The description of each warrior stationed at each gate is all in the genius of Homer, closing as it does with that of Polynices, the brother of the besieged hero, whom, when he hears his name, Eteocles himself resolves to confront. At first, indeed, the latter breaks out into exclamations which denote the awe and struggle of the abhorrent nature; forebodings of his own doom flit before him, he feels the curses of his sire are ripening to their fruit, and that the last storm is yet to break upon the house of Oedipus. Suddenly he checks the impulse, sensible of the presence of the chorus. He passes on to reason with himself, through a process of thought which Shakspeare could not have surpassed. He conjures up the image of that brother, hateful and unjust from infancy to boyhood, from boyhood up to youth— he assures himself that justice would be forsworn if this foe should triumph—and rushes on to his dread resolve.
“‘Tis I will face this warrior; who can boast
A right to equal mine? Chief against chief—
Foe against foe!—and brother against brother.
What, ho! my greaves, my spear, my armour proof
Against this storm of stones! My stand is chosen.”
Eteocles and his brother both perish in the unnatural strife, and the tragedy ends with the decree of the senators to bury Eteocles with due honours, and the bold resolution of Antigone (the sister of the dead) to defy the ordinance which forbids a burial to Polynices—
“For mighty is the memory of the womb
From which alike we sprung—a wretched mother!”
The same spirit which glows through the “Seven against Thebes” is also visible in the “Persians,” which, rather picturesque than dramatic, is tragedy brought back to the dithyrambic ode. It portrays the defeat of Xerxes, and contains one of the most valuable of historical descriptions, in the lines devoted to the battle of Salamis. The speech of Atossa (the mother of Xerxes), in which she enumerates the offerings to the shade of Darius, is exquisitely beautiful.
“The charms that sooth the dead:
White milk, and lucid honey, pure-distill’d
By the wild bee—that craftsman of the flowers;
The limpid droppings of the virgin fount,
And this bright liquid from its mountain mother
Born fresh—the joy of the time—hallowed vine;
The pale-green olive’s odorous fruit, whose leaves
Live everlastingly—and these wreathed flowers,
The smiling infants o’ the prodigal earth.”
Nor is there less poetry in the invocation of the chorus to the shade of Darius, which slowly rises as they conclude. But the purpose for which the monarch returns to earth is scarcely sufficient to justify his appearance, and does not seem to be in accordance with the power over our awe and terror which the poet usually commands. Darius hears the tale of his son’s defeat—warns the Persians against interfering with the Athenians—tells the mother to comfort and console her son— bids the chorus (who disregard his advice) give themselves to mirth, even though in affliction, “for to the dead riches are no advantage”— and so returns to his repose, which seems very unnecessarily disturbed.
“The Suppliants,” which Schlegel plausibly conjectures to have been the intermediate piece of a trilogy, is chiefly remarkable as a proof of the versatility of the poet. All horror has vanished from the scene; the language is soft when compared with the usual diction of Aeschylus; the action is peaceful, and the plot extremely simple, being merely the protection which the daughters of Danaus obtain at the court of Pelasgus from the pursuit of the sons of Aegyptus. The heroines of the play, the Danaides, make the chorus, and this serves to render the whole, yet more than the Persians, a lyric rather than a tragedy. The moral of the play is homely and primitive, and seems confined to the inculcation of hospitality to strangers, and the inviolable sanctity of the shrine. I do not know any passages in “The Suppliants” that equal in poetry the more striking verses of “The Persians,” or “The Seven against Thebes.”
XIII. Attempts have been made to convey to modern readers a more familiar notion of Aeschylus by comparisons with modern poets. One critic likens him to Dante, another to Milton—but he resembles neither. No modern language can convey a notion of the wonderful strength of his diction—no modern poet, of the stern sublimity of his conceptions. The French tragedians may give some weak reflection of Euripides or even of Sophocles, but none have ventured upon the sacred territory of the father of the tragic drama. He defies all imitation. His genius is so near the verge of bombast, that to approach his sublime is to rush into the ridiculous. [28]
Aeschylus never once, in the plays that have come down to us, delineates love, except by an expression or two as regards the passion of Clytemnestra for Aegisthus [29]. It was emblematic of a new state of society when Euripides created the Phaedra and the Medea. His plots are worked out by the simplest and the fewest positions. But he had evidently his own theory of art, and studied with care such stage effects as appeared to him most striking and impressive. Thus, in the burlesque contest between Aeschylus and Euripides, in the comedy of “The Frogs,” the former is censured, not for too rude a neglect, but for too elaborate a cultivation, of theatrical craft—such as introducing his principal characters, his Niobe and Achilles [30], with their faces hid, and preserving long and obstinate silence, in order by that suspense to sharpen the expectation of the audience. Aeschylus, in fact, contrary to the general criticism, was as earnest and thoughtful an artist as Sophocles himself. There was this difference, it is true; one invented the art and the other perfected.