618. Origin of Athenian drama. The theater originated in the Dionysiac mysteries of the Greeks, in which dramatic action and responsive choruses were employed. Sex symbols were used without reserve. Intoxication and ecstasy belonged to due performance. In later mysteries dramatic action was employed to present myths and legends, or religious doctrines, in order to get the powerful effects in suggestion which dramatic action exerts. Many myths presented acts such as later mores could not tolerate. Allowance had to be made for the representations, as we now make allowances for Bible stories and Shakespeare. We know that the mysteries were often in bad repute for their indecency and realism, even in an age of low standards. Anybody who is not in the convention can scoff at it, however low his own code may be. The Greeks described the Phrygian mysteries as abominable and immoral, while they praised and admired the Eleusinian. "The former were introduced by slaves and foreigners, and participated in by the superstitious and ignorant. They were celebrated for money by strolling priests, and any one who paid a fee was initiated without preparation, except some ritual acts. There was no solemnity in the surroundings, and no dignity in the ceremonial, but all was vulgar and sordid."[1997] The Athenian drama, in the fifth century B.C., went through an amazing development and reached high perfection. The art of the theater was especially cultivated. As to the effect of the dramas on the character of the spectators, it is to be noticed that they were presented only once in the year, at the greater festival of Dionysus in the spring, and that then a large number of plays were represented. The spectators, at Athens, were a very mixed assemblage and included the populace, "who remained populace in spite of any beautiful verses which they might chance to hear." They cared only to be amused, "just like modern audiences."[1998]
619. Dramatic taste and usage in worship. Customs derived from the mysteries. About the time of Christ, by syncretism all the religions took on a dramatic form in their ritual, with liturgies and responses, on account of the attractiveness of that form for worshipers. The Christian year was built up as a drama of the life of Christ. The ceremony of the mass was produced by an application of modes of worship which, so far as we can learn, were devised and used in the mysteries. "There is unmistakable evidence that a marriage ceremony of a religious nature existed, and that this ceremony stood in close relation to a part of the ritual of the mysteries. In fact, the marriage was, as it were, a reproduction by the bride and bridegroom of a scene from the divine life, i.e. from the mystic drama. The formula, 'I escaped evil: I found better,' was repeated by the celebrant who was initiated in the Phrygian mysteries; and the same formula was pronounced as part of the Athenian marriage ceremony. Another formula, 'I have drunk from the kymbalon,' was pronounced by the initiated; and drinking from the same cup has been proved to have formed part of a ceremony performed in the temple by the betrothed pair." "It is an extremely important fact that the human marriage ceremony was thus celebrated by forms taken from the mysteries; and the conclusion must be that the human pair repeat the action in the way in which the god and goddess first performed and consecrated it, and that, in fact, they play the parts of the god and goddess in the sacred drama. This single example is, as we may be sure, typical of a whole series of actions."[1999]
620. The word "god." "That man when he dies becomes a god was considered already in the fourth century B.C. to be part of the teaching conveyed in the mysteries."[2000] This meant no more than the earlier notion that when a man died he became a ghost. The word "god" was used in senses very strange to our ears,[2001] and to quote an expression of any writer of the beginning of the Christian era in which he uses the word "god," and to give to that word our sense of it, is to be led into great error. The age was one which put all its religion in dramatic form and acted it out. It was an age with a gift for manufacturing rites and liturgies.
621. Kin yields to religion as social tie. This was due to a great ethnological change which was then coming to its culmination. The kin tie, which had been the primitive mode of association and coherence of groups, began to break down in the sixth century B.C. in Greece. It was superseded by the social tie of a common religious faith and ritual. The Pythagorean and Orphic sects developed this tie. They had a revelation of the other world, a system of mystic and cathartic rites, which cleared men of ritual uncleanness, purified them, and "saved" them. The cathartic rites were a means of warding off evil spirits and did the work of the old shamans.[2002] The sectarian brotherhood of the initiated, the "church," the faith, the contrast of ordinary life with the ecstatic emotions of the mysteries, the consequent antagonism of the "flesh" or the "world," and the "spirit," were easy deductions from the teaching and ritual of the sects.[2003] It was all concentrated in the godlikeness, divinity, or immortality of the human soul, with the mystic notions of union between the soul and God. "Mysticism, as doctrine and theory, grew up from the soil of a more ancient practice in worship." "The worship of Dionysus must have furnished the first germ of the belief in the immortality of the soul."[2004] The idea of the Orphic mysteries was that humanity is suffering and sinful, and must be initiated in order to wash away its stains and be redeemed from its sins. Initiation puts a man in communication with the divinity. The soul is raised by ecstasy to feel its own divinity, which is the deepest element in all mystic religion. In all this compound of rites and notions the great antecedent philosophy was not the same as ours. It was demonism, superstitious anxiety about the world of demons, who floated around men and stretched their hands out of the surrounding darkness to seize them. It was from these that men wanted to be "saved." Atonement was to be made to the chthonic gods, for they were displeased at ritual uncleanness, and the chthonic cults had the other world in view.[2005] The uncleanness was ritual, and hence it came from anything far out of the regular order, either by abomination or holiness. The rabbis held that the handling of the Scriptures defiled the hands and called for ceremonial washing (Num. xix. 8, 10).[2006]
622. Combination of religion and drama. Syncretism. The interest of all this for our present purpose is the combination of religious ideas with dramatic representation. Processions of all kinds easily turn into such representations. Rites and ceremonies are but a form of drama. Symbols and emblems have the same character. The old religions were subjected to criticism, which means that they had lost their authority. They did not verify when the attempt was made to use them for societal needs. Slaves, merchants, soldiers, etc., afloat in the world, associated from choice and contributed traditions from the whole known world. Then syncretism began, and a body of sectarian notions was formed. There was a new totemism, a breaking down of national religion, a spirit of propaganda, and a setting forth of the whole in all dramatic forms.[2007] In the sects women were admitted, a fact of double significance. It was an emancipation for the women and a peril for the sect. The doubt with which the mysteries are now regarded is due to the uncertainty as to the relations of the sexes in them. The word "orgy" originally meant worship, or rites, then secret rites, that is, mysteries. The sense in which the word has come down to us shows the notion about secret meetings which became commonly accepted.
The customs which had grown out of religious interest had reached the desire for entertainment and pleasure. They satisfied it and stimulated it, and the religious element might be forgotten.
623. Beginnings of the theater at Rome. The Floralia were instituted at Rome in 240 B.C. They were celebrated by courtesans with processions, lascivious pantomimes, etc. They are said to have come from Greece.[2008] In the same year Livius Andronicus presented at Rome the first play translated from the Greek. In 154 the first permanent theater was established there against great opposition. In 146 the first theater outside the circus, with seats, was provided.[2009] All mimic actions were foreign to the austere mores of the early Romans, but in the second century B.C. the mores changed through the growth of wealth and contact with other nations. Young Romans learned from actors to sing and dance, acts which their ancestors thought unworthy of free persons. The earliest plays were called saturae, because they were mixed dialogues, music, and dances. The sense of the word was closely that of "farce" in the Middle Ages,[2010] i.e. an episode or intermezzo of a comic character interjected into a drama. The saturae contained an Etruscan element, but atellans were entirely Etruscan. They were comic and grotesque, and got their name from Atella (i.e. Aversa or Santo Arpino) in Campania. They could be played by persons who did not on that account lose their places in their tribes or their right to serve in the legion. No personalities at all were allowed on the Roman stage. Cynicism and obscenity characterized the Oscan style.[2011] In 55 B.C. the younger Cato was present at the Floralia. The populace hesitated to call, in his presence, for the stripping of the mimae. He left in order not to hinder the celebration from taking its usual course.[2012] Valerius Maximus[2013] says that the pantomime was brought to Rome from Etruria, the Etruscans having brought it from their old home in Lydia. We see from the epigrams in the first book of Martial that at the Roman theater in the first century of the Christian era incidents of the Roman mythology were made into dramas and represented in pantomime.
624. Gladiatorial exhibitions. The gladiatorial exhibitions are supposed to have been of Etruscan origin in the form of funeral games. Games to rejoice the ghosts, sacrifices of prisoners, a chance given to a prisoner to fight for his life, are steps of a development of which we find many examples. The Romans showed the pitilessness and inhumanity of their mores in the development they gave to the gladiatorial exhibitions. "Campanian hosts used to entertain their guests at dinner with them in the days before the Second Punic War. It was in Campanian towns that in the first century was displayed most glaringly the not unusual combination of cruelty and voluptuousness."[2014] Some murmurs of dissent arose from the philosophers of the first and second centuries of the Christian era,—Plutarch, Seneca, Marcus Aurelius,[2015]—but at that time the popular sentiment had not faltered at all in its love and zeal for the gladiatorial shows and beast contests on account of any doubt whether the exhibitions were "right." Tertullian, at the end of the second century, wrote a tract, Ad Nationes, in which he criticised the theater, and also another, De Spectaculis, against the public entertainments. Although the latter is chiefly controversial against heathen and heathenism, it contains direct and noble arguments against the games of the arena on account of their inhumanity. He says that the games were at first connected with funerals, and that the theater was a temple of Venus, under cover of which the games won a footing. That would mean, then, that they were at first under a convention of time, place, occasion, and religion. Correctly understood, therefore, what happened at Rome was that the convention was broken over and the exceptional rite was made the everyday usage, the religious sentiment being disregarded and the sensual entertainment alone being valued. When we have reached this point we can understand the original place of the games within the intellectual horizon of the nation, and also the deep demoralization which they caused in later times. They were consonant with early Roman mores which were warlike. Cicero thought them an excellent school to teach contempt for pain and death. He cited gladiators as examples of bodily exercise, courage, and discipline. He seems to have known that some disapproved of the exhibitions, and he was disposed to agree with them if the gladiators were others than criminals condemned to death.[2016] A usage which is consonant with the tastes, mores, and world philosophy of a people need work no corruption on them, for it is under taboos and conventions; but if all the restraints are taken away it enters into their life for just what it is in its character,—sensual, cruel, bloody, obscene, etc. What had been savage and bloodthirsty when the Romans were warriors became base and cowardly when they never risked their own blood in any way. Condemned criminals were compelled to take rôles in which they suffered torture and a frightful death, in order to entertain the Roman crowd. Such rôles were Prometheus, Dædalus, Orpheus, Hercules, and Attys; Pasiphae and the bull, and Leda and the swan were also enacted. In Martial's Epigrams, Book I, the cases are mentioned where a woman fought with a lion; Laureolus, a robber, was crucified and torn, as he hung on the cross, by a bear; Dædalus, when his wing broke, was precipitated amongst bears who tore him to pieces; and Orpheus was torn by a bear. These exhibitions were recognized as indecencies.[2017] Later the exhibitions had no limit.[2018] "From father to son, for nearly seven centuries, the Roman character became more and more indurated under the influence of licensed cruelty. The spectacle was also surrounded by the emperors, even the greatest and best, for politic reasons, with ever growing splendor."[2019] "It is a grave deduction from the admiring judgment of the glory of the Antonine age, that its most splendid remains are the stately buildings within whose enclosure for centuries the populace were regaled with the sufferings and the blood of the noblest creatures of the wild animal world and of gallant men. The deserts and forests of Africa and the remotest East contributed their elephants and panthers and lions to these scenes."[2020]
625. Spread of gladiatorial exhibitions. The Romans carried gladiatorial exhibitions wherever their conquests extended. "The Teutonic regions of the North and Greece were almost the only provinces in which the bloody games were not popular. The one Greek town where the taste for them was fully developed was the mongrel city of Corinth, which was a Roman colony. In the novel of Apuleius we meet a high Corinthian magistrate traveling through Thessaly to collect the most famous gladiators for his shows. Plutarch urges public men to banish or to restrain these exhibitions in their cities. When the Athenians, from an ambition to rival the splendor of Corinth, were meditating the establishment of a gladiatorial show, the gentle Demonax bade them first to overturn their altar of Pity. The apostles of Hellenism,—Dion, Plutarch, and Lucian,—were unanimous in condemning an institution which sacrificed the bravest men to the brutal passions of the mob."[2021] At Byzantium the lack of any standard of decency and propriety in the exhibitions was even more complete, and they lasted indefinitely.[2022] Constantine in 325 A.D. absolutely forbade gladiatorial exhibitions, because bloody shows were unfit for a time of peace. He forbade the condemnation of criminals to be gladiators. His laws, however, failed of effect.[2023] At the end of the fourth century Symmachus, "who was regarded as one of the most estimable pagans of his age," collected some prisoners to fight in honor of his son. They committed suicide to escape the destiny for which he designed them. He lamented the misfortune which had befallen him from their "impious hands," but endeavored to calm his feelings by recalling the patience of Socrates and the precepts of philosophy. He will not, he says, use such people any more, but Libyan lions, more docile than men.[2024] He serves to point a moral on the mores of his age.
626. The folk drama. The culture classes pass by the sports of the "vulgar" with contempt; but the student of the mores cannot do so. The tastes of the crowd are manifested in them. We read the great dramas which have become a part of the world literature, and we form from them our ideas of the current intellectual interest of the time of their origin and of the society in which they were produced. Such inferences need to be corrected. They are certainly erroneous. The Greeks were not all of them, nor any of them all the time, on a plane of classical severity and correctness. Far from it. They were realistic, egoistic, cold, cruel, and fond of sensual pleasure.[2025] The great dramas, epics, etc., were enjoyed only by the real upper strata of the society, just as is the case in regard to Shakespeare amongst us. The great populace of no society has ever found its amusement in purely intellectual suggestions. With us popular amusement is found in the circus, negro minstrels, the variety show, opera bouffe, the spectacle, and ballet, and it attaches to parody and burlesque, "knock-down business," buffoonery, and broad allusion. Stupidity is always funny. Everything which breaks over the social taboo is funny. A violation of propriety, accidental disorder of the dress, grotesque postures, vulgar gestures of derision or defiance, blows, painful accidents and mishaps,—if not too serious,—deformations of the body (humpbacks), epithets and nicknames, slang and other abuses of language (like mispronunciation by foreigners), vituperation, caricature and burlesque of respectable types like the pedant, dandy, Puritan, imbecile, or the rich and great, always raise a laugh in the crowd and are relished by the crowd. They are constant elements of farce and fun. They have been so for three thousand years. Jugglery and feats of strength and skill excite wonder until they become familiar. They are proofs of individual capacity. They do not give amusement like the points which have just been mentioned and which have been repeated to generation after generation. The crowd always delights in any degradation of the things which the selected classes prefer and try to impose on all. They rejoice to see the restrictions trampled upon which they hear preached as the rules of life. In opera bouffe classical heroes, gods of the classical mythology, royalty, nobles of the mediæval type, feudalism, dominies, are turned to ridicule. The crowd worships its heroes fanatically while they are in fashion, but it likes to turn about and roll them in the mud of satire, in order to teach them who made them and how easily it can unmake them. Aristophanes derided all which was serious in the Athenian social system. Long before Don Quixote was written chivalry was treated with derision. Satire is a reversal of respect and admiration.