The Historians' History of the World 04

Under the auspices of these great times Attic tragedy arose as the most perfect expression of the union of Western with Eastern Hellenism, stamped with the features of the great period of its birth; for not until Æschylus, the warrior of Marathon, took the Homeric Heroic legend for the groundwork of the ancient ecstatic Dionysian festivals; not until he substituted the solemn Doric chorus for the satyrs, and reduplicated the Ionian reciter, was the drama discovered which, sublime beyond the scope of mere humanity, and still remaining a part of the worship of the god, yet bore within it the germ of development into a picture of human life, making an appeal more direct and more effective than the narrative of the rhapsodist or the song of the bard. An abundance of talent turned to this new form, which remained Athenian even when the poets came from abroad, and became more and more Athenian, human, and modern. Yet no one ventured to abandon the Homeric subject-matter and go direct to contemporary life for material. And so it continued to be, although with the decay of the Attic empire and its great poets, tragedy (whether as Attic drama or as a part of worship), no longer had any intrinsic claim to the subject-matter of the Heroic legend. Here again the authority of a great achievement condemned posterity to the depths of imitation. The form of drama known at Athens as comedy was regarded as quite another thing; and it had certainly gone far from its source in the same masquerade and the same Dionysian ecstasy by the time it was cast into shape by witty Athenian poets, and promoted to be species of literature. Comedy became drama, and followed the lines of tragedy by centring about a definite action; it was no less wonderful than the latter so long as it served the purpose of the moment and of the necessarily circumscribed circle of Athenian society; but for this very reason it exercised no universal influence, and was destined to fall to pieces with the collapse of the political and social fabric. The last literary achievement of Athens was to transform it, about the time of Alexander, into a refined, purely recitative play which occupied exactly the same relation to contemporary life as later tragedy occupied to the Heroic legends. This new comedy deserved and received the same classic imprimatur

as tragedy; but the same slavish subjection to a model ensued; the figures of Menander, so infinitely commonplace and provincial, alas! were doomed to make their appearance on the comic stage, like Medea and Orestes on the tragic, whether the play were written and acted in Rome or Alexandria. In this petrified and haphazard form the theory rather than the poetry of the drama was conveyed to the West. Aristotle, in particular, failed to advance from the chance illustration of actual performances to a formulated statement of the truth, and modern writers have still an unwholesome habit of tossing about the terms “tragedy” and “comedy,” at all events in theory. We have the will to admire and the capacity to understand both what has been achieved by the Athenians and the causes that led inevitably to that achievement: but the foundation of modern dramatic art is Shakespeare—or Plato, who recognised in theory that tragedians and comedians are anything but contradictory terms, and who, like Shakespeare, combined both in himself.

In the Athenian art of the fifth century, as in Æschylean tragedy, the elements of Eastern and Western Greece interpenetrate, and each heightens the effect of the other. The Parthenon is a Doric temple with an Ionic frieze. To Ionic monumental fresco painters is given the task of painting Homeric stories on the broad surfaces of Athenian and Delphic porticoes; the capacity to immortalise the deeds of contemporary life is its own contribution. From the devout spirit that inspires the poet of the Oresteia, Phidias, with all the wealth and all the art at his command, tries to create images of the gods that will satisfy the religious feeling of his time. To the Greeks they were the greatest for all time. Precisely as in the case of tragedy, such a high strain of endeavour lasts but a short time. Then the Ionic element becomes preponderant; the human, subjective aspect thrusts itself into prominence. It is inevitable, and the thing it created is worthy of admiration. But in the pathos

and ethos of the divine types created by Praxiteles and Scopas there is nothing but the mythological character of Homer’s gods; they are immortal men, and no more; to Scopas and Praxiteles they were nothing higher than this. And it was right that it should be so; for in the meantime the comprehension of the truly divine had so far progressed that its circumscription in a person was merely symbolical, and implied no idea of physical incarnation.