3. Sophocles found the subjects of his dramas already embodied not only in previous tragedies but in Epic and Lyric poetry. And there were some fables, such as that of the death of Oedipus at Colonos, which seem to have been known to him only through oral tradition. For some reason which is not clearly apparent, both he and Aeschylus drew more largely from the Cyclic poets than from ‘our Homer’. The inferior and more recent Epics, which are now lost, were probably more episodical, and thus presented a more inviting repertory of legends than the Iliad and Odyssey.
Arctinus of Lesbos had treated at great length the story of the House of Thebes. The legend of Orestes, to which there are several allusions, not always consistent with each other, in the Homeric poems, had been a favourite and fruitful subject of tradition and of poetical treatment in the intervening period. Passages of the Tale of Troy, in which other heroes than Achilles had the pre-eminence, had been elaborated by Lesches and other Epic writers of the Post-Homeric time. The voyage of the Argonauts, another favourite heroic theme, supplied the subjects of many dramas which have disappeared. Lastly, the taking of Oechalia by [page xx] Heracles, and the events which followed it, had been narrated in a long poem, in which one version of that hero’s multiform legend was fully set forth.
The subjects of the King Oedipus, Oedipus at Colonos, and Antigone, are taken from the Tale of Thebes, the Aias and the Philoctetes are founded on incidents between the end of the Iliad and the taking of Troy, the Electra represents the vengeance of Orestes, the crowning event in the tale of ‘Pelops’ line’, the Trachiniae recounts the last crisis in the life of Heracles.
4. Of the three Theban plays, the Antigone was first composed, although its subject is the latest. Aeschylus in the Seven against Thebes had already represented the young heroine as defying the victorious citizens who forbade the burial of her brother, the rebel Polynices. He allowed her to be supported in her action by a band of sympathizing friends. But in the play of Sophocles she stands alone, and the power which she defies is not that of the citizens generally, but of Creon, whose will is absolute in the State. Thus the struggle is intensified, and both her strength and her desolation become more impressive, while the opposing claims of civic authority and domestic piety are more vividly realized, because either is separately embodied in an individual will. By the same means the situation is humanized to the last degree, and the heart of the spectator, although strained to the uttermost with pity for the heroic maiden whose life when full of brightest hopes was sacrificed to affection and piety, has still some feeling left for the living desolation of the man, whose patriotic zeal, degenerating into tyranny, brought his city to the brink of ruin, and cost him the lives of his two sons and of his wife, whose dying curse, as well as that of Haemon, is denounced upon him.
In the Oedipus Tyrannus, Sophocles goes back to the central crisis of the Theban story. And again he fixes our attention, not so much on the fortunes of the city, or of the reigning house, as on the man Oedipus, his glory and his fall.—
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‘O mirror of our fickle state
Since man on earth unparalleled!
The rarer thy example stands,
By how much from the top of wondrous glory,
Strongest of mortal men,
To lowest pitch of abject fortune thou art fallen[2].
The horror and the pity of it are both enhanced by the character of Oedipus—his essential innocence, his affectionateness, his uncalculating benevolence and public spirit;—while his impetuosity and passionateness make the sequel less incredible.
The essential innocence of Oedipus, which survives the ruin of his hopes in this world, supplies the chief motive of the Oedipus at Colonos. This drama, which Sophocles is said to have written late in life, is in many ways contrasted with the former Oedipus. It begins with pity and horror, and ends with peace. It is only in part founded on Epic tradition, the main incident belonging apparently to the local mythology of the poet’s birthplace. It also implies a later stage of ethical reflection, and in this respect resembles the Philoctetes; it depends more on lyrical and melodramatic effects, and allows more room for collateral and subsidiary motives than any other of the seven. Yet in its principal theme, the vindication or redemption of an essentially noble spirit from the consequences of error, it repeats a note which had been struck much earlier in the Aias with great force, although with some crudities of treatment which are absent from the later drama.
5. In one of the Epic poems which narrated the fall of Troy, the figure of Aias was more prominent than in the Iliad. He alone and unassisted was there said to have repulsed Hector from the ships, and he had the chief share, although in this he was aided by Odysseus, in rescuing the dead body of Achilles. Yet Achilles’ arms were awarded by the votes of the chieftains, as the prize of valour, not to Aias, but to Odysseus. This, no doubt, meant that wisdom is better than strength. But [page xxii] the wisdom of Odysseus in these later Epics was often less nobly esteemed than in the Iliad and Odyssey, and was represented as alloyed with cunning.