General History for Colleges and High Schools

by P. V. N. Myers

2. THE DRAMA AND DRAMATISTS.

ORIGIN OF THE GREEK DRAMA.—The Greek drama, in both its branches of tragedy and comedy, grew out of the songs and dances instituted in honor of the god of wine—Dionysus (the same as the Roman Bacchus).

Tragedy (goat-song, possibly from the accompanying sacrifice of a goat) sprang from the graver songs, and comedy (village-song) from the lighter and more farcical ones. Gradually, recital and dialogue were added, there being at first but a single speaker, then two, and finally three, which last was the classical number. Thespis (about 536 B.C.) is said to have introduced this idea of the dialogue; hence the term "Thespian" applied to the tragic drama.

[Illustration: BACCHIC PROCESSION.]

Owing to its origin, the Greek drama always retained a religious character, and further, presented two distinct features, the chorus (the songs and dances) and the dialogue. At first, the chorus was the all- important part; but later, the dialogue became the more prominent portion, the chorus, however, always remaining an essential feature of the performance. Finally, in the golden age of the Attic stage, the chorus dancers and singers were carefully trained, at great expense, and the dialogue became the masterpiece of some great poet,—and then the Greek drama, the most splendid creation of human genius, was complete.

THE THREE GREAT TRAGIC POETS.—There are three great names in Greek tragedy,—Æschylus, Sophocles, and Euripides. These dramatists all wrote during the splendid period which followed the victories of the Persian war, when the intellectual life of all Hellas, and especially that of Athens, was strung to the highest tension. This lent nervous power and intensity to almost all they wrote, particularly to the tragedies of AEschylus and Sophocles. Of the two hundred and more dramas produced by these poets, only thirty-two have escaped the accidents of time.

Æschylus (525-456 B.C.) knew how to touch the hearts of the generation that had won the victories of the Persian war; for he had fought with honor both at Marathon and at Salamis. But it was on a very different arena that he was destined to win his most enduring fame. Eleven times did he carry off the prize in tragic composition. The Athenians called him the "Father of Tragedy."

[Illustration: ÆSCHYLUS.]

The central idea of his dramas is that "no mortal may dare raise his heart too high,"—that "Zeus tames excessive lifting up of heart." Prometheus Bound is one of his chief works. Another of his great tragedies is Agamemnon, thought by some to be his masterpiece. The subject is the crime of Clytemnestra (see p. 96). It is a tragedy crowded with spirit-shaking terrors, and filled with more than human crimes and woes. Nowhere is portrayed with greater power the awful vengeance with which the implacable Nemesis is armed.

Sophocles (495-405 B.C.) while yet a youth gained the prize in a poetic contest with Æschylus. Plutarch says that Æschylus was so chagrined by his defeat that he left Athens and retired to Sicily. Sophocles now became the leader of tragedy at Athens. In almost every contest he carried away the first prize. He lived through nearly a century, a century, too, that comprised the most brilliant period of the life of Hellas. His dramas were perfect works of art. The leading idea of his pieces is the same as that which characterizes those of Æschylus; namely, that self-will and insolent pride arouse the righteous indignation of the gods, and that no mortal can contend successfully against the will of Zeus.

[Illustration: SOPHOCLES.]

Euripides (485-406 B.C.) was a more popular dramatist than either Æschylus or Sophocles. His fame passed far beyond the limits of Greece. Herodotus asserts that the verses of the poet were recited by the natives of the remote country of Gedrosia; and Plutarch says that the Sicilians were so fond of his lines that many of the Athenian prisoners, taken before Syracuse, bought their liberty by teaching their masters his verses.

COMEDY: ARISTOPHANES.—Foremost among all writers of comedy must be placed Aristophanes (about 444-380 B.C.). He introduces us to the every-day life of the least admirable classes of Athenian society. Four of his most noted works are the Clouds, the Knights, the Birds, and the Wasps.

In the comedy of the Clouds, Aristophanes especially ridicules the Sophists, a school of philosophers and teachers just then rising into prominence at Athens, of whom the satirist unfairly makes Socrates the representative.

The aim of the Knights was the punishment and ruin of Cleon, whom we already know as one of the most conceited and insolent of the demagogues of Athens.

[Illustration: EURIPIDES.]

The play of the Birds is "the everlasting allegory of foolish sham and flimsy ambition." It was aimed particularly at the ambitious Sicilian schemes of Alcibiades; for at the time the play appeared, the Athenian army was before Syracuse, and elated by good news daily arriving, the Athenians were building the most gorgeous air-castles, and indulging in the most extravagant day-dreams of universal dominion.

In the Wasps, the poet satirizes the proceedings in the Athenian law-courts, by showing how the great citizen-juries, numbering sometimes five or six hundred, were befooled by the demagogues. But Aristophanes was something more than a master of mere mirth-provoking satire and ridicule: many of the choruses of his pieces are inexpressibly tender and beautiful.

[Illustration: HERODOTUS.]