Greek Athletics

by F. A. Wright

It is probable indeed that many of those Athenians, whom we think of only as men of letters, were viewed by their contemporaries in rather a different light. Æschylus was perhaps better known as one of the heroes of Salamis than as a dramatist. Sophocles was an admiral in charge of the Athenian fleet the year after the performance of the Antigone, and the anecdote that his military position was due to his literary skill is probably a literary invention. Thucydides had been appointed to the command of the Athenian troops in Thrace long before he set to work on his history. The stubborn courage of Socrates was proved upon the field of Delium, and Euripides, that keenest critic of the war spirit, served his forty years in the Athenian army when fighting was at its fiercest. We generally imagine Pericles and Nicias as being civilian ministers, men holding the same sort of position as Pitt and Walpole: in reality through most of their lives they were soldiers on active service, and Cleon, who was almost a professional politician, was ready and willing at a moment’s notice to take command of a difficult and dangerous military expedition and, what is more, had enough technical knowledge to bring it to a successful termination.

As every Athenian citizen was a soldier serving under equal conditions, there was no military caste and no military discipline as we know it. The cavalry, once the preserve of the richer classes, was in the fifth century b.c. confined to decorative peace functions. The higher officers of the army were elected by their fellows, walked in the ranks, and had no distinguishing badges.

The Athenian, who supplied his own elaborate equipment and was trained to a particular kind of fighting, refused to become part of a military machine. A general was forced to adapt his tactics to the temper of his men, and the personal element entered very largely into all questions of army organization. The accoutrement of the hoplite was the deciding factor in strategy and tactics, and the character of fifth-century fighting can only be realized by considering first the weapons with which the citizen soldier was armed and the fashion in which he was accustomed to use them.

If a citizen were to play his part properly in the great war game, long and constant bodily training was necessary. At Sparta, the complete type of a militarist state, everything was made subservient to physical fitness, and even at Athens the claims of the body came before the claims of the mind, so that when Socrates wanted patients for his dialectic he had to go to the gymnasia to find them. And this was reasonable, for only a man in perfect condition could fight under the conditions imposed upon a Greek heavy-armed soldier. The mere weight of a hoplite’s accoutrement would astonish a modern infantryman. His defensive armour consisted of four pieces: helmet, cuirass, greaves, and shield; and even the first of these, especially if it were of the Corinthian type, was a considerable burden and involved a severe strain on the neck muscles. It was very heavy, twice as heavy as any of the mediæval helmets that we possess, was made usually of thick iron and completely covered the head and neck. Holes were left for eyes and mouth, the nose was protected by a vertical strip of metal, and a lining of felt or leather was sewn inside to save the skin from abrasion. After the fifth century, it is true, the Corinthian type began to go out of use, and the Attic shape became more common. This was considerably lighter and in appearance resembled a metal cap with extra pieces protecting neck, cheeks and nose, which could be detached at will. It was graceful both in its proportions and its adornment: a crest, and often a triple crest, was usually worn with it, the three plumes being carried in elaborately modelled supports.

The cuirass in its first form consisted of two bronze plates, roughly carved to fit the body and fastened on the sides and shoulders. The bottom edge was turned up to leave the hips free and the lower parts of the body were thus dangerously exposed. Moreover, the rigid metal seriously hampered all movement, and this type was generally superseded by the cuirass proper, a garment worn much in the fashion of a modern corset, but made of leather plated with bronze and buckled down upon the breast by means of shoulder straps. The bronze plating was mostly in the form of round scales sewn on to the leather with wire and overlapping so as to present three thicknesses of metal.

The greaves were thin sheets of bronze shaped to fit the leg, which they clasped and held by their own elasticity. They were often adorned with embossed work and the fittings were sometimes of tin or ivory. Their length varied; some went only to the knee, others covered part of the thigh and an ankle pad was worn to keep the bottom edge from chafing the foot. They were a protection against minor hurts, scratches, bruises, etc., rather than a defence against spear thrusts, but their general adoption is synchronous with the disappearance of the oblong covering shield in favour of the smaller oval, carried on the left arm.

The Homeric shield, ‘great as a tower,’ and large enough to cover a man from head to foot, had in the fifth century gone completely out of use. In art we have no representation that corresponds to the descriptions in the Iliad, and the heroes whose combats are pictured on the Attic vases are armed either with a round shield which protects their body only, or else with the oval shield about three feet long which after 500 b.c. had become the normal type in Greece. These shields bore usually the blazon of their owner and often served to identify his body: man and shield were inseparable and the fighter who threw his shield away revealed himself as destitute of knightly honour. The character of the blazonry varied as much as our heraldic designs. Sometimes it was decorative and depended on individual caprice; Capaneus, in Æschylus’ play, carries as his device a naked man with a torch; beneath, the words ‘I will burn your city’; Alcibiades had merely a little Cupid with a toy thunderbolt. In other cases it was the city or a god who supplied the design: for example, the Mantinean hoplites had on their shields a trident, the symbol of their state god, Poseidon; the Thebans, a sphinx in memory of Œdipus; while others were merely marked with an initial letter, the Argives with an A., the Sikyonians with the Doric San. These devices were on the outer surface: the inside of the shield was supplied with a leather or metal strap across its middle through which the left arm was passed, and one or two grips of cord or leather at the side and end to give a firm hold; for this shield was a heavy implement, very different from the light buckler, with which the cavalry and the skirmishers were armed, and it required strong and well-trained muscles to wield it effectively in the stress of battle.

The race in armour, therefore, often called simply ‘The Shield,’ was not only one of the most popular of gymnastic contests, but also had a very practical value; although as a concession to human weakness the runners were usually allowed to divest themselves of cuirass and greaves. The picturesqueness of the race appealed especially to the vase-painters, and we have many pictures of it, the best perhaps being those on a red figured cup in the Museum at Berlin. On one side is a group of three runners, the right-hand one bending ready to start, the left-hand one turning the half-way post, and the central one hastening back on the home stretch. On the other side are three runners one behind the other, while in the interior of the vase is a single figure looking back, in rather unsportsmanlike fashion, as he runs.

So far for a hoplite’s body armour; but he had also to carry his weapons of offence, his sword and his spear. The first was of many different shapes and has many different names in Greek, but all its varieties belong to three main types.

In the first, dating from the earliest age, the blades are short and heavy, made in one piece with the hilt. The guard is usually straight, the pommel a round knob, the space between being filled with bone or ivory to form a grip. This pattern, really a survival from the Bronze Age, was transferred to the iron sword and is occasionally found even in the classical period.