The Historians' History of the World 03

Thespis was the founder of Attic tragedy, for it was he who introduced the alternation of recitation and song and arranged the stage and costumes. The story goes that Solon had small liking for the new art, believing the violent excitement of the emotions by the representation of imaginary events to be prejudicial, but that the tyrants favoured this popular diversion, like everything else connected with the democratic worship of Dionysus, because it suited the purpose of their policy to provide brilliant entertainments for the population at the expense of wealthy citizens. About 550 B.C. they summoned the chorus leader from Icaria to the city, competitions between rival tragic choruses were introduced, and the stage near the black poplar in the market place became a centre of Attic festivity.

With the restoration of peace all civic festivals took a higher flight, the various constituents fell apart, tragedy rejected the baser elements of Bacchic festivity and assumed greater dignity, it was cast into definite artistic forms by Pratinas and Chœrilus, and became freer and freer in its choice of subject. The old element was not abandoned for all that, the rustic youth would not be deprived of their accustomed masquerade, and the people were left their satyr choruses. But the two forms, which could not be combined without mutual detriment, were separated, and thus the satyr drama grows up side by side with tragedy. Pratinas, who migrated to Athens from Phlius, gave these plays their typical form, and they retained their original character of Bacchic jollity, their rustic and homely features, and the merry rout of the satyrs with their wild dances and rude jests. Thus these elements were preserved to literature and yet prevented from molesting or hampering the further development of tragedy.

The period in which Athens took her place as a great power and sent her triremes across the sea to support the Ionian revolt, likewise constituted an epoch in the history of Attic tragedy. About that time the wooden scaffoldings from which the audience had looked on at the plays of Pratinas, Chœrilus, Phrynichus, and the youthful Æschylus, gave way; and the drama had already attained such consequence in Athens that the building of a magnificent theatre was taken in hand. A permanent stage of stone was built within the precincts sacred to Dionysus on the southern declivity of the citadel, and seats for spectators, rising one above the other in semi-circular rows, were built into the rock of the Acropolis in such wise that the audience commanded a view of Hymettus and the Ilissus on the left and of the harbour on the right.

Greek Poet

Meanwhile the artistic structure of tragedy was steadily advancing towards perfection. The subject-matter grew more varied, music and the dance were used in a greater variety of forms, female characters were added. Nevertheless the lyric element remained predominant down to the time of the Persian wars; and Phrynichus, the greatest predecessor of Æschylus, was most admired for his charming choral songs. It was with the great drama of the War of Liberation that the theatrical drama began to unfold its full powers, and nowhere do we perceive more clearly the manifestation of the newly-acquired energy which pervaded every department of Attic life.

The man destined to give utterance in tragic art to the spirit of the great age was Æschylus, the son of Euphorion of Eleusis, a scion of an ancient family, through which he claimed association with one of the most venerable sanctuaries of the land. This is why he calls himself the pupil of Demeter, thus testifying that the solemn services of the temple at Eleusis had not failed to exercise a lasting influence upon his mind. As a boy he witnessed the fall of the tyrants: when come to man’s estate he fought at Marathon, being then thirty-five years old, and he himself declared, in the inscription on his tombstone, that he took pride, not in his tragedies, but in his share in that great day, though there he had been but a citizen among citizens, while as a poet he was without peer among his contemporaries. For it was he whose creative genius laid the foundations of Attic tragedy, making all previous achievements look like imperfect attempts.