A law saith, ‘Murder-drops of blood-libation On earth spilt, cry for blood in expiation.’ The Avenging Sprite shrieks, hastening Havoc on Which brings from graves of men dead long agone Ruin to crown the work of ruin done.[135]
This principle runs through the entire trilogy of the Oresteia. Agamemnon lost his life as recompense for the life of his daughter Iphigenia whom he slew with his own hand, and the murder of Agamemnon was avenged by the slaughter of Clytemnestra and her paramour. Throughout the three plays doom follows the criminal relentlessly and only divine interference in the end clears the account. And yet at times Aeschylus teaches a gentler belief, that wisdom comes through suffering and constraint, and that it is through the discipline of pain that we travel the road to understanding.
Although Aeschylus lays overwhelming emphasis on the truth that punishment for sin falls upon the sinner in this life, he also teaches that there is punishment for the wicked in the world below. In his description of the dead there are many reminiscences of Homer. But his Hades is not Homeric; there is reality in punishment there no less than upon earth. In the Eumenides the Furies threaten Orestes thus:
Nay, I shall suck—thou canst not choose but pay the penalty— The red gore from thy living limbs, and win me out of thee The banquet of a draught that shall with awful anguish flow. Yea, I will waste thy living frame, then drag thee far below, There to pay all thy penalty, the mother-murder’s woe. So shall all else that have transgressed, Have sinned against a God, a guest, Or parents, mark how each receives The dues of sin that Justice gives. For Hades ’neath the earth waits every soul, A mighty judge who watcheth to enscroll All sins on his eternal memory’s roll.[136]
Of the rewards of the righteous in the next life Aeschylus has no word to say. There is no Elysium or Islands of the Blest.
Aeschylus represents the Athens of the Persian Wars; Sophocles belongs to the Periclean age. He was born fifteen years before the battle of Salamis and led the chorus which sang a paean to celebrate the Greek victory. To his contemporaries his life seemed happy, as if he were beloved by the gods above all other men. In 468 b.c. he was successful in contending for the tragic prize with Aeschylus, and he continued to write until his death in 406. Instead of the rugged strength and passion that we find in Aeschylus, Sophocles displays a sunny and gentle nature that naturally sought out the kindly and mediating elements in life. A conservative, he was not an innovator, critic, or teacher, as both Aeschylus and Euripides were; he does not make his characters reason much on the deeper things of life or criticize the traditional order.
Yet in one sense he is the most religious of the Greek poets, showing a faith in divine government and a wide outlook on the universe which the two other tragedians did not display. He does not break with the traditional belief as to the nature of the gods; indeed at most points he follows closely the Homeric conception; they are still to his mind the givers of evil as well as of good to men, and in fact his chorus in the Antigone quotes with approval the ancient saying that evil seems good soon or late to him whose mind the god draws to mischief.[137] Although he does not follow Pindar and Aeschylus in ascribing to divine beings a pure morality, yet he is inclined to believe with the elder poets that “Justice revealed from of old sits with Zeus in the might of the eternal laws.”[138] There are only two passages in which his characters may be said to criticize the gods. In the first Philoctetes, smarting under his suffering and neglect, exclaims:
No evil yet was crushed. The Heavens will ever shield it. ’Tis their sport To turn back all things rancorous and malign From going down to the grave, and send instead The good and true. Oh, how shall we commend Such acts, how construe them? When I extol Things god-like, I find evil in the Gods.[139]
But it must be observed that any other sentiment would have been out of character for Philoctetes at this point. The second is a fragment from his lost play, Aleites, in which some speaker, contemplating the prosperity of the wicked and the misfortunes of the good, declares that the gods ought not to order things thus for mortals, but that on the contrary the pious should have some evident profit from their piety and the unjust should pay the penalty for their wrongs that all might see.[140] But this fragment is so at variance in sentiment with Sophocles’ general attitude that it has been conjectured, not without probability, that it came from Euripides. Even if we reject this conjecture, as I think we must, we need not suppose that the sentiments which the poet puts into the mouths of his characters always represent his real view. A dramatist, as we must remind ourselves, should make the speakers in his play express sentiments in harmony with their characters and for the most part will have them utter moral ideas with which most of his audience is in sympathy, unless indeed he would play the part of innovator or prophet. As a matter of fact Sophocles’ own attitude seems to be expressed in another fragment: “No man is wise save him whom god honors; but if one look unto the gods, even if the god bid him depart from justice, there he must go. For nothing to which the gods lead men is base.”[141] This seems the key to Sophocles’ religious attitude. He is confident that however things may seem to us in our short-sightedness, if we could only see the purposes of the gods in their totality, we should know that they are good.
The bases of man’s life and action, his highest duty, Sophocles teaches is piety and discretion, σωφροσύνη. When in the Philoctetes Heracles appears, he urges upon the heroes that when they return to Troy they be mindful, in laying waste the land, to show reverence towards the gods: