alternation of crime, revenge, and curses, which we witness in the house of Atreus. When we examine the names of the pieces which are lost, we have great difficulty in conceiving how the mythological fables (such, at least, as they are known to us,) could have furnished sufficient materials for the compass of an entire tragedy. It is true, the poets, in the various editions of the same story, had a great latitude of selection; and this very fluctuation of tradition justified them in going still farther, and making considerable alterations in the circumstances of an event, so that the inventions employed for this purpose in one piece sometimes contradict the story as given by the same poet in another. We must, however, principally explain the prolific capability of mythology, for the purposes of tragedy, by the principle which we observe in operation throughout the history of Grecian mind and art; that, namely, the tendency which predominated for the time, assimilated everything else to itself. As the heroic legend with all its manifold discrepancies was easily developed into the tranquil fulness and light variety of epic poetry, so afterwards it readily responded to the demands which the tragic writers made upon it for earnestness, energy, and compression; and whatever in this sifting process of transformation fell out as inapplicable to tragedy, afforded materials for a sort of half sportive, though still ideal representation, in the subordinate species called the satirical drama.
I hope I shall be forgiven, if I attempt to illustrate the above reflections on the essence of Ancient Tragedy, by a comparison borrowed from the plastic arts, which will, I trust, be found somewhat more than a mere fanciful resemblance.
The Homeric epic is, in poetry, what bas-relief is in sculpture, and tragedy the distinct isolated group.
The poetry of Homer, sprung from the soil of legend, is not yet wholly detached from it, even as the figures of a bas-relief adhere to an extraneous backing of the original block. These figures are but slightly raised, and in the epic poem all is painted as past and remote. In bas- relief the figures are usually in profile, and in the epos all are characterized in the simplest manner in relief; they are not grouped together, but follow one another; so Homer's heroes advance, one by one, in succession before us. It has been remarked that the Iliad is not definitively closed, but that we are left to suppose something both to precede and to follow it. The bas-relief is equally without limit, and may be continued ad infinitum, either from before or behind, on which account the ancients preferred for it such subjects as admitted of an indefinite extension, sacrificial processions, dances, and lines of combatants, &c. Hence they also exhibited bas-reliefs on curved surfaces, such as vases, or the frieze of a rotunda, where, by the curvature, the two ends are withdrawn from our sight, and where, while we advance, one object appears as another disappears. Reading Homer is very much like such a circuit; the present object alone arresting our attention, we lose sight of that which precedes, and do not concern ourselves about what is to follow.
But in the distinct outstanding group, and in Tragedy, sculpture and poetry alike bring before our eyes an independent and definite whole. To distinguish it from natural reality, the former places it on a base as on an ideal ground, detaching from it as much as possible all foreign and accidental accessories, that the eye may rest wholly on the essential objects, the figures themselves. These figures the sculptor works out with their whole body and contour, and as he rejects the illusion of colours, announces by the solidity and uniformity of the mass in which they are constructed, a creation of no perishable existence, but endowed, with a higher power of endurance.
Beauty is the aim of sculpture, and repose is most advantageous for the display of beauty. Repose alone, therefore, is suitable to the single figure. But a number of figures can only be combined together into unity, i.e., grouped by an action. The group represents beauty in motion, and its aim is to combine both in the highest degree of perfection. This can be effected even while portraying the most violent bodily or mental anguish, if only the artist finds means so to temper the expression by some trait of manly resistance, calm grandeur, or inherent sweetness, that, with all the most moving truth, the lineaments of beauty shall yet be undefaced. The observation of Winkelmann on this subject is inimitable. He says, that "beauty with the ancients was the tongue on the balance of expression," and in this sense the groups of Niobe and Laocoön are master- pieces; the one in the sublime and severe; the other in the studied and ornamental style.
The comparison with ancient tragedy is the more apposite here, as we know that both Aeschylus and Sophocles produced a Niobe, and that Sophocles was also the author of a Laocoön. In the group of the Laocoön the efforts of the body in enduring, and of the mind in resisting, are balanced in admirable equipoise. The children calling for help, tender objects of compassion, not of admiration, recal our eyes to the father, who seems to be in vain uplifting his eyes to the gods. The wreathed serpents represent to us that inevitable destiny which often involves all the parties of an action in one common ruin. And yet the beauty of proportion, the agreeable flow of the outline, are not lost in this violent struggle; and a representation, the most appalling to the senses, is yet managed with forbearance, while a mild breath of gracefulness is diffused over the whole.
In the group of Niobe there is the same perfect mixture of terror and pity. The upturned looks of the mother, and the mouth half open in supplication, seem yet to accuse the invisible wrath of heaven. The daughter, clinging in the agonies of death to the bosom of her mother, in her childish innocence has no fear but for herself: the innate impulse of self-preservation was never more tenderly and affectingly expressed. On the other hand, can there be a more beautiful image of self-devoting, heroic magnanimity than Niobe, as she bends forward to receive, if possible, in her own body the deadly shaft? Pride and defiance dissolve in the depths of maternal love. The more than earthly dignity of the features are the less marred by the agony, as under the rapid accumulation of blow upon blow she seems, as in the deeply significant fable, already petrifying into the stony torpor. But before this figure, thus twice struck into stone, and yet so full of life and soul—before this stony terminus of the limits of human endurance, the spectator melts into tears.
Amid all the agitating emotions which these groups give rise to, there is still a something in their aspect which attracts the mind and gives rise to manifold contemplation; so the ancient tragedy leads us forward to the highest reflections involved in the very sphere of things it sets before us—reflections on the nature and the inexplicable mystery of man's being.
LECTURE VI.
Progress of the Tragic Art among the Greeks—Various styles of Tragic Art
—Aeschylus—Connexion in a Trilogy of Aeschylus—His remaining Works.
Of the inexhaustible stores possessed by the Greeks in the department of tragedy, which the public competition at the Athenian festivals called into being (as the rival poets always contended for a prize), very little indeed has come down to us. We only possess works of three of their numerous tragedians, Aeschylus, Sophocles, and Euripides, and of these but a few in proportion to the whole number of their compositions. The extant dramas are such as were selected by the Alexandrian critics as the foundation for the study of the older Grecian literature, not because they alone were deserving of estimation, but because they afforded the best illustration of the various styles of tragic art. Of each of the two older poets, we have seven pieces remaining; in these, however, we have, according to the testimony of the ancients, several of their most distinguished productions. Of Euripides we have a much greater number, and we might well exchange many of them for other works which are now lost; for example, for the satirical dramas of Achaeus, Aeschylus, and Sophocles, or, for the sake of comparison with Aeschylus, for some of Phrynichus' pieces, or of Agathon's, whom Plato describes as effeminate, but sweet and affecting, and who was a contemporary of Euripides, though somewhat his junior.
Leaving to antiquarians to sift the stories about the waggon of the strolling Thespis, the contests for the prize of a he-goat, from which the name of tragedy is said to be derived, and the lees of wine with which the first improvisatory actors smeared over their visages, from which rude beginnings, it is pretended, Aeschylus, by one gigantic stride, gave to tragedy that dignified form under which it appears in his works, we shall proceed immediately