Sophocles (495-405 B.C.), the rival of Æschylus, was born at Colo’nus, an Attic borough a short mile from the capital. He was fortunate in having a father able to give him a liberal education, and entered the service of the Muses at an early age. His skill in music and the exercises of the gymnasium won him many a garland; and when hardly sixteen, unrobed and crowned, he led the choir of boys with his ivory lyre in the chant of triumph which the Athenians poured forth round the trophy raised at Salamis.
Sophocles made his début as a tragic writer in that successful contest with Æschylus which, some think, cost Athens her grand old dramatist. Fame spread the news, and Greece looked to Sophocles as the coming man. A succession of plays extended his popularity. He added nineteen prizes to the one wrested from Æschylus in 468 B.C. In the year 440 he completed the drama of “Antig’one,” the oldest of his seven surviving tragedies, which secured for him an important official position. The “Antigone” ushered in the most active portion of its author’s literary life, during which eighty-one of his pieces were written. Although history throws little light on this period of his career, we know that, unlike his great contemporaries, he never left his native city to enjoy the munificence of foreign patrons. The Greek theatre was indebted to him for a third actor, improvements in scenery, and a further modification of the chorus, which no longer took an active part in the play.
In his eightieth year, Sophocles was charged with imbecility by an ungrateful son, who regarded with jealous eyes his partiality for a favorite grandchild, and hoped in this way to obtain control of his property. The defence of the alleged dotard was to read before his judges a choral song from a play which he had just finished—“Œdipus at Colonus” (p. 206). The vindication was complete; the judges at once rendered a decision in the old poet’s favor, and in a burst of enthusiasm bore him home in triumph. He died at the age of ninety. Some tell us that while he was repeating the pathetic plaints of his “Antigone,” his breath suddenly ceased; others, that after gaining a tragic victory, he died of excessive joy as the crown was placed on his brow. He left the Athenians 113 dramas.
Style of Sophocles.—As Æschylus is the impersonation of grandeur, so is Sophocles of beauty and harmony. He descends from the sublime heights Æschylus loved to tread, and, appealing to our sympathy with humanity, finds his way into the secret chambers of the heart. His language is pure; his style, elegant, dignified, vivacious—faultless; in allusion to his sweet diction, he was called by the ancients the Bee of Attica. The type of manly beauty and intellectual power, æsthetic culture and lofty morality, it seems as if Sophocles had been “specially created to represent Greek art in its most refined and exquisitely balanced perfection.”
The Masterpiece of Sophocles is “King Œdipus.” Laïus, a Theban monarch, told by an oracle (such was the legend) that his children would be the cause of his death, had his infant son Œdipus exposed on Mount Cithæron, hoping thus to escape his destiny. But the boy was discovered by some herdsmen and carried to Corinth, where he grew to man’s estate as the adopted son and heir of the king.
Warned at the Delphic shrine to beware of his native land lest he should imbrue his hands in his father’s blood, and believing Corinth to be his birthplace, he withdrew to Thebes; but on the way he met Laïus, and, not knowing who he was, killed him in a quarrel. Arrived at Thebes, he won the hand of the widow Jocasta, his own mother, who bore him four children. All went well for a time. At length, however, an epidemic broke out; and the oracle assigned as its cause the presence of the late king’s murderer. Œdipus strained every nerve to discover the offender, and at last, to his horror, fastened the crime, and the more terrible guilt of parricide, upon himself. Unhappy Jocasta hanged herself in the palace, and Œdipus in his frenzy beat out his eyes with her gold-embossed buckles.
The play opens at Thebes, during the plague. Œdipus, in conversation with a priest and Creon, Jocasta’s brother, is informed of Apollo’s will,—that, to avert the evil, the land must be purified by the punishment of the assassin. After the catastrophe above related, blinded Œdipus bemoans his lot in heart-rending utterances, but finally accepts his fate with resignation. We give the
CLOSING SCENE OF KING ŒDIPUS.
[Enter Creon.]
[Enter Antigone and Ismene.]
Œdipus ended his days in exile at Colonus, where he was received by Theseus, the hero of Attica, and attended to the last by his faithful daughter Antigone. His death is the subject of the play “Œdipus at Colonus,” written at the close of the poet’s life and reflecting the gentleness and serenity of his last days. It contains one of the gems of Sophocles—that chorus which has immortalized the lovely scenery about Colonus—which the old poet recited before the Athenian judges to prove his sanity. Bulwer furnishes us a spirited version of this famous passage:—The chorus informs the outcast Œdipus that he has come to Colonus,