NO LOVE-STORIES
But Mr. Lecky, ignoring, like most writers, the enormous difference between conjugal and romantic love, forgets to notice the absolute silence of Greek literature on the subject of pre-matrimonial infatuation. Not one of the Greek tragedies is a “love-drama”; romantic love does not appear even in the writings of Euripides, who has so much to say about women, and who named most of his plays after his heroines. Had Love been known to Sophokles and Euripides, as it was known to Shakspere and Goethe, we should no doubt have a Greek Romeo and Juliet and a Greek Faust. For although there were certain limitations as to the scope and the dramatis personæ of a Greek play, there was nothing whatever to exclude a love-story. And when we consider how the sentiment of Love colours all modern literature; how almost impossible it is for a play or a novel to succeed unless it embodies a love-story: the absolute ignoring of this passion in Greek literature forces on us the inevitable conclusion that Romantic Love was unknown to them, or only so faintly developed as to excite no interest whatever.
And this conclusion harmonises with the dictum of the best Greek scholars. It is true that Becker, in his Charikles, referring to the frequency with which the comedians introduce a youth desperately enamoured of a girl, faintly objects to the statement that “There is no instance of an Athenian falling in love with a free-born woman, and marrying her from violent passion,”—made by Müller in his famous work on the Dorians. But he makes the fatal admission that “Sensuality was the soil from which such passion sprang, and none other than a sensual love was acknowledged between man and wife.” No one, of course, would deny that sensual passion prevailed in Athens; but sensuality is the very antipode of Romantic Love.