A Smaller History of Greece: from the Earliest Times to the Roman Conquest

by William Smith

XENOPHON, the son of Gryllus, was also an Athenian, and was probably born about B.C. 444. He was a pupil of Socrates, who saved his life at the battle of Delium (B.C. 424). His accompanying Cyrus the younger in his expedition against his brother Artaxerxes, king of Persia, formed a striking episode in his life, and has been recorded by himself in his ANABASIS. He seems to have been still in Asia at the time of the death of Socrates in 399 B.C., and was probably banished from Athens soon after that period, in consequence of his close connexion with the Lacedaemonians. He accompanied Agesilaus, the Spartan king, on the return of the latter from Asia to Greece; and he fought along with the Lacedaemonians against his own countrymen at the battle of Coronea in 394 B.C. After this battle he went with Agesilaus to Sparta, and soon afterwards settled at Scillus in Elis, near Olympia. He is said to have lived to more than 90 years of age, and he mentions an event which occurred as late as 357 B.C.

Probably all the works of Xenophon are still extant. The ANABASIS is the work on which his fame as an historian chiefly rests. It is written in a simple and agreeable style, and conveys much curious and striking information. The HELLENICA is a continuation of the history of Thucydides, and comprehends in seven books a space of about 48 years; namely, from the time when Thucydides breaks off, B.C. 411, to the battle of Mantinea in 362. The subject is treated in a very dry and uninteresting style; and his evident partiality to Sparta, and dislike of Athens, have frequently warped his judgment, and must cause his statements to be received with some suspicion. The CYROPAEDIA, one of the most pleasing and popular of his works, professes to be a history of Cyrus, the founder of the Persian monarchy, but is in reality a kind of political romance, and possesses no authority whatever as an historical work. The design of the author seems to have been to draw a picture of a perfect state; and though the scene is laid in Persia, the materials of the work are derived from his own philosophical notions and the usages of Sparta engrafted on the popularly current stories respecting Cyrus. Xenophon displays in this work his dislike of democratic institutions like those of Athens, and his preference for an aristocracy, or even a monarchy. Xenophon was also the author of several minor works; but the only other treatise which we need mention is the MEMORABILIA of Socrates, in four books, intended as a defence of his master against the charges which occasioned his death, and which undoubtedly contains a genuine picture of Socrates and his philosophy. The genius of Xenophon was not of the highest order; it was practical rather than speculative; but he is distinguished for his good sense, his moderate views, his humane temper, and his earnest piety.

The DRAMA pre-eminently distinguished Athenian literature. The democracy demanded a literature of a popular kind, the vivacity of the people a literature that made a lively impression; and both these conditions were fulfilled by the drama. But though brought to perfection among the Athenians, tragedy and comedy, in their rude and early origin, were Dorian inventions. Both arose out of the worship of Dionysus. There was at first but little distinction between these two species of the drama, except that comedy belonged more to the rural celebration of the Dionysiac festivals, and tragedy to that in cities. The name of TRAGEDY was far from signifying any thing mournful, being derived from the goat-like appearance of those who, disguised as Satyrs, performed the old Dionysiac songs and dances. In like manner, COMEDY was called after the song of the band of revellers who celebrated the vintage festivals of Dionysus, and vented the rude merriment inspired by the occasion in jibes and extempore witticisms levelled at the spectators. Tragedy, in its more perfect form, was the offspring of the dithyrambic odes with which that worship was celebrated. These were not always of a joyous cast. Some of them expressed the sufferings of Dionysus; and it was from this more mournful species of dithyramb that tragedy, properly so called, arose. The dithyrambic odes formed a kind of lyrical tragedy, and were sung by a chorus of fifty men, dancing round the altar of Dionysus. The improvements in the dithyramb were introduced by Arion at Corinth; and it was chiefly among the Dorian states of the Peloponnesus that these choral dithyrambic songs prevailed. Hence, even in attic tragedy, the chorus, which was the foundation of the drama, was written in the Doric dialect, thus clearly betraying the source from which the Athenians derived it.

In Attica an important alteration was made in the old tragedy in the time of Pisistratus, in consequence of which it obtained a new and dramatic character. This innovation is ascribed to THESPIS, a native of the Attic village of Icaria, B.C. 535. It consisted in the introduction of an actor for the purpose of giving rest to the chorus. Thespis was succeeded by Choerilus and Phrynichus, the latter of whom gained his first prize in the dramatic contests in 511 B.C. The Dorian Pratinas, a native of Philius, but who exhibited his tragedies at Athens, introduced an improvement in tragedy by separating the Satyric from the tragic drama. As neither the popular taste nor the ancient religious associations connected with the festivals of Dionysus would have permitted the chorus of Satyrs to be entirely banished from the tragic representations, Pratinas avoided this by the invention of what is called the Satyric drama; that is, a species of play in which the ordinary subjects of tragedy were treated in a lively and farcical manner, and in which the chorus consisted of a band of Satyrs in appropriate dresses and masks. After this period it became customary to exhibit dramas in TETRALOGIES, or sets of four; namely, a tragic trilogy, or series of three tragedies, followed by a Satyric play. These were often on connected subjects; and the Satyric drama at the end served like a merry after-piece to relieve the minds of the spectators.

The subjects of Greek tragedy were taken, with few exceptions, from the national mythology. Hence the plot and story were of necessity known to the spectators, a circumstance which strongly distinguished the ancient tragedy from the modern. It must also be recollected that the representation of tragedies did not take place every day, but only, after certain fixed intervals, at the festivals of Dionysus, of which they formed one of the greatest attractions. During the whole day the Athenian public sat in the theatre witnessing tragedy after tragedy; and a prize was awarded by judges appointed for the purpose to the poet who produced the best set of dramas.

Such was Attic tragedy when it came into the hands of AESCHYLUS, who, from the great improvements which he introduced, was regarded by the Athenians as its father or founder, just as Homer was of Epic poetry, and Herodotus of History. AEschylus was born at Eleusis in Attica in B.C. 525, and was thus contemporary with Simonides and Pindar. He fought with his brother Cynaegirus at the battle of Marathon, and also at those of Artemisium, Salamis, and Plataea. In B.C. 484 he gained his first tragic prize. In 468 he was defeated in a tragic contest by his younger rival Sophocles; shortly afterwards he retired to the court of king Hiero, at Syracuse, He died at Gela, in Sicily, in 456, in the 69th year of his age. It is unanimously related that an eagle, mistaking the poet's bald head for a stone, let a tortoise fall upon it in order to break the shell, thus fulfilling an oracle predicting that he was to die by a blow from heaven. The improvements introduced into tragedy by AEschylus concerned both its form and composition, and its manner of representation. In the former his principal innovation was the introduction of a second actor; whence arose the dialogue, properly so called, and the limitation of the choral parts, which now became subsidiary. His improvements in the manner of representing tragedy consisted in the introduction of painted scenes, drawn according to the rules of perspective. He furnished the actors with more appropriate and more magnificent dresses, invented for them more various and expressive masks, and raised their stature to the heroic size by providing them with thick-soled cothurni or buskins. AEschylus excels in representing the superhuman, in depicting demigods and heroes, and in tracing the irresistible march of fate. His style resembles the ideas which it clothes: it is bold, sublime, and full of gorgeous imagery, but sometimes borders on the turgid.

SOPHOCLES, the younger rival and immediate successor of Aeschylus in the tragic art, was born at Colonus, a village about a mile from Athens, in B.C. 495. We have already adverted to his wresting the tragic prize from AEschylus in 468, from which time he seems to have retained the almost undisputed possession of the Athenian stage, until a young but formidable rival arose in the person of Euripides. The close of his life was troubled with family dissensions. Iophon, his son by an Athenian wife, and therefore his legitimate heir, was jealous of the affection manifested by his father for his grandson Sophocles, the offspring of another son, Ariston, whom he had had by a Sicyonian woman. Fearing lest his father should bestow a great part of his property upon his favourite, Iophon summoned him before the Phratores, or tribesmen, on the ground that his mind was affected. The old man's only reply was—"If I am Sophocles I am not beside myself; and if I am beside myself I am not Sophocles." Then taking up his OEDIPUS AT COLONUS, which he had lately written, but had not yet brought out, he read from it a beautiful passage, with which the judges were so struck that they at once dismissed the case. He died shortly afterwards, in B.C. 406, in his 90th year. As a poet Sophocles is universally allowed to have brought the drama to the greatest perfection of which it is susceptible. His plays stand in the just medium between the sublime but unregulated flights of AEschylus, and the too familiar scenes and rhetorical declamations of Euripides. His plots are worked up with more skill and care than the plots of either of his great rivals. Sophocles added the last improvement to the form of the drama by the introduction of a third actor; a change which greatly enlarged the scope of the action. The improvement was so obvious that it was adopted by AEschylus in his later plays; but the number of three actors seems to have been seldom or never exceeded.

EURIPIDES was born in the island of Salamis, in B.C. 480 his parents having been among those who fled thither at the time of the invasion of Attics by Xerxes. He studied rhetoric under Prodicus, and physics under Anaxagoras and he also lived on intimate terms with Socrates. In 441 he gained his first prize, and he continued to exhibit plays until 408, the date of his Orestes. Soon after this he repaired to the court of Macedonia, at the invitation of king Archelaus, where he died two years afterwards at the age of 74 (B.C. 406). Common report relates that he was torn to pieces by the king's dogs, which, according to some accounts, were set upon him by two rival poets out of envy. In treating his characters and subjects Euripides often arbitrarily departed from the received legends, and diminished the dignity of tragedy by depriving it of its ideal character, and by bringing it down to the level of every-day life. His dialogue was garrulous and colloquial, wanting in heroic dignity, and frequently frigid through misplaced philosophical disquisitions. Yet in spite of all these faults Euripides has many beauties, and is particularly remarkable for pathos, so that Aristotle calls him "the most tragic of poets."

Comedy received its full development at Athens from Cratinus, who lived in the age of Pericles. Cratinus, and his younger contemporaries Eupolis and Aristophanes, were the three great poets of what is called the Old Attic Comedy. The comedies of Cratinus and Eupolis are lost; but of Aristophanes, who was the greatest of the three, we have eleven dramas extant. ARISTOPHANES was born about 444 B.C. Of his private life we know positively nothing. He exhibited his first comedy in 427, and from that time till near his death, which probably happened about 380, he was a frequent contributor to the Attic stage. The OLD ATTIC COMEDY was a powerful vehicle for the expression of opinion; and most of the comedies of Aristophanes turned either upon political occurrences, or upon some subject which excited the interest of the Athenian public. Their chief object was to excite laughter by the boldest and most ludicrous caricature; and provided that end was attained the poet seems to have cared but little about the justice of the picture. Towards the end of the career of Aristophanes the unrestricted licence and libellous personality of comedy began gradually to disappear. The chorus was first curtailed and then entirely suppressed, and thus made way for what is called the Middle Comedy, which had no chorus at all. The latter still continued to be in some degree political; but persons were no longer introduced upon the stage under their real names, and the office of the chorus was very much curtailed. It was, in fact, the connecting link between the Old Comedy and the New, or the Comedy of Manners. The NEW COMEDY arose after Athens had become subject to the Macedonians. Politics were now excluded from the stage, and the materials of the dramatic poet were derived entirely from the fictitious adventures of persons in private life. The two most distinguished writers of this school were PHILEMON and MENANDER. Philemon was probably born about the year 360 B.C., and was either a Cilician or Syracusan, but came at an early age to Athens. He is considered as the founder of the New Comedy, which was soon afterwards brought to perfection by his younger contemporary Menander. The latter was an Athenian, and was born in B.C. 312. He was drowned at the age of 52, whilst swimming in the harbour of Piraeus. He wrote upwards of 100 comedies, of which only fragments remain; and the unanimous praise of posterity awakens our regret for the loss of one of the most elegant writers of antiquity. The comedies, indeed, of Plautus and Terence may give us a general notion of the New Comedy of the Greeks, from which they were confessedly drawn; but there is good reason to suppose that the works even of the latter Roman writer fell far short of the wit and elegance of Menander.

The latter days of literary Athens were chiefly distinguished by the genius of her ORATORS and PHILOSOPHERS. There were ten Attic orators, whose works were collected by the Greek grammarians, and many of whose orations have come down to us. Their names are Antiphon, Andocides, Lysias, Isocrates, Isaeus, AEschines, Lycurgus, Demosthenes, Hyperides and Dinarchus. ANTIPHON, the earliest of the ten was born B.C. 480. He opened a school of rhetoric, and numbered among his pupils the historian Thucydides. Antiphon was put to death in 411 B.C. for the part which he took in establishing the oligarchy of the Four Hundred.