DRAMATIC CENSOR.
| Vol. I. | MARCH 1810. | No. 3. |
[HISTORY OF THE STAGE.]
[ CHAPTER III.]
SOPHOCLES—EURIPIDES—DIONYSIUS.
Æschylus and Shakspeare have each been styled the father of the drama of his country: yet their claims to this distinction stand on very different grounds. Æschylus laid the plan and foundation of the Grecian tragedy and built upon it; but to his successor belongs the glory of improving upon his invention. Shakspeare raised the drama of his country at once to the utmost degree of perfection: succeeding poets have been able to do nothing more than walk in the path trod by him, at an immense distance, and endeavour to copy but without equalling his perfections.
The general admiration in which Æschylus was held, gave birth to a herd of imitators, among whom were sons and nephews of his own; but as, like most imitators, they could do little more than mimic his defects without reaching his excellencies, they served only as a foil to set off the lustre of his great successor Sophocles, who, while yet his scholar, aspired to be his competitor, and gained the preeminence at the age of twenty-five.
Sophocles was born four hundred and ninety-seven years before the birth of Christ, and at an early age rendered himself, like his master Æschylus, conspicuous by his superior talents in war and in poetry. It happened, when Sophocles was not yet five and twenty, that the remains of Theseus were brought from Scyros to Athens, where festivals and games were made in honour of that heroic monarch, as well as to commemorate the taking of that island: among those a yearly contest was instituted for the palm in tragedy. Sophocles became a candidate, and though there were many competitors, and among them Æschylus himself, he bore away the prize. The fondness of the Greeks for the theatre was so passionately strong, that in order to excite emulation among the poets, they gave rewards to those, who among the competitors, were judged to have the preference; and they entrusted the management of their theatres to none but persons of the most considerable rank and character. Hitherto the prize was disputed by four dramatic pieces only, three of which were tragedies—while the fourth was a comedy; but Sophocles brought about a new arrangement, and by opposing, in all cases, tragedy to tragedy, completely excluded comedy from its pretensions.
Another and an excellent revolution in the drama was brought about by this great man. He added one actor more to the dramatis personæ, and raised the chorus to fifteen persons, introducing them into the main action, and giving to all of them such parts to perform as tended to the carrying on of one uniform, regular plot. Encouraged by the great success of his pieces, the honours conferred upon him, and the deference paid to his opinions, he continued to write with unabated enthusiasm for the stage, and obtained the public prize no less than twenty different times. The admiration and wonder with which his genius was spoken of through all Greece, induced a general opinion that he was specially favoured by heaven, and that he held an intimate communication with the gods. Cicero himself has gone so far as to assert that Hercules had a prodigious esteem for him; and Apollonius[1] of Thyana, a Pythagorean philosopher, said in an oration he delivered before the tyrant Domitian, that “Sophocles, the Athenian, could tie up the winds, and stop their fury.”
That Sophocles was a man of transcendant powers of mind, no one has ever doubted, Æschylus himself condescended to visit him at his own house: Aristotle made his works the ground work of his Art of Poetry: The eulogists of Plato compared the advancements made by that great man in philosophy, to those made by Sophocles in tragedy: Cicero gives him the epithet of “the divine”—Virgil decidedly preferred him to all writers of tragedy; and to this day, his works make a part of the course appointed for students in the Greek language in all the great colleges and seminaries of Europe. The great rival of Sophocles was Euripides, who, in their public contentions for the prize, divided with him the applause of the populace. At that time the theatre was held to be an object of the highest magnitude and importance, and made an essential and magnificent part of their pagan worship. The Athenians, therefore, were delighted by the contentions of these two prodigious men: but, as it generally happens in cases of rivalship between public favourites, the people divided into two parties, one of which maintained the superiority of Sophocles, while the other insisted on the preeminence of Euripides. The truth is, that though rivals, and perhaps equals in talent, they could not afford a just subject of comparison. Magis pares quam similes—they were rather equal, than like to each other. In dignity and sublimity Sophocles takes the lead, as Euripides does in tenderness, feeling, and pathetic expression.