We have just seen that Pindar shows a tendency to make man responsible for his sin, quite in contrast to the popular belief which still kept the Homeric view that the gods were responsible for all things. With this popular idea Aeschylus seems at times in accord. But if we consider his plays in their entirety, he makes man responsible for the first step. In the Eumenides, for example, the Furies declare that no just man has ever put his hands justly to any deed and met their wrath. The lesson is that when men have taken the initial downward step themselves an evil divinity or daemon drives them on, but that the first step no man is forced to take. When, however, he has taken it, then the poet represents the sinner as through god’s will infatuated with his sin. No other extant poet shows so impressively how sin relentlessly persists through generation after generation.
The most familiar illustration is found in Aeschylus’ treatment of the story of the bloody line of Atreus, who sinned by slaying his brother’s sons and offering their flesh, an unholy banquet, to their father; then Agamemnon’s queen, with her paramour Aegisthus, slew her lord on his return from Troy; and finally Agamemnon’s son Orestes murdered his mother and Aegisthus to avenge his sire. Thus through three generations the curse ran, each generation adding its own crime until only the divine intervention of Apollo and Athena could stay the course of sin and its doom. When in the Choephoroe Orestes has exacted his vengeance and stained himself with his mother’s blood, the chorus finally sings:
Lo, how upon the palace royal hath burst The third storm that fulfils the house’s fate! First, wretch Thyestes at a feast accurst Of his own children ate:
Then shrieked the second storm the agony Of that king in that laver hacked to death, When the Achaians’ chief to treachery There yielded up his breath:
Now on the third storm’s wild wings down doth sweep A Saviour—or a Doom shall he be named? Where shall the Curse end?—how be lulled to sleep Its fury?—how be tamed?[134]
A similar theme was handled by him in his tragedies which dealt with the history of the royal house of Thebes. Against the warning of the oracle Laius married Jocasta; their son Oedipus slew his father and wed his own mother who bore him children. Under the burden of Oedipus’ curse their two sons, Eteocles and Polynices, fell in fratricidal strife. These are dark bloody tales, but in the tragedies of Aeschylus they were given a fearful moral import. It is true that the same stories were handled by other tragedians, but by none with such moral impressiveness.
The mind of the poet was too searching and earnest to avoid the difficult problems which appear in real life when there is a conflict of duties. Such a conflict arises when Agamemnon has to choose between slaying his daughter and failing to do his duty by his country; again when Antigone at the close of the Seven against Thebes has to decide whether she will disobey the higher law which requires that the dead shall be buried, or resist the edict of the state which forbids her the service to her dead. Throughout the Choephoroe and Eumenides Orestes has to face the duty of avenging his father’s death laid upon him by Apollo, and the pious reverence which he should show his mother. The poet offers no satisfactory solution to such problems as these—indeed, his purpose in bringing them out clearly was probably dramatic rather than moral. Yet whatever his purpose, it is important for us to note that he realized the moral conflict clearly as a part of man’s common experience.
I have already said that Aeschylus dwells chiefly upon the retributory nature of punishment, teaching that the sinner must suffer for his own deeds. “An eye for an eye and a tooth for a tooth” was no less binding in Greek than Hebrew justice:
Destinies, Mighty Ones, grant that from Zeus may the issue betide Even as Justice requireth, who now is arrayed on our side. ‘Ever the tongue of hate shall the tongue of hate requite: Aye for the stroke of murder the stroke of murder shall smite’ Justice exacting her dues cries ringing-voiced this law. ‘Doers must suffer’—so sayeth the immemorial saw.