[117] Plato, Legg. iii. p. 697 D.
Changes for the worse in government of Athens, after the Persian invasion of Greece.
While the Persian government thus exhibits despotism in excess, that of Athens exhibits the contrary mischief — liberty in excess. This has been the growth of the time subsequent to the Persian invasion. At the time when that invasion occurred, the government of Athens was an ancient constitution with a quadruple scale of property, according to which scale political privilege and title to office were graduated: while the citizens generally were then far more reverential to authority, and obedient to the laws, than they are now. Moreover, the invasion itself, being dangerous and terrific in the extreme, was enough to make them obedient and united among themselves, for their own personal safety.[118] But after the invasion had been repelled, the government became altered. The people acquired a great increase of political power, assumed habits of independence and self-judgment, and became less reverential both to the magistrates and to the laws.
[118] Plato, Legg. iii. pp. 698-699.
This change began in music, and the poets introduced new modes of composition — they appealed to the sentiment of the people, and corrupted them.
The first department in which this change was wrought at Athens was the department of music: from whence it gradually extended itself to the general habits of the people. Before the invasion, Music had been distributed, according to ancient practice and under the sanction of ancient authority, under four fixed categories — Hymns, Dirges, Pæans, Dithyrambs.[119] The ancient canons in regard to each were strictly enforced: the musical exhibitions were superintended, and the prizes adjudged by a few highly-trained elders: while the general body of citizens listened in respectful silence, without uttering a word of acclamation, or even conceiving themselves competent to judge what they heard. Any manifestations on their part were punished by blows from the sticks of the attendants.[120] But this docile submission of the Athenians to authority became gradually overthrown, after the repulse of the Persians, first in the theatre, next throughout all social and political life. The originators of this corruption were the poets: men indeed of poetical genius, but ignorant of the ethical purpose which their compositions ought to aim at, as well as of the rightful canons by which they ought to be guided and limited. These poets, looking to the pleasure of the audience as their true and only standard, exhibited pieces in which all the old musical distinctions were confounded together — hymns with dirges, the pæan with the dithyramb, and the flute with the harp. To such irregular rhythm and melody, words equally irregular were adapted. The poet submitted his compositions to the assembled audience, appealing to them as competent judges, and practically declaring them to be such. The audience responded to the appeal. Acclamation in the theatre was substituted for silence; and the judgment of the people became paramount instead of that pronounced by the enlightened few according to antecedent custom. Hence the people — having once shaken off the reverence for authority, and learnt to exercise their own judgment, in the theatre[121] — began speedily to do the same on other matters also. They fancied themselves wise enough to decide everything for themselves, and contracted a shameless disregard for the opinion of better and wiser men. An excessive measure of freedom was established, tending in its ultimate consequences to an anarchical or Titanic nature: indifferent to magistrates, laws, parents, elders, covenants, oaths, and the Gods themselves.[122]
[119] Plato, Legg. iii. p. 700 B. ὕμνοι — θρῆνοι — παιᾶνες — διθύραμβος.
[120] Plato, Legg. iii. p. 700 C. τὸ δὲ κῦρος τούτων γνῶναί τε καὶ ἅμα γνόντα δικάσαι, ζημιοῦν τε αὖ τὸν μὴ πειθόμενον, οὐ σύριγξ ἦν οὐδέ τινες ἄμουσοι βοαὶ πλήθους, καθάπερ τὰ νῦν, οὐδ’ αὖ κρότοι ἐπαίνους ἀποδιδόντες, ἀλλὰ τοῖς μὲν γεγονόσι περὶ παίδευσιν δεδογμένον ἀκούειν ἦν αὐτοῖς μετὰ σιγῆς διὰ τέλους, παισὶ δὲ καὶ παιδαγωγοῖς καὶ τῷ πλείστῳ ὄχλῳ ῥάβδου κοσμούσης ἡ νουθέτησις ἐγίγνετο.
The testimony here given by Plato respecting the practice of his own time is curious and deserves notice: respecting the practice of the times anterior to the Persian invasion he could have had no means of accurate knowledge.
[121] Plato, Legg. iii. p. 701 A. νῦν δὲ ἦρξε μὲν ἡμῖν ἐκ μουσικῆς ἡ πάντων εἰς πάντα σοφίας δόξα καὶ παρανομία, ξυνεφέσπετο δὲ ἐλευθερία.