92

THE ANTIGONE OF SOPHOCLES--ÆSCHYLUL.

the whole threatened calamity, hurried away by the Erinnys of a father's curse, insists on becoming himself his antagonist, and, notwithstanding all the entreaties of the chorus, with the clear consciousness of inevitable death, rushes headlong to the fratricidal strife. War, in itself, is no subject for tragedy, and the poet hurries us rapidly from the ominous preparation to the fatal moment of decision: the city is saved, the two competitors for the throne fall by each other's hands, and the whole is closed by their funeral dirge, sung conjointly by the sisters and a chorus of Theban virgins. It is worthy of remark, that Antigone's determination to inter her brother, notwithstanding the prohibition with which Sophocles opens his own piece, which he names after her, is interwoven with the conclusion of this play, a circumstance which, as in the case of the Choephora, immediately connects it with a new and further development of the tragic story.

I wish I could persuade myself that schylus composed the Persians to comply with the wish of Hiero, King of Syracuse, who was desirous vividly to realize the great events of the Persian war. Such is the substance of one tradition; but according to another, the piece had been previously exhibited in Athens. We have already alluded to this drama, which, both in point of choice of subject, and the manner of handling it, is undoubtedly the most imperfect of all the tragedies of this poet that we possess. Scarcely has the vision of Atossa raised our expectation in the commencement, when the whole catastrophe immediately opens on us with the arrival of the first messenger, and no further progress is even imaginable. But although not a legitimate drama, we may still consider it as a proud triumphal hymn of liberty, clothed in soft and unceasing lamentations of kindred and subjects over the fallen majesty of the ambitious despot. With great judgment, both here and in the Seven before Thebes, the poet describes the issue of the war, not as accidental, which is almost always the case in Homer, but (for in tragedy there is no place for accident,) as the result of overweening infatuation on the one hand, and wise moderation on the other.

The Prometheus Bound held also a middle place between two others--the Fire-bringing Prometheus and the Prometheus Unbound, if we dare reckon the first, which, without question, was a satiric drama, a part of a trilogy. A con

THE PERSIANS-THE BOUND PROMETHEUS.

93

siderable fragment of the Prometheus Unbound has been preserved to us in a Latin translation by Attius.

The Prometheus Bound is the representation of constancy under suffering, and that the never-ending suffering of a god. Exiled in its scene to a naked rock on the shore of the earth-encircling ocean, this drama still embraces the world, the Olympus of the gods, and the earth, the abode of mortals; all as yet scarcely reposing in security above the dread abyss of the dark primeval powers-the Titans. The idea of a self-devoting divinity has been mysteriously inculcated in many religions, in dim foreboding of the true; here, however, it appears in most fearful contrast to the consolations of Revelation. For Prometheus does not suffer from any understanding with the power which rules the world, but in atonement for his disobedience to that power, and his disobedience consists in nothing but the attempt to give perfection to the human race. He is thus an image of human nature itself; endowed with an unblessed foresight and riveted to a narrow existence, without a friend or ally, and with nothing to oppose to the combined and inexorable powers of nature, but an unshaken will and the consciousness of her own lofty aspirations. The other productions of the Greek Tragedians are so many tragedies; but this I might say is Tragedy herself: her purest spirit revealed with all the annihilating and overpowering force of its first, and as yet unmitigated, austerity.

There is little of external action in this piece. Prometheus merely suffers and resolves from the beginning to the end; and his sufferings and resolutions are always the same. But the poet has, in a masterly manner, contrived to introduce. variety and progress into that which in itself was determinately fixed, and has in the objects with which he has surrounded him, given us a scale for the measurement of the matchless power of his sublime Titan. First the silence of Prometheus, while he is chained down under the harsh inspection of Strength and Force, whose threats serve only to excite a useless compassion in Vulcan, who is nevertheless forced to carry them into execution; then his solitary complainings, the arrival of the womanly tender ocean nymphs, whose kind but disheartening sympathy stimulates him to give freer vent to his feelings, to relate the causes of his fall. and

94

DRAMAS OF ESCHYLUS GENERALLY.

to reveal the future, though with prudent reserve he reveals it only in part; the visit of the ancient Oceanus, a kindred god of the Titanian race, who, under the pretext of a zealous attachment to his cause, counsels submission to Jupiter, and is therefore dismissed with proud contempt; next comes Io, the frenzy-driven wanderer, a victim of the same tyranny as Prometheus himself suffers under: to her he predicts the wanderings to which she is still doomed, and the fate which at last awaits her, which, in some degree, is connected with his own, as from her blood, after the lapse of many ages, his deliverer is to spring; then the appearance of Mercury, as the messenger of the universal tyrant, who, with haughty menaces, commands him to disclose the secret which is to ensure the safety of Jupiter's throne against all the malice of fate and fortune; and, lastly, before Prometheus has well declared his refusal, the yawning of the earth, which, amidst thunder and lightning, storms and earthquake, engulfs both him and the rock to which he is chained in the abyss of the nether world. The triumph of subjection was never perhaps more gloriously celebrated, and we have difficulty in conceiving how the poet. in the Prometheus Unbound could have sustained himself on the same height of elevation.

In the dramas of Eschylus we have one of many examples This is not that, in art as well as in nature, gigantic productions precede true & Shakes those that evince regularity of proportion, which again in peare but the their turn decline gradually into littleness and insignificance, Very DEVENTE and that poetry in her earliest appearance attaches itself closely to the sanctities of religion, whatever may be the form which the latter assumes among the various races of men.

A saying of the poet, which has been recorded, proves that he endeavoured to maintain this elevation, and purposely avoided all artificial polish, which might lower him from this godlike sublimity. His brothers urged him to write a new Pœan. He answered: "The old one of Tynnichus is the best, and his compared with this, fare as the new statues do beside the old; for the latter, with all their simplicity, are considered divine; while the new, with all the care bestowed on their execution, are indeed admired, but bear much less of the impression of divinity." In religion, as in everything. else, he carried his boldness to the utmost limits; and thus he

even came to be accused of having in one of his pieces disclosed the Eleusinean mysteries, and was only acquitted on the intercession of his brother Aminias, who bared in sight of the judges the wounds which he had received in the battle of Salamis. He perhaps believed that in the communication of the poetic feeling was contained the initiation into the mysteries, and that nothing was in this way revealed to any one who was not worthy of it.

In Eschylus the tragic style is as yet imperfect, and not. unfrequently runs into either unmixed epic or lyric. It is often abrupt, irregular, and harsh. To compose more regular and skilful tragedies than those of Eschylus was by no means difficult; but in the more than mortal grandeur which he displayed, it was impossible that he should ever be surpassed; and even Sophocles, his younger and more fortunate rival, did not in this respect equal him. The latter, in speaking of Eschylus, gave a proof that he was himself a thoughtful artist: Eschylus does what is right without knowing it." These few simple words exhaust the whole of what we understand by the phrase, powerful genius working unconsciously.

66

96

SOPHOCLES: HIS BIRTH-YOUTH.

LECTURE VII.

Life and Political Character of Sophocles-Character of his different Tragedies.

THE birth of Sophocles was nearly at an equal distance between that of his predecessor and that of Euripides, so that he was about half a life-time from each: but on this point all the authorities do not coincide. He was, however, during the greatest part of his life the contemporary of both. He frequently contended for the ivy-wreath of tragedy with Eschylus, and he outlived Euripides, who, however, also attained to a good old age. To speak in the spirit of the ancient religion, it seems that a beneficent Providence wished in this individual to evince to the human race the dignity and blessedness of its lot, by endowing him with every divine gift, with all that can adorn and elevate the mind and the heart, and crowning him with every imaginable blessing of this life. Descended from rich and honourable parents, and born a free citizen of the most enlightened state of Greece; there were birth, necessary condition, and foundation. Beauty of person and of mind, and the uninterruped enjoyment of both in the utmost perfection, to the extreme term of human existence; a most choice and finished education in gymnastics and the musical arts, the former so important in the development of the bodily powers, and the latter in the communication of harmony; the sweet bloom of youth, and the ripe fruit of age; the possession of and unbroken enjoyment of poetry and art, and the exercise of serene wisdom; love and respect among his fellow citizens, renown abroad, and the countenance and favour of the gods: these are the general features of the life of this pious and virtuous poet. It would seem as if the gods, to whom, and to Bacchus in particular, as the giver of all joy, and the civilizer of the human race, he devoted himself at an early age by the com