The central idea of his dramas is that "no mortal may dare raise his heart too high,"—that "Zeus tames excessive lifting up of heart." Prometheus Bound is one of his chief works. Another of his great tragedies is Agamemnon, thought by some to be his masterpiece. The subject is the crime of Clytemnestra (see p. 96). It is a tragedy crowded with spirit-shaking terrors, and filled with more than human crimes and woes. Nowhere is portrayed with greater power the awful vengeance with which the implacable Nemesis is armed.
Sophocles (495-405 B.C.) while yet a youth gained the prize in a poetic contest with Æschylus. Plutarch says that Æschylus was so chagrined by his defeat that he left Athens and retired to Sicily. Sophocles now became the leader of tragedy at Athens. In almost every contest he carried away the first prize. He lived through nearly a century, a century, too, that comprised the most brilliant period of the life of Hellas. His dramas were perfect works of art. The leading idea of his pieces is the same as that which characterizes those of Æschylus; namely, that self-will and insolent pride arouse the righteous indignation of the gods, and that no mortal can contend successfully against the will of Zeus.
[Illustration: SOPHOCLES.]
Euripides (485-406 B.C.) was a more popular dramatist than either Æschylus or Sophocles. His fame passed far beyond the limits of Greece. Herodotus asserts that the verses of the poet were recited by the natives of the remote country of Gedrosia; and Plutarch says that the Sicilians were so fond of his lines that many of the Athenian prisoners, taken before Syracuse, bought their liberty by teaching their masters his verses.
COMEDY: ARISTOPHANES.—Foremost among all writers of comedy must be placed Aristophanes (about 444-380 B.C.). He introduces us to the every-day life of the least admirable classes of Athenian society. Four of his most noted works are the Clouds, the Knights, the Birds, and the Wasps.
In the comedy of the Clouds, Aristophanes especially ridicules the Sophists, a school of philosophers and teachers just then rising into prominence at Athens, of whom the satirist unfairly makes Socrates the representative.
The aim of the Knights was the punishment and ruin of Cleon, whom we already know as one of the most conceited and insolent of the demagogues of Athens.
[Illustration: EURIPIDES.]
The play of the Birds is "the everlasting allegory of foolish sham and flimsy ambition." It was aimed particularly at the ambitious Sicilian schemes of Alcibiades; for at the time the play appeared, the Athenian army was before Syracuse, and elated by good news daily arriving, the Athenians were building the most gorgeous air-castles, and indulging in the most extravagant day-dreams of universal dominion.
In the Wasps, the poet satirizes the proceedings in the Athenian law-courts, by showing how the great citizen-juries, numbering sometimes five or six hundred, were befooled by the demagogues. But Aristophanes was something more than a master of mere mirth-provoking satire and ridicule: many of the choruses of his pieces are inexpressibly tender and beautiful.