LITERATURE.
I. THE DRAMA.
As we have seen in a former chapter, Greek tragedy attained its zenith with the three great masters—Æschylus, Sophocles, and Euripides. As MAHAFFY well says, "Its later annals are but a history of decay; and of the vast herd of latter tragedians two only, and two of the earliest—Ion of Chi'os, and Ag'athon—can be called living figures in a history of Greek literature." Even these, it seems, wrote before Sophocles and Euripides had closed their careers. But few fragments of their genius have come down to us. Longi'nus said of Ion, that he was fluent and polished, rather than bold or sublime; while Agathon has been characterized as "the creator of a new tragic style, combining the verbal elegancies and ethical niceties of the Sophists with artistic claims of a luxurious kind."
While tragedy declined, with comedy the case was different, for its changes were progressive. Most writers divide Greek comedy into the Old, the Middle, and the New; and although the boundary lines between the three orders are very indistinct, each has certain well-defined characteristics. It is asserted, as we have elsewhere noted, that the chief subjects of the first were the politics of the day and the characters and deeds of leading persons; that the chief peculiarity of the second, in which the action of the chorus was much curtailed, was the exclusion of personal and political criticism, and the adoption of parodies of the gods and ridicule of certain types of character; and that the New Comedy, in which the chorus disappeared, aimed to paint scenes and characters of domestic life. The Middle Comedy, however, still continued to be in some degree personal and political, and even in the New Comedy these features of the Old are frequently apparent.
Aristoph'anes, the leader of the Old Comedy, toward the close of his life produced The Frogs—a work that signalized the transition from the Old to the Middle Comedy. The latter school, however, took its rise in Sicily, and its most distinguished authors were Antiph'anes, probably of Athens, born in 404, and Alex'is of Thu'rii, born about 394. The New Comedy arose after Athens had fallen under Macedonian supremacy, and as many as sixty-four poets belong to this period, the later of whom composed their plays in Alexandria, in the time of Alexander's successors. The founder of this school was Phile'mon of Soli, in Cilicia, born about 360 B.C. Of his ninety plays fragments of fifty-six remain. The majority of these have been described as "elegant but not profound reflections on the 'changes and chances of this mortal life.'" A late critic chooses the following fragment as illustrative of Philemon, and at the same time favorable to his reputation:
Have faith in God, and fear; seek not to know him;
For thou wilt gain naught else beyond thy search;
Whether he is or is not, shun to ask:
As one who is, and sees thee, always fear him.
—Trans. by J. A. SYMONDS.
MENANDER.
The acknowledged master and representative of this period, however, and the last of the classical poets of Greece, was Menan'der, an Athenian, son of Diopi'thes, the general whom Demosthenes defended in his speech "On the Chersonese," and a nephew of the poet Alexis. Menander was born in 342 B.C.; and although only fragments of his writings exist, he was so closely copied or imitated by the Roman comic poets that his style and character can be very clearly traced. MR. SYMONDS thus describes him: "His personal beauty, the love of refined pleasure that distinguished him in life, the serene and genial temper of his wisdom, the polish of his verse, and the harmony of parts he observed in composition, justify us in calling Menander the Sophocles of comedy. If we were to judge by the fragments transmitted to us, we should have to say that Menander's comedy was ethical philosophy in verse; so mature is its wisdom, so weighty its language, so grave its tone. The brightness of the beautiful Greek spirit is sobered down in him almost to sadness. Yet the fact that Stobæ'us found him a fruitful source of sententious quotations, and that alphabetical anthologies were made of his proverbial sayings, ought not to obscure his fame for drollery and humor. If old men appreciated his genial or pungent worldly wisdom, boys and girls read him, we are told, for his love-stories."
Menander was an intimate friend of Epicu'rus, the philosopher, and is supposed to have adopted his teachings. On this point, however, MR. SYMONDS thus remarks: "Speaking broadly, the philosophy in vogue at Athens during the period of the New Comedy was what in modern days is known as Epicureanism. Yet it would be unjust to confound the grave and genial wisdom of Menander with so trivial a philosophy as that which may be summed up in the sentence 'eat and drink, for to-morrow we die.' A fragment from an unknown play of his expresses the pathos of human existence with a depth of feeling that is inconsistent with mere pleasure-seeking:
"'When thou would'st know thyself, what man thou art,
Look at the tombstones as thou passest by:
Within those monuments lie bones and dust
Of monarchs, tyrants, sages, men whose pride
Rose high because of wealth, or noble blood,
Or haughty soul, or loveliness of limb;
Yet none of these things strove for them 'gainst time;
One common death hath ta'en all mortal men.
See thou to this, and know thee who thou art.'"
As EUGENE LAWRENCE says: "Most modern comedies are founded on those of Menander. They revive their characters, repeat their jokes, transplant their humor; and the wit of Molière, Shakspeare, or Sheridan is often the same that once awoke shouts of laughter on the Attic stage."