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Lorsque le document est trop grand pour dtre reproduit en un seul clich6, il est film^ A partir da I'angle supdrieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images ndcessaire. Les diagrarnmes suivants illustrent la mdthode. 1 2 3 1 2 3 4 5 6 MICROCOPY RESOLUTION TEST CHART (ANSI and ISO TEST CHART No. 2) St"^ ||ll!2.2 us Hi a UlAU 20 1.8 A APPLIED IN/HGE 1653 East Main Street Rochester. New York 14603 USA (716) 482- 0300 -Phr (716) 288-5989 - Fc, i' The Attitude of the Greek Traoedians toward Nature. H. RUSHTON FAIRCLOUGH, Stanford University, California. m The Attitude OK THK. GREEK TRAGEDIANS •^ / c^ TOWARD NATURE. By H. RUSHTON FAIRCLOUGH, Stanford University, California. THESIS Accepted for the Degree of Doctor of PmLosoii-.v, Johns Hopkins University, May, 1896. TORONTO : ROWSELL & HUTCHISON, 1897. ;itli i\ PIAE MBMORIAK DANIEUS WILSON KQUITJS UNIVKRSITATLS AI'UI) TORONTONKNSES PRAESIDIS HOC Ol'USCULUM DEDICAT AUCTOR. TAIiLK OF CONTENTS. HiMMlKlK.M'HV. I L», *'"''vLwH''/''M.?r',. ,r.? '''r""'"" '*°^'"' With Schiller, 3.-Kr,oneon8 viowH, .{. Mor,. misoniihlf views, 4. — Fiiec hinder, 5. The Hiil,i«,.t ow "' -^'r«. 1'^- Sensuous ^nj™t of natu. e, 11- Kel igious sense, II.- Love for nature is se.omfarv 1 1 _ t n'f 7" ° nitvJ' r"' 'T "'r^*'' n.-IlluHtrationsfS'o .ei- Kl vluH n Hi i "'i ^''"'" V""': r'^ l''"*""^' '2.- Flowers in fr ir* •; • ;• ^". '""^ '"""">1«. Ki-PersoniHcation of luvture l.).-lerH..nihcatioi, ehma.'teriHtic of Aeschylus, 1.").- (Juainti ss of cer a.„ metaphors l(i. - M,,,],. ..f neutrali/.ing^netaphors,''^.-^". given ,;t .syu,I,olu:al meaning, 1(1. --The Pathetic Fa lacy n Aesd.ylus 17.-K.e[ni« for the pi. ture.s,,ue au.l the gran.l in scenei v 18 Mountain sconery, IH.-Feeling for the sea : ( 1 ) Tl.rhS t si.'le "rii the (lark si,lo, 18.--Sul.limity in other tiel.ls. l!) ^ ' ^^^ Ci.APTKK 3, pp.20.;M Sophocles, 20.-Topographieal accuracy. '>0 - ^al pi.'turing, '.>•.'. -Poverty of .kscriptive elcniei.t, Vividness of loe .)o 4j r ,,".'.,". "■""«'' "-• — « "vuri,v ((I iicHcriDtlve elenipnf JJ-Sense of the utility of nature, 23. -Sensuous delijht in im E' iratcs uinmn life, 24.— Illustrations from the sea, 24,~Kiver8 in Sophocles, 25. -Illustrations from a variety of sources 4 ^TreoH and plants, 2G._Flowers, 27. P.irds and animals, 27 -Fueling fo, nature expressed n, mythological terms, 2<».-Pe;so. ifieation •% Syui .ohsm of nature, ^..-Personality of nature an the l^thet^ Fallacy ,n Sopho.acs, 30. -Sophocles lacking in sul.limity, 3-> _H ^ ^'"^Kom^nti^Inf /"■ .^•;V'nt'-. :^^- His greater significance. .34.- l.omantic ul .loscnptive barrenness even in Euripides, 34 -Sense ^ .nldeal "^ "^ ".U.ire 30. Less careful than .Sophocles in topo giaphical accuracy, 37.-Ccrtain vivid scenes, 37. -Euripides' descH., tions general not specific, .37. -Love of luilliaiu-e an J ehdor!38 - nffoVf J^^'spect, .39.-(.ontra8t in colors, 41.-Appieciation of the effects of air and light, 41. -Illustrations of life from nature 42 The sea in Euripides, 42.-Rivers ii. Euripides, 44..-The hotant^ r/ '",^?"'!P"'les, 45. -Trees and flowers introduced so SS •hictlon ia^7 '^'f''^ .«i*>'"i«;^«"'''e- 45.-Main reason for tEntro- 4V; A '. I r"'*^ T'^.^y "f *'■'-'*'«• ^""t* 'i"'» flowers in Euripkles 46. -Aeschylus and Euripi.les compare.l. 47.-Sonhoeles «nd '^S' VI TAHLE OF CONTENTS. A . ,"'^ animals, 48.-Hi,.fi8 4s^IV' f'^.T^omestic animals. AeHchylusan,! Sophocles in ro^^c^i I ^h"''P"^'« comparotl with rendernosa towards tlie I « „i f *" *'"' *"""»! kingdom 4q 1_ Kuripjdes fond of sud cp Sts ;;:?':^.'"''*',"';'^ I" *'>« ^/-/m S 1 t'ou ,n Euripides, r.Ji.i.Svrbo L 7 f '"'"'V''''"-' •''2— Perscnifi oa- man ,„ ^yn.pathy/ Tv'i. -'£ SSic FaZ "'"' '^^-Nat-.ue ami Its fre.juency, ;^5.-_Kuripi,lc.s' dS. in I ^' '" Euripides, S.",.- than that of his p.c.lec.ss^,rs?r,9 -f ' " "f ^"'•^ T'' «o>»PrehensKc. tal mods, r,9.-The ordinar^ Creei; a tih ? \" '"''■T*'"^ ^'*'' '"en- Kentnuent for nature fiO— 1ides the forerunner ;,fto,S'^ '>( ''-"ripidts. - Ilyl'ic tone in Kuripides, 62 -Kini 1 ■« '7'^."«': ««ntin,e„t, 62.- _-fns ances of sublinuty.'iy L^E^^ '"fenor in sublimity, C3. 0;>. -Scenes of .lesolation 65 W "^ 1' "Hpides, 64.-N ,ow iiiree tragedians compared 71 w„ - i- •;■■.■•■ j- "'wiesi, va — Tlip other two, 7K-Euripi!les'ien'to;Htids;n'T'" '"'^^''^ *^-" **>« ^- /V«^: 7;^;i::Thet^^;TusM:;,":;'<^"'il'i''-' 7:i-Criticisn, in Add.t.on,d points to be ob orvec "^T.rH'iVV '"■ *''f ^■'■'fcisn., 74.- tahty of Knripides co.isist r 7o-Euri;;i;i I ''*''," '^°"''' *^'" se-timen- ;:P»lt' ■••-His innovation in a ' ^ T'^' I' '^T^^in Greok Euripides' life a.i.l cliaractci Sf ' n/ff"""'^ V'io»'al o.les, 7',.- ancient and modern life 76 'ph 'f'^'f'"^ "» spirit between 76. -The ISacchae and the /';;i^"-7'^''S* "^ Aristoplulnea' hos nil'v" romantic character of the i„ffie ' 77"" "^'^''*''' «'^PJ*"»tion of tlfe Index ok 'Cit.atio.ns kuom tuk GuKKr -1, estic animals, >n pared with ingfloni, 49.— '^' fof nature M>d,a, ,'52.— — Perscnifica- -Natiue and ipides, 5;-).— >inprehensivo ly with nieii- an expressed •ling for (lis. J'lfles, Gl iiiient, 62 blimit^', 63. W.— Snow, tains, «5.— !Ji|ets. London, h. 13. ti. 1879. Houghton, ottish Poetry. reek Genius. CHAPTER L ^^fvl?""^/?' "f*"^! a'^onff the ancients, and theThedis- treatment of nature in Greek and Roman literatin-e «"B«on recent ears attracted a good deal of attention in^"' The discussion may be said to have begun with Schiller's ^"^'"^'" essay on Naive and Sentimental Poetry," written in 1795 Schiller draws a sharp distinction between the simple poetry ot the ancients and the sentimental poetry of modern times, remarking that " we find very few traces in Greek wnri7i u 'Sentimental interest with which the modern world looks upon scenes of nature and natural characters. Jne (jrreeks, to be sure, are accurate and faithful in their descriptions of nature, but they show no more peculiar enthusiasm than m describing a vestment, a shield, armour, a piece of furniture or any mechanical product. . . .They do not chng to nature with the emotion, spirituality or gentle melancholy of the moderns " ^ ^ As Biese^ and Butcher' both point out, this somewhat narrow view of Schiller's is to be explained by the fact that he was most familiar with Homer, the most naive of all poets, and in maki.ig his sweeping statements about !^nP.^ir '"'•'".' °^^''^"^ P°^^'-^' ^^ ^^ Homer that he has nrS^i * J ;'?n™'"'^- ^^*^'"' ^" ^'^ criticism of Matthisson's poems, Schiller expressly stated his belief that the Greeks, tn fJT ^^''T^^^ ^.°^^^« «^ a" beauty, were susceptible to the charms of inanimate nature, their very mytholoffv indicating how deep and rich was their appreciation. » ^ Ihis statement, together with his recognition, even inErroneous wlun'f ?f "f''!^ '"'• "^ Enn^ides, Horace, P;opertius, ^0^""" vergu and Ovid as the sentimentalpoetsof antiquity, was rZT-u^^T'^uy ^"^'^ ''^^^ °f ^^d Schiller is probably nreSS fW J^ l''^,^^^^ Prevails, or until recently has prevailed, that the Greeks totally failed to appreciate the beauty and picture squeness of the external world. 13. I Schiller'B Werke, vol. XIT. ] (Spemann). . th, l^P- E*^-^- ' Woermann, p. v. «ee Straub, p. 2. " p. .360. and Biese, p. 4. More rea soiiable viow.s. tungen der mittleren Zeiten tpricTt " R^"lf ^en Tierdich- oles '< No author of the betteTa^^V ' "^'^^"^ ^^ hi« Ghari- portray a landscape. Th7Gr£l ' 'I'^ attempted to warm perception li the' charms of '-^"^'^ ^'^^^^ ^^^ ^"^1 lack of which, when found Tmon^ ^"•"'l' "^'"''^^ *h^ of reproach or commiseration^' "and 0%''^ T,^^'^ ^ «a"«^ the sentimental dwelling upon'nahl?- " ^^""'^ "^^^ther romantic conception of lanX«n? • '" .^^"''•^^' "or the to the Greek spirit/' Therme v" P"^^^*'"^^^, is known expressed by Cope in an essa^^n '^S p"^? ««^Pl^atically face to Z.6.rS^|l*,^/7^^^,^«« Jacobs in his pre- pays, " would regard £ eturL^^"; '''*• " Who." he mena. which Homer has%v oveiinto "if "'" ?^ h^^-pheno- infenor to the lengthy descr^nHnn % 7.'^ °^ '»« ^pic; devoted their energy ^extS^^^^ ""i *^-°^? ^'^« ^ave Even the Anthology is not "oo, fn ^P'"","^ "^<^"^e ? her charms and invite the reader o ^'"5! J^^'^ S'^^^v PW^-,ontheedgeof^r^J?,;:^^^-^ II.''V-??^^|^^^t;^;-.j^ninhis^^^^^^ of nature are merely seconrrv^ ''"^ '"'^ descriptions everything, so to spea^k.^ov^T^^^^^^^^ V\^^^«^ ^^t Nature-poetry, as a spe^-JbTaVc. of N. '\' °^ ^""^^° ^^^e. f 7,^^" to the Greeks ; landscape with^J^*"^'^' ^^« ^^oJly as the background of a pkture irf? t'""- ^P,P"«^« ^^b' human forms." The G?ppk !' '°/^°"* ot which move possessed a deep feelLg for it^^^^^^^^^^^^ \ Humboldt iTToir- wl ieh P>omptsrrto^r.Xlhl^,^S champion of the simplil'tyhoiSv '^ ^ ^^rm 5 - Naturgefuhl " of the moderns. " die AfTektation fur die ^ !ll!I? """"^^elbaren und ungesuchten Geniessen vor allem df eSFrrT ^'°"/^' J>"-- enthousiasme oblige IZ die eck e Empfindung der Empfindung." i Motz however •seriously erred in not discussing the subject from the hf. toncal standpoint and studying%he queSn n contc^ with successive authors and pedods connection Ihis defect is recognized by Woermann, whose work Ueber den landschaftlichen Natursinn der Griechen und Romer (Munchen, 1871). is an excellent one o -ra"7t anJZtrn •' nT^"^^^m f.''"°T^'^^^« ^^^^^^^» ^he ancient Fried- andmolein Naturgefuhl," and expresses the view thatl'^^^er. the feeling for nature among the ancients, while vivid sincere and deep, was much more limited in ts rancethan unong the moderns, being confined to a sentiment ?oi what die Fni' ?f «^^™^»g to the eye. His pamphlet, "Ueber die Entstehung und Entwicklung des Gefiihls flir das s hbnTe?t auf^f ' die Ausdehnung des Begriffs der Nalur- scnonheit auf das rauhe, dlistre und ude, das phantastische u d MitraSi- ^^''^•^/-'^^^bar erhabene de'm Alterthum' angentmt'trd"^^^ °^""^" '''' '''' ^'^ ---- More recently the subject has been approached from th^ tu u j,eneiaiities upon the simplicity, obectivitv and naivpt2'"««"««erd to i^^l^^^T ^ ^ StS^, t.^^ £^teSiii^^-;: ?S;^T T^ on "The of thought followed by Chetl^rf""'.^^^^^; ^^^ ^i"« his opening paragraphs "Th, riLV"^'"^*"'' by one of over imagiSativelitem ure undef th/- fl"^' ^^^^^ P^««-^' anity was not without prepaTatL Ai??,"'"'t "^ ^^"«t'- Greek literature itself tSlrpT» " ^^^ ^™^^« o^' toms of the new directbn in^,ieh T ^'''^'^'''^^7 «ymp- anew attitude towards Sp^hTn„s of f]T ""'"' ^^«d>ng> of "/ode of contemplating ' 'w'jf ^^^^^^^^^^ and another sive attention to the earlie. Zehl'^n^^T;. ^^ ^^^lu- obscured the gradual stlges oTtht nf '"^ ^^^^ratuve h«s reasonable speakino- and v.V • ^i'^.'^^^f ' This is very Butcher does'not take suffioTpnf''' ^'« interesting essax^ estimate aright hi positTon T^H '"''"^""l ^^ Euripides, oV jpint. , : t4 Chan jr:^r.;L^;^j?rl:^ " t ^'"^"f ^ time of Alexander onw J » T':'^^'l^ ^^ly from fi.^ :■ ^'iange ot sentiment," he indeed admit that inasmuch as in^'/h^f" ^"^^^^'^ ^oes Pides brought upon theTtage womanlv .f ^^"^ ^u^^ " ^"^'- ^eing " a pathological studv ^fi ij ?*'"«'?«' ^js tragedy sentation of life/' he was " The'fi. r.\l'^'"^*'« ^re- ?2!i.f^!i^!^lWu^^ p. 246. ^ture in mytholoev *etic feeling for »d a third on the »-e in Hellenistic student of Greek ly. but a careful ne that in con- profitable work subject can be ich of the great "1 detail and in "11 this has been nations, however n e.ssa_y on "The )y Prof. Butcher, . ing book, "Some [«93). The line icated by one of fe which passed ence of Christi- n the limits of lonitory symp- was tending, of ii't and another it. An exciu- literature has This is veiy cresting essay Euripides, or 'he romantic " sets in only tin : " For the der the Great, ? out of it, iin Butcher does 'l^tus "Euri- ." his tragedy matic repie- sentimental ism," but in his&ttitude towards external nature Euripides' peculiar position as the first of the Greek romanticists is far from being recognized. The attitude of Homer towards nature seems to be well Object undeistood ; at least he has received consideral)le attention "^ t^^" in regird to this subject.i So too with the Greek lyric Kv"' poets.- But no detailed study has ever been made of the attitude of the great tragedians towards nature and their relations to one another in this respect. Nobody, too, so far as J know, has observed that one important point of Aristophanes' criticism of Euripides is the latter's senti- mentaJBm in his treatment of external nature. This is the subject to which I have addressed myself. Results 1 have endeavoured to gather together all the material achieved afforded by the dramatists themselves, to study their con- ception of nature individually and in comparison with one another, and thirdly to substantiate the view that in criti- cizing Euripides for excessive sentimentalism, Aristophanes I^otests against tragedy being made a vehicle for the effusive expression of a feeling for nature. There are many different ways in which a poet may Various look at nature.'* He may, for instance, feel a simple unre- "'"'^^s of flective delight in external scenes,— a sense of freedom andTn^" invigorating freshness or a childlike wonder at nature's natu.^^ phenomena. Or he may take an interest in scenes l^ecauso of their associations,— religious or patriotic feeling, sad or happy memories being aroused by them. Again, he may treat nature as a means of illustrating human life— so familiar to us in Homer's use of similes. Moreover, a poet may embody photographic views of nature, in which a scene is accurately described with a faithful realism, which indicates the close observation of an artist, but not 'neces- sarily a warm love or genuine enthusiasm for nature herself. Of such poetry, Thomson's Seasons is a good illust ration, but the best descriptions of this sort to-day 18-0^'^Tnd '''^ ' ^^^^^ ^'^ homeriache Naturanschauung, Erfurt, Prog, H. Schmidt : Homer als Kenner der Natur und treuer Darsteller, etc., etc. ' ^ See V. KiTTLiTZ : Naturbilder aus der griechischen Lyrik, and Symonds, J. A., Greek Poets. ' » See Shaibp : Poetic Interpretation of Nature. 8 J|-inpro.se,asintheea,seofRusIci„.Tho.eauorJoh„ -a^arti'^ktlo' S^ Z'Z/o and t '^'^ °^^ ^-^-^ to nature "through a coloured nf^ f''^'"' '^"'^ ^^okiug at . may n,ake her " rejdce wiH, f^ '^5"''" °^ ^""^an feeLng ''' ^^th then, that we p ""^^Th s ? h''^ ?J^'«« ^-^^^ A Ruskzn so aptly gave^the name of ' T h ''p^.?'^^ ^'^ ^^^ich I^astly, there is a deliVht tn L/ ^, ^^^hetic FalJacy." trate into her mysteries whf.r^"-". ''^'^'^ ^^eks to pene- ahzes the outwaVd rrid . v n'^7/ '"'t^ "»^^ P^^^^on- flinging "«• ^^iving ,t an ideal grace and ^^_ "^'"''S''^"g''t o'er all her hills and groves" ti'^y^tZ^^^^^^^^^^ Wordsworth intro- cteer^«-^-ntSo7.^^^^^^^^^^ was the tion of Nothing can be affiZ! i classical times ? nature? their beiiei that '"'^ ^"'^^'^ truly of the Greeks than Man the centre of interest. Love of the pic- turesque among the Greeks '"^^^P'-°P«'-«t»dy of mankind is man." J- o browning's dictum " T,-*j.i i . mcKle ts in the dt^opmt^'^^ft^^^^^^^^ heartily assented. And especLllv fni • hl^ ^^°"^^ ^ave their treatment of natm-^ tS "^ ^^^ ^^ this in regard to were, she was not ti ed trT'' ^""^^ ^*" "aturf they the centre of their Serature w)?M ""'^^ '''^'' ^"t man ?s as the backo-round of 11 • ?' ^^'^"^ "ature serves mainl^ -nted the j^s TnVso -^^^^^^^^ whichre";^ ^ humanity. , J^^ture may serve To ?["' ?"'^ '^'^SSles of human life, she may minlt^ to 1 • ^^ "«trate scenes in went, but for nature tolTnl \ ? ' Pleasures and eniov- he-elf is quite ah/n to tLTeZ'eZ t'' ^"'1^ ^^^t'l^ Jt et we musf, nnf ,-^f 7 ''•^^™ge (jreek mind WappreoJe1l"t t-dp& "« ^--^^ bailed a view maintained by Cone and nth ^"^JJ"^'" "' nature- Ph oreau or JoJin 'wn emotions to «^n(l looking at luman feeLnf',"- ejoice and weep enc3' to which thetic Fallacy." seeks to pene- ■s and eal person- grace and es.' Isworth intro- aost unlvnown for the fii-st nature is the pral was the Greeks than udy than the would have in regard to tiature they ^ut man is I'ves mainly 2I1 are pre- 5truggles of scenes in and enjoy- d apart by ieks failed f nature — * contrary, ed rivers, 9 woods and mountains, testify plainly to the emotions, the admiration and veneration with which this people observed the many varied phenomena of natural objects and forces objects of sense. And herein lies the main reason why we literature. When he Greek viewed a rapid torrent, a o-rove of trees or a hne of high cliHs, his imagination saw behind these ol^jects an animate, divjne spirit, thouoh the river itself, the grove and the clirts were nothing but dead inanimae bodies. Now, being eminently Sensible he bestowed the love and worship, which we give to nature herself not upon the lifeless bodies of material thincvs bit upon the spiritual powers which made them their homes When the sunbeams dart across the crest of Parnassus it IS Dionysus who " with pine-torch bounds o'er the twin- peaked height, tossing and shaking his Bacchic wand;"i and when the Grecian maidens in exile in a barbarian land sigh for a return to their happy homes, they do not yearn toi their native hills, and trees, and lakes, but for " Artemis he blest, who dwells by the Cynthian hill and the pklm of dainty leafage the sprouting laurel and holy shoot of pale olive, and the lake that rolls its circling waters " ^' The fact howevel^ remains that a people who had a genuine enthusiasm for beauty and a keen perception of It, seldom gave expression in their literature to a love for tlie beautiful in nature. Man was the subject of pre- eminent interest-his form was the study of the .culptor ^rS^^^^t'''''''^' '^'-^^^'-- their en^tire In the following beautiful passage, Euripides, thouoh giving expression to a love for nature, well shows its sub 01 dination to a love for humanity : " Wife, dear is this li^ht of the sun, and lovely to the eye is the placid ocean-flood waters' Tnf 7 '^' ^^'" f '^^Tg. -d wide-spreadTng waters, and of many lovely sights mi^ht I sneak th? childless and those consumed with longinas, to see in their homes the light that new-born babes brin° "» Little expression of that love in their literature. Love of nature subordi- nate to love of man. , 189.3.) » Euripides, Bac. 306. ' Euripides, Fr. 316. Euripides, Tph. Taur. 1097. 10 deacrip tive tflement. CHAPTER II ?»"«yot te'' '»»'tVu?d *ff ar"« -here „°„i Aeschy us and i, pervaded »lA f"''""' "■'"•>'" plavs' of a lengthy ode, in whTch the Pe^ '^"""1 T"'- -pen^with lturthi"t '°* ">e ZuL!eT'Zf:''''% ^o™""' the Jogue the utter absencp nf n. V -^erxes. In this cnfn whaf 51 rvr. ] ^S*^ Atossa s q uestion -' " w\ *^.®"6-^- And 7uTi ^^^"^ "PPortunitv an AHjJ ' . 5^*®^^ ^'^ Athens ? " Sens, of In It ■ '; "ere sets the sun in Ki. ^"e&tion. It ,s " f,,. "he ntility „ '" '''«"■ description o( natn "l 'najesty." » rf nature^ *em to be struck wfri. „.V^ ""enes, Greek writers „«„„ "t-'ity of naturf T ou"h 'm" """■" «'"" " »en e "f ,« harmony with a l.iglSerS f""' "'«' ""' he out „l tl, r„r"'°"'=,'"-''e-. and w rfti e otT' !' ''" '" "^'elf o »^ri;iri^r.;;tr^-"^^^^^^^^^ m the West -vour^A ^^T^Pa(f>e(TTaTop Trcoudrasv « nnrl ^o"'» " Pr. 80.-, ^ ' ' Suppl. 1029. i n "0 of Greek tragic a warm love for 'FoacI, the subject 'tnkmg as is the rind that no less ^ve where modern n expression. ■ extant plays' of spirit, opens with •ers recount the '• In this cata- element is to be •ere the poet was gn scenes. And here is Athens ? " dot' dwelling on IS native city ? 'ion. It is " fai'. sty.".'> ek writers often ' a sense of the not be out of ;fc '« in itself of in dealing with J to rich tilth ient reason for »e beauties of er to material Ti'^oiov vScop* *rs of Argolis ,* and a river i Babylon are ative Scamander int. ' Suppl. 1029. TToXvxpvcTo^,' Sicily is *aX\t'/eap7ro?,- A.rgos ^aOvx^ov,' Phryma ixr}X6^oTo, or when the Nile sends forth ^^^nsf- her o-eTTToi/ eviroTov p4oo"s »> the sea, and the arts of sailing, steeling and building ships. F**' V.'"'" "Metaphors," we are told, " reflect the life of a nation," and S!" the poetry of Aeschylus alone, apart from other evidence, would suffice to prove that the Athenians lived half their life upon the ocean wave." More striking and extended are such metaphors as we find in C/io. 390, " Before my heart's prow blows a storm of angry wrath and infuriate hate; " or Eum. 555, where the unjust man " will at last lower his sail perforce, when his yard-arm is shattered and trouble overtakes him. In the midst of the o'ermasterinrr surge he calls on those that listen not, but Heaven laughs at the headstrong man as he fails to weather Jche cape. This man wrecks forever his olden happiness on the reef of Justice, and dies unwept, unseen; " or Sept. 758, " Methinks » Pers. 45 and 53. ^ Pr. 369. » Sent 304 * Suppl 548. 'Pers. 763. « Suppl. 555. ^ Fr* 30o' « Pers. 301, 386 and Ag. 668. » Suppl •>4 t^^- > Pr 812 '= Suppl. 561. 1 ' Eum. 1005. '* Fr" 66 ' 1- 0-- l^h o a. n-.o ' " '^"PPl- 5. 558 and Pr. 88. ' ^at' R^- ^^P*- 2> 62, 208, 533, 761, 769, 849-Suppl. 165, 344, 440 471 767, 989. 1007. -Cho. 814.-Eum. 637.-Pers. 250.-Ag. 52! 236 8O0' 89<. SeeBiese, p. 37; CampbeirsSopliocies I., p. 105. ■ > -. a sea of evils rolls 12 en., es ar?'.VJu.""" *«^! dav 4' rnn*^ f'''*»f ,»n^^ another ri.s- art of fish nu fiu-nkh^ f" ^*/'*"m^ oar^y's kw>I " t ^/^o. 506. 1: th ' f'f ^'""^ ' ""*? «"nile8 in >, r 40, ^^'? ilJiiHtra. Jiving, ""^ " ">« -. Another H„,. i^^'L^, ™f e-ss mountain torrent '-^f hi "•°^,'^''''"'>' ^Jeet,» or a relV III.,.,,-.. t! '"'"'"•, '""-water.' "^^ "*« "'»' ra.5hes down to «■ .m a storm-Hood, fid ravinjnr „tter. ' rushes down to 'ring in Aeschy. ters of indepen- supposo that to ley were a con- >ve for the citi- to hi.s plants*, e 3.S a noble and 9«6, though in fled emoti-iTi.H is enhanced by ^urdered man W'eathe.s out a f drop of gory orn, when be- ts in labor."!-' ■rible eai-nest- tl to the deed. Jctim's blood, fc corn, which itter absence f from being * Sept. 85. '(pfM'ijaffa rotov ring. p. 39. I 18 "l?.!?^'!"!-? •'^' ^^'^'r ^'''"' »'^tJ'eti«ch Zulu-sigen liber- schreitend ' i.s a wonderful .stroke of geniu.s in a ^■ery poetical passage, Atossa enumerates the offer- ings she bring, to the shade of Darius ;-" <■ milk, .sweet a^ wKite from a hc.y coj ; clearest of hon^y, that liTil f "m the flower-working bee; lin.pid waters from viiiinfom, tain ; pure draught from a mother wild, the dory of the ancient vine; with sweet fruit, too, of the ydlow olive that ever bloc.ms in foliage, and twined flowers, th^cl ki: ren o a! -bearing earth." Wo are told that he -e we lave oriental imagery, :' suited to th. speaker whoisaPeS queen and it may also be cianned thai as the otfeHn's at" .sacred there is a religious significance in the passa<^S" Yet ^r^ilTeSt^dT - ''- --^P^^- ^f« poet's We ..^^Si-omm^^ ma^ Tel'r "^ ^??J'": *^'« ««--• of you Jh uncrop " '- Vl^a.a^>eo<,ahpeir7ov^ the best troops arc "the flower of the Persian land ; - Cassandra is " a choice flower oTabun dant treasure," ^oXXcS. xfyni^drm> i^acperou a.^o,.. and the flower of Prometheus is navrixvov -rrvp^, aeXa,- A very daring metaphor from flowers occurs in the Agameiunon we see the Aegean sea blossoming with corpse" "' is ^^"£!"V'''''f ^" '^' ''^' "^ b"'d« -nd beasts Bi.l« and Tf !• , xl" ^'^yueit use in simile and metaphor Aninials. IV- one hear.s the cry of the Danaids who, in fear of the^r cousins have fled from their native land he will ?ancv IS the voice of the wailing Daulian,''' fereus' wife ^the hawk-chased nightingale, for she, driven from her haun s and streams " mourns for her home, in sorrow eve^ fS ' U.ssandra. too, wailing sadly," is " like a tawny ni^h n- gale, ULsatiate in her cries, that with grief -stricken heart mourasfor ' Itys, Itys,' all her sorrow^fraught days "Bu the unhappy Ca,ssandra is more wretched than th J ■' tune- ful nightingale." "The gods." she cries," "gave her a wmr '_ J;"^jy._a pleason t^nd_tearless life. F?r me there I ^•'"' ' X '. Ta«... 159.166.'"- ^^cAnriv Hinr, 71 " ^^H' '"^■ * Suppl. e63. cr. 665. "^ P' PP- '•*' -^K- "43. ' Pers. 59, cf. Prom. 420. « Ao. 0!?>nppl. 5<. ^ » Ag. 114L • » ig. 1 uc '• "' ""^ X'^P"" '^'"■«/"^'' '' moiiha. 14 S t5^;r?t>^^r^-J^^-orcl" Moreove. i„ dreads a, thioket/'i and her r^lfl "°^ l'^^ ^ bird that Clytaemnestra^ of the svvLn tht '''"'"^^^ '"^^ *^« ^^^^ when dyin.r. The vl.^ *' ^'"^'^ "^^^^ musicallr like a fvv^p^risr r^irbi:^^^^ 7hr ^"f^^ ^ telttlol-V^Jtfrnlsli^^^^^ Atreidae« raise the Try of .tand Cr''*^ '""^^^''^ ^^^^ even as vultures, that hLrbeen Xd' o^f'fh^ ^''''''' fly «cream,ng above their ]o% nests "' ^°"'^^' -am:!:':^:s^:^::p;^rspeeS:'Tr -^"^ ^^^^-* ' ^^^^ cock beside his hen'^n a svmbol 1 ^P''\S''V ^^"^« ^^e Tile Persian host is iXf ^'' '^"'"'^ insolence." Aegyptus are spid , w earL' aTvTJ '\t'''" '^' -»« °^ early man- "dwelt uX^VL.fr/^'^'"""'^"^"^"^ sunless depths of caves'' ^ ^^ ^'""^ ^"<^«' ^^ the oufipS"'''''^''^^""^^' ^^->- f--ish invidi- the poet calls Hoi ^he ps^« dew d ^' ^'^""^'T^^^' ^^^^^e Oriental fancy. Wolve? fill'^ T T""^^' ^" ^'"^^^t 421 and Ag. 1258 deer in ?' '"'Jl'PPi- 350, 760; CAo. ThemetapLinkwVfi\f7Kl^ ',^46 and ^^.'l063. shady forest "It KnV •^^"''^'' ^'"^"^ ^^""ting in a To l4self" all i^ clear buTf Vr^ '^' ^^"^ ^^^eus gloom of dark mLhance ''^ °'^^^ "^^" "^^^ "^^ ^^ ^he -ott7."S^^¥hrS^^ k--- the chased by wolves runs jr.liT'^"" '' "^'^^ ^ ^^'^^'' that. ' Ag. 1444. '■/. feept. 50.3, Suppl. 223, Prom. 857 ' Ag. 394. ' Ag- 1316. * Sept 290. " Ag. 49. ,/. Cho. 247. .ejjf -•« -• «^-- involves but a .ig,.t eh^^^^^^ ,„ ,,, _^^ ^^^ 'ord." Moreover, in ot like a bird that ninds even the hard ngs most musically ho scorns justice is l-"* The maidens of " like the trembh'ng ated snakes."' The igeance upon Pai-is, ed of their young,' ■s and disgust,' the feigners,* while the y insolence.* ' bees," the sons of their cousins," and tiny ants, in the ys furnish invidi- most conspicuous imemnon^'' where reveals an almost ^l- 350, 760; Cho. 16 and Ag. 1063. 3m hunting in a he will of Zeus, may live in the nd kine are the ike a heifer that, py crags, and to A very striking ' Ag. 394. Prom. 857. um. 861. Pr. 452. OS^Euni. 127, 181. 1 the corrupt MS. 16 comparison is drawn^ between the ships of Menelaus, over- ' taken by a hurricane, and a herd of cattle, when terror- stncken they are exposed to a violent storm ^ Ihe proneness of the Greeks to the personification of Pe'-80"ifi- nature a tendency which originated so much of their ''"*'''° °^ mythology and led to their special art of sculpture, can be"*"" amply illustrated from Aeschylus, as from ever; other Greek poet The idea that nature sympatliizes With the suffering Prometheus finds expression in the beautiful conception of the modest ocean nymphs "o'er whose eves rushes a mist of fear, that floods them with tears'" when they look upon his suftering form. The modern poet may sing ot nature smiling when man is afllicted. The Greek fashion IS seen in the Persae, where the messenger describes tor Atossa the sio.,ial disaster that overtook the Persians on the httle island of Psyttaleia, " where the dance-loving Pan haunts the sea-shore."* ** A mountain in the far west is in Aeschylus a brother of Piometheus, 'Atlas, who stands in the regions of the west bearing upon his shoulders the pillar of heaven and earth " ^ and beneath Mount Aetna lies the giant Typhon who will some day "belch forth his wrath '"> ^ wno win " Jj;.L"""T.i' "^^' '^f'^' ^y^ ""^ I^«<^o'« daughter,'" sacred night comes with her " black steeds," « all crea- tion is Zeus.» and in the marriage of heaven and earth, in the fertilizing ram, the birth of flocks of sheep and the grkin of the fields, as well as in the growth of trees, is seen the universal power of Aphrodite.'" Outside however, of the mythological sphere, the per- Personifi- sonifying instinct is one of Aeschylus^ most characteristic -tion"' teatures^ Consider the boldness of the conception in ^lo ^^r^/*""" po9^ the blood-stain slumbers and withers;"" or of ^opjTt^a^To? S' at% imi^ui'verai "and the air is maddened with the clash of spears." i'^ Notic eable is the personal ' Ag. 655. * Pers. 448. Fr. 170. s Fr. 69. (rpdync). « Pr. 144. » Pr. .348. Pr. .351. 10 Fr. 44, V. Bieae, p. .38. Note that iu Cho." 6, Orestesrou'^re'turnirff i^r^^'S *° tl|eInachu8alockofhaira8%;rrW. ^ ^'Jium. 280. '''Sept. 155. Fr. 70, cf. Fr. 464. 16 force ofeb^eu^^ in Pers 487 » tu o pain with kindly flood "and Tn\Pf?!l'^"^^ ^^*er,s the plain." ^ Again darknX^"■»» joy darkness and lisht that^Jti ^"^ "'e""' "id mommi^ and abhorred ofl'n i ZJ^ZXr^' T'™^ " "»"£ when the lord is dead." ■■ "when .(./"''"P^^ " ^""^ that Xerxes s alive AIn... i- '"" ra«,senKer renorts house thy words ha™ b^ht L^'r?"v!'<°'''™*. " T^rav tho. 01. .. p,,3 3 Pe^s^ o.. .. s^ t g/ Ag. J36. Ag. o22, r/ G02, 900. I percheius waters the 'J. 17 veovi epirovra^ >t on earth's kindly 5f black night "2 and ner instances of the ' njetaphor, we niav 0.934. '' Aeschylus are curi- ^oi the sea, step- nded as sister with ^terof fire."« The t hi. metaphors are t py a qualification MS a dog of Zeus, the griffins are Kt have no bark • » oint, but one not "children of the ^afitdurov ; » and ^iJIow, it is, never- fiore or less strik- d 1024 ; Aff. 817, onifying external >ode of regarding^ cal of human joy ^t and mornino", Thus " sunless veiopes a house essenger reports Jiaims, " To my nd bright morn- 0, Agamemnon '& ness," '» even as a gladness from l^ov niaa/M fiotuTur 't. 64. 00. 17 her mother, Night." • The Trdpa to ^m ISeiv, " the light hath come to our eyes." said of the returning Orestes is repeated as a refrain.^' The dawn may symbolize clearn'ess ot truth, as m ropouy^p ij^ei ^vvopdpov aiyah, " clear will the future come with the rays of the dawn ; "» or, in the beautitully imaginative lines where in reply to the chorus who ail to grasp her gloomy prediction of death, Cassandra says twill rush, methinks, upon (the soul), as a fresh wind blowing towards sunrise, so that wave-like a woe still greater than this shall surge towards the liaht" Lastly, in another passage,^ morn, twilight and night typifv hfes prime, old age and death. "The stroke of justice visits some in daylight, while there are sorrows that await rnen at twilight as they linger on, but others are held in the embrace of night before* judgment comes " But Aeschylus can rise even higher in the personification ot nature. He can see in the external world sometliinr^ more than mere symbols of man's ^motions ; he can find in inanimate things a life and spirit ready to respond to the anguish of a suCp -ing hero. Prometheus uttered not a word while the ministers of Zeus were pinnincr the benefactor oj man to ])is rocky bed in the Scythian 'Cau- casus, but when he is left to face alone the as reading, however, is due to a conjecture of Wellaiier's accepted by Hermann and Dindorf. M. giving ovvo(J)o, avraic ^' CI. n. luai-3. i« Pr. 42O-430. n Pr. 431.5. Feelinc for tlie pictii- I'esfjueand 4.1. . 18 can be cited from Aeschylus as! v^ ^^' T^^ ^««^« that ealJs' "the pathetic fallacy "and ^"^1'^* ^'^^^ ^^^^^in though the great dramTtisr ^» ""'*^ ^" admitted that ^^gures with a thorou^irh, L^^' f ^^'^^^^ these titanic to be soine significance in J? '"*":"'*' ^^^ there seen s I-t etie fallacy whr;ud;:4T£^^ ^^'^^"^^ °"t^ I" the contemplation of polT f^ !V"'' "^"^^^"ed. ocean waves, rushing tomnts or I i "^ ^"'^ '^^'-^^ the-..a;uff"'^'^^,g'-'^"deurand sub im tv i' If^ 'nountains.-the i-ceC; ,^^'' ??d terror prevail. Sr ini^'''T.5'^^ ^^«^"ded if /^ tain that a feelin^^ces» and thej^rometkev, "^^"^^f ^ngs m both the Sicn casus is .personified in a ;-eall"tic' ^'''"" P^^^' ^^e Cat ep.tnet darpoyeiroua, revea 'a en.. ?I^u'' ""^ ^^^ "'^re fame is true of the vearnin?^s: nf\? I ""^ ^^^ «ublime. The «ohtary peak, 11. 792-8. ''wZJZT\. ^^^'^^'-'Ption of a ft'ifl a resting-place wherpfhf • , Armament could I or some smooth, slipp" y ^ al ZZf°'''^' ^"••" '^'^ ^-oj, ^I'rt ? The sublimity of these Mnl"^', Y^'ture-haunted Reeling ^Tf ,, ' '^"''^ ^^^"^^^^ »^^ «"- bright ion,"' to the maritime AH. ^'"^^ P'^^ot que d'admS -'^- .With pride the po t"mat ThrPef • "" fi^"^' ^^ ^^S ;t was from the Greeks theh-'^"' '""^^^^ ^'^^t !!!^^i!!:!:^iain, whi;^LrS^i';^Sii!^ ' Secretan, p. 73. 'o instances the .suf- '•e is a superhuman the only cases that >Ie8 of what Ruskin ^t be admitted that ested these titanic ^«t, yefc there seems 3fce absence of the I'oes are concerned. »gth and size,— of i "lountains,— the ssarily excluded if 'd Secretan-' main- and the grand in li times. Thouo-h us modify it when 3 the Prometheus »sofScythia7r/,^y itachmg to moun- m both the Sup. ter play the Cau- er," and the mere le sublime. The n^he Suppliants description of a fmament could I turn into snow, >mit lies beyond J-'uIture-haunted I hardly be sur- Romans it was que d'admira- oy and delight. '!•« confess that 'en "learnt to ■a is whiteninw 19 with the tempest."' Ocean, with his « quenchless stream " ' aa^eaTo,7ropo,- his " sleepless Hood" dKoi,,ijT(o pevaar,^ Aeschylus with a sjDell of mingled reverence and att•ection^ And yet it would be easy to cite Aeschylean passages in(0) The reference to the horrors and terrors of the sea,l?om which iwi^scle. we m.ght infer that the sea, no less than the mountains was an object of distrust and dread. The sea is the element ^^TJ::rr'^^l^!^^!.T^ -f^P^-^- -presents ancfer.' When perfectly still it may deceive us sadly, as when Helen, coming to Troy, seemed a " spirit orwmdless calm " p6vvf.a vr^vkf^ov yaXdva,,^ or may o^cca- sion great distress, as in those famous lines in the Agamem- n^i describing the sailors' misery from V e middav heat, what time on his breathless couch of noon, with ne'er a wave, ocean sank to sleep."" i'«ei a Aeschylus is fond of describing storms,'" whirlwinds and Sublimity volcanic eruptions and his loftiness of imagination is wellL?* "^^er 1 lustrated by his description of the battle of Salamis 'i of '• the passage of tlie beacon flame in the Agamemnon (11. 281- A' '^"*^„^»Pec»«'"y by his whole conception of the Pro- metheus Boimd, which may be said to show us -randeur in climax, cosing with the wreck and crash of the worid'- (bee especially 11. 915-925, 992-6, 1043-1053, 1080-1093.) ' ' Pers. 108. -' Pr. 5.31. ■■ Pr 139 4 p- on -It 1.S not only the hiss of hatred, but the 'suggestion of mvsterv &n,l iml, '^^:'''' '^P*- '''' ''"■' P-« ''^■' SUPPI. 470; Ag. presfZfof!i^o7nresr'" "'"""" """'" "'""' ^ ^*^°"g '-^«'-«- - 1' nfl^^- ■ " ^fi' ^^\-^- "" "• Fr. 195, 199. 't Pars 35.3.4.3-^ Cf. Dionys.us, Art. Rhet. viii., U. 'o «• og^ A,,rx/Aov ll^rotLitd'^ « ««) T,r f..yaXorrp,^,ias exo^,,o,, «.t.A. and Aristoph Ran. 1004 ^ not be very strik- Jxpressions as the becretan, p. 73. 20 SopJiocles, CHAPTER III. Topo f^^'^ell^^^^^^^^ -^^- at the outset that the feeling, for nature finds abmSS *'^"^ "^ °"« -^oTe niarked distinction in th^ ,eS K.rP'''t"'*^«^-« i« a drarnas The Mectm and oSL ^^7'''' *^' individual destitute of this feature t L^l/^ Tyrannxis are almost spa..ng degree, whil'the rf T''' ^"^ ^•?'"«' ^^ve it i. three plays, it will be observed pt^^'/'?'"^*^- The last jn date of composition and Ixhih ""^^"btedlyi the latest to i-unpide.'. ragedy. ^^'^'^ "^^ny features common a^SliS: topograms". Th^Sate " ^?^^ P^'^^^- in regard to which {he^-etutinrfcr;'rr^^ dwellers about Trachls. In a fe^ L.' ^'■''^^^ ^^ ^^e hut an accurate picture, is "iven nf^? ^,?^x,^v^\ sketch, mopylae. Thb "hot sDrino-f" f? J^^ vicinity of Ther- the cliffs (Trer^ara) of Oe"f ^^t'^^f^f- ^"'^^ ^^''th from stretch the hi'ghla^ds whi?; blw t7.^.^'^ *^ *^^^ ««"t harbor (.«^Xo;,a) of the MnlLntiTf ' '^' "°^"^ ^^^ ^^^ ^^i^S^Sit;:;^ t;^f .^^^ ^^-.^ts of the un. he prays Neoptolemus -' to h "^0"^" 1"^""^ "^« ^^felj " ?eat of Chalcodon, and from k """J'"™^' «'• to Euboea journey to Oeta and Se T Sintn\ '^S ^' ^"^ ^ shorl' flowing Spercheius" As t.kk^" ^^^^''^*«' and the fair- here-Oeta, Trachis fb^Q u .'aj's. "The three namp. tures of th; re'ion '' whlf ^'''^'l"^-'"ark the great fta called to the mffl eye of th?"^^ \^T ^' ^ecuratdy re Observe, too the d^SlniJ^ spectator in the theatre » of fj^iioct^te^'L^'thll :L'rfT"°" ^V^^ surrounding, double mouth, such that in cold^vwr^' 'i^ ^^ve with may sit in the sun, while fn .,1 ^^^^' °" ^°t^ sides one through the Pierc;d c r Altl'b^ ^''''' ^^^*« ^'ee^ . ^!^i^!!l!!^-^prn^^ left, yoi^ I 21 ice at the outset that taken as one whole sxpression,thereisa ■ween the individual 'irannxis are almost and Ajax have it in ^e. Philoctetes and measure. TJie last oubtedlyi the latest ^y ieatures common •recise in regard to 'ngof the joy with e greeted by the I- a general sketch 3 vicinity of Ther-' 5s gush forth from iich to the south he north lies the oughts of the un- Brmg me safely " :me ortoEuboea, iJi be but a short Its, and the fair- ihe three names Ik the great fea- e accurately i-e- i the theatre." he surrounding* "A cave with 1 both sides one eze wafts sleep on the left, you rved."' com- Coloneus was i'ar. '^ " Phil. 16.2I The Oedipus Colonem best illustrates this desire for topographical accuracy. The famous ode^ on Colonus and fhP ZiT'.'""'*^ f.u' ^'^"^^ *° ^^'^' ^^••^ ^^ portraying the local features of the poet's birth-place. " White Colo" "r^n'L T^?"^ ^/ ^^'^ nightingale, which sings down amid the shade of green dells " in the " sunless and wind- less grove of Dionysus and has its home where dark ivy abounds and the laurel with its countless berries Here daily bloom the clustering narcissus and golden crocus while the waters of Cephisus never fail. iTest of all. the gray-leafed olive flourishes in this land - In the account which the messenger gives" of the end of Oedipus we see the same attention to local description. Now when he reached the precipitous Threshold, rooted in earth with steps of brass, he paused in one of the many branching paths, near the basin in the rock, where the solemn covenant of Theseus and Peirithous is registered. Midway between this and the Thorician stone he stood even between the hollow pear-tree and the marble tomb,' then he sat down." The basin, stone, tree and tomb here mentioned exist no longer, but we may be sure that hophocles is here describing with faithful detail a spot tamihar tomost of his audience.^ As for the '< precipitous Hi eshold KarappuKT^v oSoi;. compare an earlier pu.ssacre in the plar : "as for the spot whereon thou treadest, it Is called this lands Braisen Threshold, the stay of Athens" t\u?P°''^'°" f° Wordsworth, Athens and Attica, ch. xxk Jebb proves that the " precipitous Threshold " was a natu- ral chasm near Colonus (not at the foot of the Areiopaous) and supposed to lead down by brazen steps to the lower world ; and further that this term threshold was extended from the chasm to the neighbouring country, to which the epithet brazen as a poetical equivalent for roc/af could appropriately apply.' '^ Such careful topography, though rarer, is not altogether absent froni Sophocles' earlier plays. Witness the inipor- tant part played in the Oedipus Tyrannus by the " branch- ing roads crxcar^ 6B6,, that lead ^d the same spot from ' O.C. 668-706. ~ 4 ^A *K^'^<"'*er description O.C. 16. » O C 1590 hchol. in loc, Tavra yvilypifia role; h/xcoploic. « o"c -ifi "_ See his introduction toO.C. §§. 11.15. " ' Of. TowV airoTirpov p/maror 1.192 " Cf. O.C. 1059 fF. with .Jebli's note. 22 Vividly does he remember how hJ \ "^® ^^^^^ meet ! " runnmg down into the deen m ;V"f ''^^ ^^« ^^ree roads he came to a thicket Sj,] '^^' ^^T- ^« ^e descended rowed to meet the othet t wo" ^ ^^''^ ^"« ^^^n road „ar- at Tr:; 'tltt'^Xtt^' ''t «^^--- -ilors jnto the deep and is eve, K ^ 7'^'' ^^^ll-wooded i u s Vividness '""t^r'^f^^' of Suni^m '.''^^*- ^^ ^^^ «-. belo'w^tt of local " ,,. ^oP^^ocles was evidently fond nf K • picturing. Peture an his mind's eye^ Thetcenr"/^^^^^"^*^ ^^^^i end was near Troy, a vlaeJ'L ^ ""^ Ajax's unhappy through literature, y^ttrnop^".^"^^ Sophocles o?dy wid. considerable deVilALfi^"^;:^"^^^ local featured just before his suicide tpllf ti m ^'ssembling speech ^o\" the bathirjg.pJace in thp T'''^'' *^''»^ he^vff 'o J ^lefinito pictS?e' rsketct,lT^°'" '^^^ ^^^ «'^«;" where farewell to^the scene of ht tar^; "\^"^' ^hen 'he uZ the main features of the 17 '^« ^^ ^^''^^ in review eaverns of the coast the Jmt?r'.*J' ''^' <^he rocky «ti^ams of Scamander ^ ' ''^^^^ <^he shore and thi «priL/\sLr^t\irv-'^r-^^ poet's Rummer is covered with Z '^'^"^i ^" ^P^^^ ^^^^^^^ buef yet excellent clesei-intimS "^'"■W*«.» affords » * O.T. 71 R 'TOO ■ _ * O.T. 716, 733 " Ai. 412.9. It striking dramatic self, recall to mind 1 wittingly slew his hou hidden ravine, nree ways meet ' "' aw the three roa.l's v^ as he descended "s own road nar- ^alaininian sailors well-wooded, juts ^e sea, below. the Jga tiefinite local t Ajax's unhappy ' Sophocles only 3es local features ssembling speech that he will .ro the clitt;" where •1 when he bids passes in review 3 sea, the rocky 5 shore and the icate the poet's '• 695, occurs mpbell.'Cyllene ;pnngandeai-iv Ml T,jr. 1026 ^ with peculiar 'vov the epithet 'I light-colored fo?,'" affords a " which Pliny u leides Ponticus . Sophocles too *• " Ai. 412-9. a il. 548. ote. 23 would seem to show not infrequently a marked indifference flescri,.. to the charms of nature. When Oedipu.s,' now blind ^^ appears w.th bleeding eyes, the chorusfhorroi-stricken' ''""""" dec are that it is better to be dead than livincr and blind - Oedipus receives their comments with ,scorn and indic- nantly declares that there was nothing his eyes could have pleasure m seeing, neither children, nor city, nor towers nor the statues of the gods. Not a word about " Meadow, grove and stream, Tlie eaitli and every common sight. " Similarly in the powerful scene where Antigone passes to her living tomb, only in one short line does she heave a sig"^ tor the loss of this beautiful world : ohjikn jioi ToSe \afM7rd8oble epithet of Ida in « mTTTTo^.the j^ '".a very corrupt fragment.' In the land in wl ich Posjln ,^T .■"^•^"»««a,.ce" At ica is in n tare i: ^xitrr^:^^ denote splendor, brilliancy and nM "^, ^^^P^'^^^^ions to to Aeschyl.rs- 1 /times and oL'' ? ^''"^■'' '''^ "Pl^«««^^ moaning of ^bright" 4?^ tes a •' with the underlying t;'"^'^. XPvcro, and derivatWes nn?^'%';^ ^." Ae.schylu.? S?} cle. as^oppcsed to 20 in^Atd^;)?/"'" '' ""^^ ^ ^opho- - '- ^^Zt^m^:^'^^-^o other interests that man has to bear inv «„ '>ophocie,s. The idei *nd» an „„„j„gy .rtVo^U' ' rrorth'" r*;"' ^--'o" tne heavens.' " Gnpf „„,j ^"^"^ ot the Great Bear in the Bear circles in h^ p^th ^^\''T ^'^""^^ *« a"- even is ^« .subject to filed ]au??s well .', ^T' '^'' ''^'^ that man ^o^^- 11. 6G9-C77. " Tlun Jd L'?"'^?^''^'^ ^■'•«'" nature in l-^^- Thus the wintry Zrwitl? ^^^^^ ^^^^^ W " to summpi- ,.,;*i, i,. ,v '='.''"' "'S, with tracks nf u»^,.. .^ , , IlhiHtni- tions from tJie sea. '"«. that SopSe:£„^:t-m";t™''^ "'""^ °f ">« Pio- '"'."«n iifo, come from The ,e °" ^ "''' "* '""s''"""..' of go.ng people. " "^ ""'I "lo oeeiipationsof asea 1746. ''-''^'•'-^'"^^^''0-2.H44;O.T.22,lo27;O.C. 'ijpt fiagment.i In "iHcance. Attica is :"t of the horse to f. even m the epony- ■^br-ightaiul radiant 3 ot expressions to ;• "leas. Thus we '•* tunes as opposed ^_llke adytj, ^eXa^, t'> the unileriyincr ;«l '» AthenT Hmolo,hi„„c.|f hid haiC'd ""'"^ "■"" o"™." which ,ti :?g tt p°p'-. "t e«*^s4s'' ;'^^^ stirs the leafaw, there " on J ,• 7 ^^ ^'^^''t 't'^ crest nnri %"re from th^^ cHn^AW '^ ' 't^ '^^ And the ^ n£ the mulberry iI]„,st,S SnlToV"' T"^'^''- ^^ ^ " 363 g'vmg way to red fruit vvh?."h • •'^'°''' ^^'^ ^^"hite bloom yormg Teucer'^' is to bo n .""^.^'.'Penod into black tT «aplin.^ and D^^neira ""^^ -f ^^ ^«"^'e breots li J ! umkes beautiful use S- thr.«^*"^'?,/'^'' *^"'» "Snhood "Tmch.219 Vn'*^- ^ Ai. 197 'TTTT " Fr. 234 '•^' '"^ "ne description nf *i. ,. ' ' PV. 22 " Trach. 119^'°" "^^ *he beautiful vine of Nysa '"Trach. 144. t5'» after n .sJ,a,.|) out- 'g no more Ma.slies "' _7;;;''." might hurst '<' "tterance."- The ?iti^Jo.s, when favorer] "fJ in Sophocles to e apparently found '" ^"« ivy-niantled en. with nianv-clus- vme are sacred to ^tic power,'^ and in e laurel, olive and ^:e. but the Greek's '•t"a'' At white ^vme-hued ivy and are the haunts of >r nymphs.* The «acred to Atheni- nio ode is full of T , '^^1« pyre of )ted oak " which -'Id olive," which af dates back to " ^or as in leaves 1st Its crest and ftnd the familiar i^?. In Fr. 363 Its white bloom ito black. The ' breezes, like a 'n maidenhood o"'; "In such troubled not by amid pleasured IS called a wife int. 1131. u(pv\Xo^, 4S2. vith laurel, brigl,t fill vine of Nysa, (I. '/, 106. ^ ' Trach. 1 44. 27 land finds her portion of cares in the night wheji she trem- ble.s for husband or children." Thistle-down is typical of restlessness and fickleness, ypaiavalin(l Oedi- pus have come at Colonus a feathered throng of niffhtin- gales makes melody with "its Elysian chant" in the shadow ot green glades." In this ode, to which we have already- had occasion to refer several times, the poet ])ours forth his joy in the beauties of his birth-place, and the nightingale " that shuns the noise of folly " is one of Its greatest charms, but elsewhere in Sophocles this bird though "most musical " is also " most melancholy " the Fr.'o f ,M* •'*»'^"^'^«' ^'^etra will never cease from siihinff but like some nightingale that has lost her offkprino- will sound a note of woe for all to hear," foi- as she arraiH explains,' ' "that bird of lament is in harmony with my °oul which bewails Itys, ever Itys, the bird bewildered, messen- ger of Zeus. The chorus in Ajax 139 are " full of fear, even as the eve ot a winged dove," and in Oedipm Golonem, 1081, loner to h ave the wing s of a dove, that from a high cloud they may \ Fr. 784. s Trach. 549. ' ^r&vh. \(M), Cf. /inviai; av6r)phv fiivo^ Ant. %(). ■« Fr 718 Jn Kl. 4.3 ufft'^w = ttU-toi, to disguise. «0. C. 668. ^ See p. 26. » Fr. 413. » O. C. 17 and 671 3. ^^ El. 107 El. 147, cf. El. 1075 ; Ai. 629 ; Trach. 963. 28 "4 4feof ml" m,L°T""'!"''' ">«y woum fai„ .„. -ri'tt -^t^ tr ^on at tsu-^t- fcrthl"- '■^'!«'^'- "o'^tr ,St ^'«'" »' '^^ Of Zd\ ^'^T '" Sophocles " '""< »f the JVf ™8'elereiieetodeer ••■, „o J ■ "^'""^'e contained a »6eai down from ,teeptm,, '''sSl,""" ''■"™«' >>'«' >™"id to Artem,.,, is n,entio,,ed hi thTi «' ""'""''■ '*'ng sacred »;,?", ''"S « Sophocles ,"iTt. '""'■■ passages." ° "' with beasts of p,™ .. ;? "'"'a 'or hunting ■•or i, cl« ■« i numerous Th„ , ^f ''o'ses," cows and h„lL '"'''' ff'rl of marnageable a- e-' V„ . '^°',''y' <=«" 'ypitV the On the w),„|e° Sophocles' ran °e "T, ''"'''='•'' "«ntione 1 - ^^ll^^an^hat of iesci^lJs *''" """""' "orld is • Ant «. ■ "J"^-, '«»■ • Ant. 113. . ., ,,, - ,/S/fMh„A„t i,'.V ,:,"'T-"« '■ Tr«ch.lM. '?-'aj.'«- •,-;■ •"'• ^"' '»"> '--". '08-^ ... 167, O. X ' " Fr. 86. Vr' p, 7^„ ^rach. 1 093 ; Fr. 1 54 to ( irs Ithe Iter] [TIk fceai glin [hilli ing aon and "toi Cor com shoi star nigl A the I the with Mus gold at I ridg( "\vh .sea, ] dwel shaft foun( (Cyb turnt In wher regio] in Jo respo is les ^ o. "O. " Fr. ■'they would fain be- then- way over the] J^'ray .sea.' 29 the gray ,sea." The niishes a simile in the re m whose presence iiowever much they a general character mate/ and Antigone bn-tl in Its bitterness ,est, It sees the bed ht early sunlight the the Oerfi^zfs T^v^./j^. 1 nimble win^^ "" e bee, "fchel^urious and another to the backs four-winged he spider,!^' and four >e.sides eight of the aJl er. nven of the ^s but scanty refer- '; 0^0,,^' but other- Ceadae contained a fiorned hind would imal, being sacred massages." ■'■ng.;' or is classed n« bulls are very y, can typify the ^rely mentioned.--' animal world is ^7- = Trach. 104. 082; Ai. 167; O. T. I. ■'•El. 6. 4. ^ '* Ai 8 '" See Biese, p." 40. 'terms Thebes/- " Zeus, wielder of the fierj hghtnin-'s power " " T v" cean king, with shafts from strino-s of crold " '??ll ^' • ^ gnt of Artemis, wherewith sl.lSs fh ouo-h^ e iTclaS ingL;" t^S rnr'''^^^^^^ "' torch of gC »ta,., whose breath i, «re and ^aste.^'oVtl.e votr„f Z At Colonus,' ■• in the sanctity of his leafy „rove which t e Tverrnr ""'* ""= ^'°'™y winds lea^ve n^, LThed tlie leveiler Dionysus ever treads tlie mound ranoin with the nymphs that nursed him Not hat-e^lhf "oEil"-^ trV^'.V"""^ ""' AphfodUe'"; Z St T,nv . • •'," '^™ '* '" "orae to the soldiers rW.^s'of Cyull-'Kf"' '""■ ^"1'"=" *'«' ■•"■"W-sinite ■ wh!; ™ ^ .1, , ^'"^ '™ "> "> the domains of Posidon who sways the Aegean headlands or the orav S Z'JiTZ ''sh f* *T-rt'^°*'" Tlfe LlTa'n Zf s ■" Oil, ■ ! """"^ i° ""= '■'■■8'" of the golden found in A? s ;f *rf n°'^'"'' importance are to be (Cvbele? 4;// ri*'^ "'' ?• ^■}'^'"' (D'mrter), P;„7. 891 tStto ttonlf ° ^"''"■'"'■' "' """')• ^'"- «25 (Niobe whl":'fc'':fv?d''retS;- " °''r •'"? *" determine Pe,,,,,,,,. .egion of my^v, ig^.'Th'rp°hi,:Se:t i^ai:::?: ifer"'- i^s^^rimon^rSoTScles TI;:?r TeEli'^r ^^S":^ ' O. T. 151-202. ■■' O. C. (»()8-719. ■' Ant. 1115-1152. Ai. 695. • K\t'''''rS>7i_'^'~^or the corrupt .„,,„, ism of nature. Per»r>n- a.Hty of nature and the pathetic fallacy in Sophocles 30 however, f 474 .'. to bleep; ^„t io„ wh6,-eTl,'„ ■ ■ .^••■', '^''''"'''i'lymii goWe„day;i,,,,,M to have put tKr^'""'. "«"> •'^^ o •spirits rise Zeus brino-sTn^K .,^' ^^ recovers and their hght of day.".i In h?^ ^^r,<^'^e " bright and cheerf, VesH as his Jnlyliih? tJ7*f «^"««« AJax prays fox dm^' ^Mv), brings for h, e^ln "s Ihr T^^'- aH-gleaming again (re) puts to rest irthvflo,'- '%^^«^PO'ied, and yet 26, a beautiful hynii, '- tell me, I pray la's son ? thou' the straits of the , the uktU deXiov, J74 and O. (J. IS, El. 86. ''Ant. 100. TO KdXXiaTou 0^0? "stirred into rout" the Ar-"ye fountain^ and river of 1 land, and plains o Troy that have nurtured me7''-or' en Iv chides them .or their faithlessness^'-" O paths of t^ e'snm ing deep, ye caverns by the sea and grove^bt^ L he st" and' long tune novy. too long have ye kept me at Troy ' But nowhere in Sophocles is the sympathy of Nature SiSr The' tr"" ^"^^'^^''^ '' i'.-th\hln if riuioaacb. Ihe unhappy victim "stripped of nil Uf^'c gifts, les alone, apart from all else, wi^f'the dap le or hairy beas s piteous in his miseries an^npnlr ? "^^l' ^""s . wonted audience. I bewail TnyTeaiir'a t'l h'a^,s"S ttt '" 1 V Neoptolemus and Odysseus leave liin to hi fate, and the poor victim of their outrage turns with helpless appeal to the cave that had been soTon h hon e and must shortly be witness of his death' At I.lf Phil. 1 Ai. 862-.3. i O. C. 1.333. 'Phil. 1452 ff. ,„„ i„o. ,., ,.,- ^ - See Butcher, pp. 279, 287ou th^ti^p'S' ■' Ai. 412-421. s Ant S44 PhiiSr-c/- bI '•'^"- '•^l«;9fo. ' Phil. 1081. r-nii. 1404. c/ Biese, pp. 45-6, 32 Sophocles TJiA ■ aS;»fa that orStTus^A"'??, '' "»' »» '»% 0.- grand a, «».„..'. „e found i„ wf y^^^ ™f «>e .1 ustrations o/s^Sy^ instance,, m■ght^t^.°^ S'", ^Pf et in each of these oonventional,°and yet in each t l''''"?"™ is merely We .ei^ed on a eLJteris c Su °''^°1^ ??<«"■« '» Oeas snowy rock," overlookiL tf S. °' ?''^ iMJscape. doubtless a familia; sight to a" J: , ^'l'"^'''" P'^i". was clmate of Attica in ancient ,1., ''"'"'^ts of Attica. The than to-day. and s"ortheirM o'° m"™ ^"^ '"We? a.e,- ,n th„ season than at pre°ent A f "S""' ^"S^'eos Ijyiiene, even now they are coC„w ^!u'°'' ^'"•■"•'•su, and the niontl. of May, the form erlf- '"' ™™ as late as »Pic„ous .:.ountai„;Tn cen "alG^S """ f t^"' most con! ;«.e..riy visible fr.m Zt?oS'^''i *.^f.'*"«- b«ng «hp.,eanmoui;tams of whi;^ '^A? of Athens.' The v\ hf 1) not aUm(y as Ian,^mav7 ii. * -Boreas.* foj. unnatural and supernatumi e^ent P^"'"^l^ ^ ^'^««- the snow- ^smitten rido-es nfr.ri) "5 ^ -P^"' who haunts Jov,ng.-an epithet apflld&o'-i'.t^"^^ '" mountaLl too. i,s " lord if Cyllene - thpS. ^"^'^^ ^^^'^'- Hermes mountain tops/- and Zeus m«r^V'-^°^ " ^^«"s on the ' c^ood i.,";:;;:;-!--^---^--^^^^^ ^'^« sacred the best "YamniP i,, 4 I ^ ^"^' *°^* Ant. 605 Th^TZ. Greece, p. 75 . x^^er. -' Ro J ■•'■"i"c 111 .Sophocles. ""• pp. 43, J39; S" ^ "°'« «" Ai. 695 ; Jebb's Modern Ant. .^oO. ■< O T linA :-Tmoi..m../.2m: "^ '■V-i!'??„r'«''"«- '.as lofty or grand as 'ions of sublimity to merous.1 In regard tended descriptions Jtn in brief allusions nt landmarks, as in I soon approach the ;ck, and 0. T. 474, I. to have "flashed ■^. 693, where the r the sea to them, ilene. t_ in each of these nption is merely •hocles appears to 9* the landscape "asiari plain, was J of Attica. The ' have been colder Mount Aegaleos 01" Parnassus and snow as late as it the niost con- the latter being Athens.8 The 'ould be known [•e "wrapped in •oreas.* itains of Sopho- ^urnish a scene ^n, who haunts ed 'i_mountain- ists.' Hermes " dwells on the ghtnings flash ain was sacred latter is probably 3ce, p. 73 ; Tozeiv 7f. 33 ?" -JI'";!. ^'^ ^'^'^ ^^^^ Heracles gives orders to Hvllus to Iniild the funeral pyre and burn him alive.' It 1.S oil mount Cithaeron that the infant Oedipus was exposed. While the king's parentage is yet unknown, the chorus sing the praises of Cithaeron as the nursling mother of Oedipus; Some nymph of Helicon brought him to im-th, and his father was a " mountain-roving " god. When the terrible secret of his birth is at last disclo.sed, Oedipus who means henceforth to avoid the haunts of men bec^s Creon to let him end his days on that Cithaeron which Is now known as his own, and on which his parents had intended that he should die." As for references to the sea or the ocean, "g.-eat deep of Mistreat- Aiiipnitrite bophocles is much more sparing in their use '"ent of than Aeschylus. Similes and metaphors from the sea*^^'^^' are as we have shown,» common enough, and some of these disclose the poet's power of grasping the picturesque, but outside ot these Sophocles nowhere gives us more than the slightest description of her beauties or her terrors.' " Most wonderful of all wonders is man," sino-s the Antigone chorus.' " This is the creature that crosses the white sea, driven by the stormy south wind, makino- a path amid the seething surges." The spirit of this passage IS not unlike that of Horace, Carm. I., 3, though in Horace man is declared guilty of impiety in joining together lands winch (^od had put asunder by means of the Oceanus (iissoGiabilis, while Sophocles merely marvels at man's ingenuity in coping with the powers of nature. The sea and the wilderness are on the same footing in Ant. 78o for Love ranges alike "over the sea and in nooks among the wilds," .so that Love, like man in the previous example, can surmount all difficulties. To Philoctetes, lingering perforce on the lonely isle of The sea i^emnos, the sight of the sea brcr.ght a sense of despair ^"ggests and utter desolation; loneliness. " So lonely 'twas, that God himself Scarce seemed there to be." Philoctetes^ " makes no mu sic of the reed like shepherd : I'^^^l \ % T. 1086, rf. Horn. llT^l, 'Unv ,.r,ripa O^pOv. " See above, p. 24. •• ndvTov xapoTTdv ol6fia occurs in a dubious fragment, Fr. 1025 ' Ant. 332. 8 Phil. 212, 34 wherenoshipisaffuest'' Ar, ^^T °" the harbor in his solitude he heard tt^ .f^"'"' '' ^««'' ^ ^een, as how did he hold toahfTsof;^.!! /P ^«^<^ around h ni eternal note of sadne " thf? Mattt" V ?.^^^ ^'^ " ^^e Sophocles.^ Arnold, too. as he iS to "^ '""""'^ "^ Of pebbles whiVJ, f i,„ " ^^^ Smtina roar &,;"tf ■'""'''■^^ -- 'he vanity „f „fe and long, ,„,, Euripid !es, CHAPTER IV. His greater signifi- cance. Pirst of tile romanti- cists. Romantic and de- scriptive jgURlPIDES, the last of the .reat Attio . r for the purposes of our J,X\t ^^^^^dians, i.^ member of the trio. While onlv^P^I ^? "'^'^^ important and seven of Sophocles ll!"^ ■^'\ P^^>^ ^^ Aeschylus fered less misfortune at ^"3:^ V^""P^'^'f ^^ -"- of his dramas have come down L ^V«e, and nineteen besides a much larger rumbeoTtI.f"' '"^ ^^'^'' ^^^irety. ^ But in addition to thnreafcer r^LT'''''^' °^ °^^«'-«- furnishes, we shall fin^tha E^wS^* "^^*'"^^ ^^^^^ ^e he does new tendencies in a^t .^K^"^''' ^^P^esenting aa fophy. will furnish ^gnificant resul^r'."''"^'^ ""^ P&^o- m reference to the subject fhand^'' "^^'^ ^^ ^^^^^^^"^ i^unpides is the firsf nf f i. , • tude towards nature he d fftrs ™^"^^«'«?-* In his atti- predecessors, and thl'we h:ve rello^?:!?''^ -'^^^^ '^^ the important causes of Aristonh«n!^ ^^^'^''^' '^ ^^e of to the poet. ^"stophanes pronounced hostility -7—-- ~----i^ !L^^^:^^^_no_less than in ^ See also the simi' Phil. 690. . >,„ , ,, in Ant .^6 p. 2. *^^ '^'^ ^'^^ --^ i" Trach. 111. p 24. and^tlat «<« •^" ^^""^"her, Dawn of Romanfi,.;«rr, • /•< , I>over Beach. ofthHetr^'^r/^'^^^'-^-kS^u ''r.^''?.^^ ^°«*ry.i" wh book the sentnnental poets, and the forer.!^„f ^f rnof^ZZZ^^l.t^f^^^ rren- ness veil in 35 l^^tfn"''""''"';''' r '"^''' ^'"^^ ""^ "™^« ^'J^at seems a bar, ■stiiking poverty of romantic feeling or descriptive orna-"*>' meiit. lu this respect tlie Greek virtue of reserve anrlT" '•", moderation, voiced by the proverb ^r^Sh dyal is ce, ''""^''^" tainly characteri.si.ic of Euripides, as compared with many ?^n' w P?' '• ^^ f", illustration, compare a passage in Goethe. IpJageme (III. 3). with its wonderful original (Eunp. /pA. Taicr. 1398 ff.). where in that anxious momen when the exiles are safely on board, but the sailors in vain Jll. '''''*:.^''' f'l'^ '^' ^°^'^^' ^"^ *l^^>r enemies !re to Artemil ""' ^P'''°'"^''^ '^^^"^^ ^"^ P^^J'^ passionately Be KUfie tovi 6fiai/xova<; SoKei. m ■ ^^'^ Po^'erful brevity of the Greek poet sf nds in strik- tio tragedians, i.^ I ^"g contrast to the greater diffuseness of the modern who mn., ■ expands the thought of these four lines into fifteen iA the German Goethe, in love with the sentiment, lingers upon the affecting scene. " ^ In the Andromache of Euripides the subject of a choral 'oe ^J^^V^^ir '"' °^ ^T'^- ^^'' «°" °f *J^i^ ^^^ Zeu "Son. 1 I'll '^? J??^' ^'^1^"S the three divinities, boon as they reached the wooded glen, they bathed their them 1? \l'"" '" the streams of mountain rills and betook them to the son of Priam." Beautiful and picturesque but how brief and unadorned when compared with The rich ai:d romantic coloring of Tennyson's Oenone ! and nf f.^'l "^'.' ^" ,which Athens, the home of the poet and of the chorus in the play, is threatened by an .\rgive host, , a niost wholly devoid of descriptive ornament In a choral song^ in the Troades, the Trojan women wonder to what countrv they will be ca:-4d capt^v^ They wou d fain go to the KXecvhv 0^c.ea,9 eh8ai,iova Xo^pau, but not to the eddying Eurotas sJav Evpcora A ZtTf J"' -P^l-^ ""^"^^ ^°^ ^' ^<^"*<^'^<^ ^^'th such bald S wL r'"^^'''?' '''''''^">' '^ ^''^^^S of the country tnat was his own home. "^ Audrom. 284. ' Tro. 208. 86 ^eS^; ^^.^^-t:- ^rt^if ^^n.' Helen a. ... l'»;-t of tender .sentiLe' t up^n 11?.?-'^^'.''^°"^^ «"*! , in a very Jong ode' of TmST • '^^^"ties of Troy, tl^e subject beinf the twe t. IT '" *^^ J^^rculesFurens - the «...st half onlVt^o ep fc f ^'^-^ '^--' ^^e «nd' J^V^eco, 6 fcaWiSiua And .in J ,' ^««"'^Ptive of places ^tter half; which singf 0^^^^ -"^^^"^^ ^"^^^" ^ Garden of the Hesperides in th! , ! J°"^'"^:^ ^''O'" the of the Amazons in the flJ easf ?""*" ^•^'^^ ^° the land free .such epithets. This smn.f'' ^'^ ""^ "^«^« than though not true of other pa.Ts "??''', ^* description, coincide..ce with the AeschvLn I' P^^^' ^'^ ^ «"^ious throughout this drama.' Othe^^l '^'""V'' ^^ diction ratively barren in descrinHv!^ ^^^^' '^^^^^^ »»•« compa- ^Ifo^naehe and Me^^^^^^^^ ^°^«""S-> are the HecuZ. 30 horses ''l 7«' ^^^^"^^« " ^^»d of vines -» of H .7 "^^ '''^ noises, of Sunium's " cn,.^. ."^"^^s, of Hellas '• land nf " rich in gold •"« thp T ^/'^'^'-^'c'ned rock,"» of the Tv?]t +1.^ D ^ ' tne Imolus. 'with i<-yc.f„ "^.."^"^ L.yaians ^.e Pangaeus with its " sol of ' ol^. ^^ tat the plams " of Phthia " the N t « *• ^P'i'^n''^ " makes IS hard to work Tf ,-o „ n ^""^h corn-land bnf if -.f d and ina'cces'LTertte"!?^^^ '^ ^ '-'"^" fruits, IS watered by countUs ?/ ^^^'^^^^'^^ i« "rich in pasture for flocks a^nd S? r'"'' ^"[^ ^«'°rds gooS «weptw.th winter's blasts nor is f ? '"''!^''' bleak "and from the sun's four steeds" ^ ^"'"''^ ^^th the heat ' Androm, 7C6 ff. 2 tu „„ '^ -Androm. 104'i s fcu "" "" :: Phoen 644, ./. Ba/yt"- ':'.'br Ait/T' ''''^- ■ng' Helen as the expect some out- les of Troy. Hercules Furens, he hero, we find ['iptive of places, 'Ppov'- and in the •urney from the ^est to the land not more than of description, ^y» is a curious cter of diction ich are compa- '•e the Htcuha, ■equent expres- tVuitful fields."^ " fruit- jearinr fands/"" of the eavy with rich JeiJas '■■ land of of the Lydians of gold,"" and clan us "makes ies" Paphos,'" e-giving earth trasts Laconia i-land, but it y mountains, a IS " rich in affords good r bJeak and ith the heat * 1. 368. 5. , '=Tro. 216. he. 970 !. 451. 37 Strabo, who has preserved' the fragfa at just rjuoted.Less oare- approves of the description therein giv^iu by Euripides ^,"' *''"" but he proceeds to criticize the poet's geographical know-h^'il'/'f ' ledge complaining that he makes the Pamisus the boun-g^pilic . dary between Laconia and Messenia, represents the latter "^''"'"''>'' as remote from the sea and is inaccurate in his account of Ehs. It is possible that some similar mistake on the part of the poet accounts for the strange staceriient which appears in Bac. 406, that Paphos is enr-ched by the Nile.-' It would seem then that in regard to topographicafaccu- Certain racy Euripides differs from Sophocles. We find in him, it^'^i'' IS true, a few evidences of the desire to present vivid p'ic- *''*""'''• tures of localities. In the Bacchae a very graphic descrip- tion,- contained in less than two lines," is given of the scene where Pentheus met his fate— lofty rocks on either side, running streams below, and the towering pines above. Mark, too, the description of the spot where disaster overtook Hippolytus.* " We wore entering on a waste spot, a piece of the shore on yonder side of this land, run- ning down straight to the Saronic gulf." When the huo-e wave rolled in " it robbed our eyes of the cliffs of Sciron, hiding the Isthmus and the rock of Asclepius."' These are excellent descriptions, such as an eye-witness Euripiacs' might have given, but most of the places described 'l^s^r'p- by Euripides were probably unfamiliar to him except *'""^ In describing them henoT''^ through the medium of literature. . ^ „..^„, w^uui, indulges in broad picturesque epithets and geneml charac- speciHe terizations, but does not write " with his eye on the object." Travellers to distant lands pass through "savage tribes and pathless ways."* Libya has " desolate and unfriendly landing-places '" with " Amnion's parched abodes."« Arc^os is a " thirsty " land,' Media " wintry,"'" Thrace, a re^rion of snow" and Olympus has " forest coverts."'- Many epithets while picturesque, are general rather than specific. A stream, river or fountain is " fair-flowing "' ' or " lovelv '"* 1 Strabo, 8, 366. ^ Meiaeke conjectured x^wa for Drt^ovand Nauck accepts the enienda- tion. ^ • J ^l'^-.,'^'','- , ^^? S.an7ra> Hpleml,.,-. his vocahularvthemliopHt ^ ^^< ^'"'^'' *^"f' includes in other JenvutiCl^fro, ;';,.t/df^^^ '^^"^^''^ >^&^^^ nnd A study of EurinifW IT . ' °'^'^^'". 0«66^t«. ^ l^j^r pules- color and has a considerablv wS ^''''"""* ^•<>i"ereuces tS 0«-.f arul derfvat ves rthr'";r'-^ "'^V' ^' "^^^ ^'^'^ red '4;plication to blood an,/ 'e)" Th."" '^''rr^^'^ ^Y its added seve.-al instance ,?Io a' "f " ^" ^^ese might be words as Saoc.6,lMT mfy ^ r?' "* ^'''^^^'^ '-^"^ >^"eh -r r T' ^^ *'^'^c^x w-' ^ '^^^^^ -^^'^ Not included are ei.stances of 5'' l'^'''^'^^'^^^ 20 times. 67), tears (//^^ 1189 Zfnn..^?:'"^^' "'«'' of wine (Cv 1297) and Lod ^^127Tthe^; ' f'i',^"^'^"'^ ^^M- ^-1' or spavklhu,. ^^' ^''^ ^P^'^'^e* li^re meaning />esA _Z^!^!flj^tance in any of the dramatists.' ' BeTides ^l« instances o/ 51v'''e.';;/-?- , ' Tm 772. 1406 Ph l°A ^-'^•^' Tr«. 1.S18 ; Hel lOO". • "s^ ^^nn ^^^ ^"'» '^^^- 815- Amli- '*/"■' Macmillan '94 IZ P.^ 'TA'^f •^^'^''^■' "^ ffomur of i^r Color in the Rig. Veda ''A j'uiir ^^•' *""> Hopkins in " W Colour-Sense in Litefaiure!'' ^t^^^ ?."^». «-?'«'k ElS in"^- ords The 39 iilla"nVIgeover tara cifXfiaTa.' ocles in his use t>i', an,I he has ^■n-pvvw, Xd/nTrco ncl incJiuJe.s in yepof, \nrap6<}, yipvcreo^ Hiul avyd^co, aiyXtf, jw, fxapfMatpw. leOco, liio interesting ' I'ofereijce.s to color- vocabu- u>io.s for red lined by its ie.se niiffht be >od) and such , aWoyp^ {Sup, 'n-vp(T6^ov, occur 6 -es 20 times. >f wine {Cy. ' (.Iph. AuL tuning fresh s.» •o. 772. ^'■of aiul ,52 of ysoc and 10 of (1 Tro. 815. Kl. 484 ; Or. ea of color or ^7. In these ind figa. id with most ave indulged in Honour of of Virgil," in "Words lis in "The i. Of other bright colors Euripides he H/cllow, viz. : ^av06vi<;, Andr. 862. ■' Mainly of the sea, the olive and Athene. In Sup. 258 ylavKi/v x'Kitjv is ' ' pale-green foliage ". " Of the sea, shell-tish and garments. "^ See p. 74, note 9. ' viz., ?.ew/c(if and cpds. 15, apyriaHic, 2, apyij^, apyrielc and ?.mapyog, •once each. " viz., XevKog and cpds. 15, apyf/c and allied words 4. ' " viz., /ie?.a( and cpds. 13, Ke?Mivu( and cpds. 7, F.penv6i; 2. " i.-: -50, vi-.,/ 2 TTohaivu) once and n-o^fiif — vetustm once. 40 "s;S"Ss^t:: > Y^^^ ^.^..0. i. not fauna writer Kva.eo, nnd ZllZ ^''""^y^^^ !« the latter Sophocles uses ,\aLTiU::iZZ '^^^ ^"^^' ^'^''« W- IS rare in Aeschylus ^ ami V.? V ''*'"''/' °"«^- ^«^- ^w^^A a foreign colo, is ;" ^ ^'"^^""^ ^" .Sophocles;^ chylus/in who"u"there'is an OH'^f?''? ^"^^-'^^ ^» Aes- occurs in Sophocles -^Jl" "'^"^^' ■'*^''^'". ^'"t hardly in Aeschylus^ but novvherers''r?P°""'^ °^«"r« t^ic^ twice in Aeschylus am nni ^^"l'^"«^^'«• ^o^^o? is founv,>,o,; an.l allied words five ti?ne8 « ™/'^'/'« once. Fr. 449 /, (Ellendt ' A Loinpanson made botw, .,;,'.,• i fact that tfiese poets resen,)! eaoh /f"'""; ^7^^ "^^'l Ovi,I reveals th. extravagant inferences from th. ". '^ '"^''^ pl'ilologists often ,hTj .■• ».i»b,,„,e-, ■•SSa Ltr'"':, * ™'!°""« "P 'K . '-to?.' fc paucity of c„|„„.,,,„°'^\*^.j^J»»^^^^^^^^ ^ "'•. Ale. 579 ; Hec. 90 ; Hip. 218 ; Rh.« .,.« • r-. . , - 41 )9 In not fountl In the latter • each, while t? once, Yel- n •Sophocles.' cess in Aes- , hut hardly occurs twice '06oivcKa<:) gaiments alonrr thV gree tendrils {^Xiku t'^i/^ x'^oau) and on the sproutin<' reeds to warm them in the sun's golden rays. The descrin" tion of the serpent on the side of Parnassus," " amid tli<. dusky shades of leafy laurel, a speckle^^- '''^^) muddy water and X «{ """^^'ng a pure stream with equivalent of tremodem'-'i:"" -^f V '^'^ ^'^ ^"^-^'P^des' is like a blast :"wtT(4lt:^^^^^ ^"g- trom which lightninc flashes vLZ" / V ^ storm-cloud, Med. 106. " Tis cleai Sf i ^ -f •'*''''''"» metaphor in a small beainnin. bu wl^i ' T'^ '' ^ "'""^' ^^"^^ has soon flash wrie" The ^r ^"^^' r '"-^ ^'-^^'^ ^^i^^ are-Mike a wVnderL cloud 1r' T^f'^''^- ^^ Eleusis Sorrow is like arenSHno ' f \''?" ^f °'^ '^«"»y 'blasts." fine simile zu Se X ,t"^ ^!?5f , ^^^e extended is the maintain as the fo,i^?nJ! p *''® '^'"« conditions, I it. whos^ qtal! e far^'eL "In tL^'""^ ^''"^' ^'^ ^^'^ -" a blaze of li.rht but in ttl\ ^"^ *f in'^mer it sends out ■swells the gtlm Tbxt 7l ?;:-^''^'i'V"^ ^^'''^ ^^'^"<^«. it and die. is c?ue Ji" this Sn f ^'"=?.,'''?"^ ^"^ *"a'^«' "ve men. Some en ov a radl^^'V'''*^; ^''^. '^'^^'^^ ^*' '"'^•'tal clouds gather ind ^omo K. ^^!"^' ^"t for others au-ain envious, X„ ^is ove'tm/""'^ ™""'"' *"^ "''''■"• i» xliunpides is surelv nnf vm^:,,^ u- '°"^ the sea. " Phoen. .143. - Suppl. 9(Ji. «H. P. 1140 • Of. Androm. lift. If the effects i out.i is a ■iter, Apollo- lustration of {Supp. 222) itream with unci in Ale. s Euripides' er." Anger torm-cloud, iietaphor in which has wrath will at Eleusis my blasts," nded is the nditions, I , as we call b sends out : clouds, it fade, live of mortal fiei's again evils,' but chanofinff 1 law " is f the sun s light on neither is s that of m a steep 'om. 538 : rock.'" est num- the sea. ice when as never 140. 43 •set foot on board ship. Hecuba had seen such thinos in pictures, and had knowledge of them from hearsay, but no mere landlubber would ever have written the elaborate simile from th ^ea that is put into her mouth,' or the account of the launching of the ships in Hel. 1.530, or the ^'7-%^^.*^ ^^^ ,'^l««^'"iption of sailors' duties in Iph.Taur stot'n; ^f"^ ""^.1^90-1408.^' Euripides can describ a storm at sea, as in Tro. 78, where Zeus sends his " rain and hail unspeakable and black tempests from heaven .... and ightning fire while Poseidon makes " the Aegean strait roar with great billows and whirlpools and fills Euboea's hollow bay with corpses ' -but the poet is more at home with ocean in her calmer moods, as when^' " the birds are voiceless, the sea IS still and the silence of the winds prevails over Euripus here," or* "when the breath of the winds is lost upon the deep, and the child of Ocean, Calm, in oarb of blue biings this message : « Be off! spread your sails to the se^a-breezes, and seize your oars of pine, sailors, sailors, i'J''^ «0"^f I'ing of the heart's mad dunce which the sailor eels when the gale blows strong,^ must surely have been elt by the poet who could thus sing of the mariner's ela- tion, while lab(jring against an adverse wind :« " The Tvriaii main have I left. . . .an.l over the Ionian sea 1 plied the oar, tor above the unharvested levels, skirting Sicilv raced the strong west wind, sweetest music in the heavens' ' Ihe metaphor of a " sea of troubles " occurs in Med 3(5-> f-ppl.^^2^, lonm, H. F. 1087, Hipp. 822. //. 1 , y';! Q^Q,Andvom. 349. Kindre.l to this idea is the ase of XeifMa^o^ai for stress of affliction in Hipp. 315 Simnl -^m and Ion 966. So, too. Thebes {Phoelim) is ex^Sed to irJ'diZnlf r? ^^•^^yf,^^'^'"/"d the Athenians, when in a- difficult dilemma (ZTemc^. 427), are like sailors who having escaped the storm's rage are now close to 'land yet are once more being driven back by the winds into the deep. A good friend {Or. 728) is a more cheerful si^ht to one in trouble than a calm to sailors.' " Great nros- perity stays not with mortals. Some power the,-e is that shakes It like the sail of a swift ship, and then delucres it Cf. Iph. Taur. 1134-6. ' Iph. Aul. 10. ' 11. 688-696. J * Hel. 1455-1462. And madly danced our hearts for joy f '.!^*.Tf. fleeted towards the south. "-Tennyson's Vaya,,.. "• -^---'■■>- ■ Kjj. ur. '.fya. ' ■ 4 Iivtril. .iv^— — lil. 44 Sif w:?::"^"^"^' ^^^^ '^ ^" ^he sea's turbulent and Megara in cCTngZh^e^^^^ her house - and their ship strong steZablt a Th^T T^°V« *^^^^^ ful source of itlustrnhW « !< ,? ^'^''^°''' ^'^O' '« «' fruJt- from the storm of [he Tp« ^' 'i ^^^P^. ^''' ^^^ ««««Pe« pHot's art sup'hfs Se^ sT r^4i?Vor?h: /"^ all.'" Thehelm3n ' . ^^f ^^ ™°^e ^"d then loses with the St Im saU witl^f ^^'^ ^««-"' "«a" life against the tide since oh«""'' '^r' -""^ ^^^^ ^^^k of Other illustration7'^^i.^ ^^^^^^.™"«fc guide thy sailing." 667, 1225 • Cvr^O'. £' ^^IL^' ^' l^'^, 216, 631. 650 ^. . Ion 1O04-9 ; I ■ n47 '''' '^'' ''^'^ ; ^.p^^^. 473.' 554 ;' Rivers in n^^ „ >^i^iitt. ' Euripides.. 1,"^. .^^'^'"-"owing rivers '"« are iniifV, m^..,. m Euripides than in eifchpr nf hi i ^^^ conspicuous invested them wUh coisiderllp ^'f^'^'^'' ^'^^'^ '^^ ^^'^ Eurotas is fo, the ret ^^^ '"^ r"^^' ^"*^^''««^- ^he Laconian landscape' rtLp V^^^t d.stmct feature in Cephisu. in Attfc .'i fL t "''?' '*^. ^^ ^^e^^enian,'- the Boeotian, the P neus in TheslT' J.^'\ *'^^ ^'^^P"^" i" in Macedonian.'Hhrs Ll'a and s"' ^^^^^j"'* and Lydias Eridanus- and t e S s'M^?f«r"^''^'"J^°J^»'^''^ Egyptian.-' "' Italian, and the NiJe^" in I'lioen. ,S4« ; Hec. 1081 ' Z: S " <^-^ «'W'- ™. Hipp. i« Mod. ,H3, A„,l™,„. 47» „:H|^4c., ,., ,„, », ,^,, ,„ .,,„^Io.,. .0... ^ I p., moo •»t"«. j.nur. • ' Bac.'?S: ' ■ ''^'- ''■' ' I-\i^6'- ,. "^ Phoen. ,02, 827 '■'Bae nm) 57, ,., '*Tro. 214. ' '' .^J^buttheeciitoS^^Xe^fc^^^^ meant, but the editors Kene^l^v^nZ 7 *" ""!" 19. pocula Acheloia, is with rbulent and taphors and house ;- and ious to give >, is a fruit- ho escapes 'en."« The the Ino. •t play the then loses son;' "sail by bark of y sailing." found in G31, 650, 473, 554 ; nspicuous id he has rest. The sature in "'an,'" the jopus''* in id Lydias fojan, the Nile^" in or relent- 1094. • •:i78, 771 ; •om. 479. ph. Taur. , 827. iacmon, is 10. 103. loiis with loiii. 45 • Often, as noticed above,i the fertilizing power of these nvers is made prominent, but frequentl/the poet adds a danmng picturesque touch in a\ereLithet or phrte KaXkc hova^.^ov is lined with meadows and fair trees « The Peneus' has fair eddies, KaXX^hiva,, and the Simois"siIverv edd es W a^7./.oe.Ser, ;nhe Ismenus is faceTwi h ve7 aX. ^^^?'' a ^a'^-^ «*■ "oble race." The " bull headed "- Cephisus, in the poets native A tica is posses ed of the charms of Aphrodite herself." From tLft ' f iTr flowmg' stream, "the Cyprian draws Su -e Id o'e." the land breathes her balmy breezes '"* ""''''"'^ ^ncl o e. piaes than in Aeschylus or Sophocles. He revels in t^'^ical meadows and grassy glades, forests and groves fnus and r'^^-V' flowers, and sou.e of his plays, like the Wmf^m ^1 ''"''"''"• spedalti"nJficanol r.°^''f introduced, b. . , of their Trees and special sign facance, certain trees and flow* < exainnle «»^ver8, being sacred to particular divinities, but the poet-.^hSstf •'?*^*'- in them is a verv i-paI nno qo ic, „ i- r^^u.^ ^"''fieisttiuced introduction Zm«!.! ■ fi ^''^" ^'°"' ^^eir frequent sometimes incroauction toi merely aesthetic reasons. because of ~ — — their ~ special sig- iiiticance. ' See p. 36. a xr„„ r'-n » JS ''Z'^V- 4^^^^ Hel. :U9. I SJ i««- ' » Ion iS?- ^- ^- ^^'^ "PJ WP^ra. 'EUpor. . . Tro. 226. n^^'im^f^n^JSS ll^'^-^-S Hebrus. Simois of the Eurotas (Fr. S E^ Shjaus (O C 'fisT ^'^''''^^f °"/^ *" ^^^"^^ Evenus (lYach. 559), Ister aid pE " (^"i^ial/ ' ^I'sT"^ v ^t\ ^'V' has a great weakness for the Nile to which hflt. , ^*ll''*^y'»8. ''e teen times. The 7roraud( AldioT(Pr SOTH.. oi f 'VT *''*" «''^'«"- as <5 Nt7Xof. The Scainandfr ij^l *^ ' ^, '']'*' ^^^"^^^^ ^^ t^^ Schol. Spercheius and cSeus tree eU. ?.«•"'' ^""r "'"es ; the Asopus. ^ora/zdf (Pr. 717 the k^tPrnrl^ /■ ^ Simo.s, Halys and the 'rfipcarf/l others are spec fied '"'^'P''«*''t'«"« ^i which vary), once each No Main reason for their in- troduc- tion. Great variety of trees, fruits and flowers in Euripides. 4G varied"'''Bl-Hr''n'"-^ "' ''"""'■ f""''" «"v,^pv6xa;B^c. 340., evo^,-d«.; Bac. 445; Iph. Tanr. il ^f ^^^^l' ^^''('""^ i^nui dpUi TTn/vvKhea ; Hipp 1127 .netapho/ical use of Sr ami "rf^o"' '^ "' '" """'"^ ''°'» *''^ f'-«l"e..t Cycelr^hlS'^ '^''^'^^ "^^"^"^ '-- - general, e.,., of an olive.. Cithaeron', ;he maiden he brought re no shep- seythe has rs through thene,* the and ivy to counts for verts,* gay iiiountain Ts is very [cfy Eel i)Ti irerpa ; )1S ; Bac. 52, 1002 ; Hyp. 216. Afidroin. . 38, 110, '8, 1110; ', -7 ^pW" 5 ; /y. F. )fi,llly; Fr. 477 ; 'aur. 1101. 10, apaTovr; aiv Ipveaiv J4 and Fr. ph. Taiir. ee. frequent an olive,. 47 Med. 1213; Ion 70, 80, 103, 112, 145, 422. 919- Tro 32q^ -the black poplar, .) atye.po, {Hi^pp. 210)-the ceda' 1141),— the ohve, 77 i\aia (Cvc 455- H F i T7« / 1433, 1436. 1480; Iph. W. llbl T;o SOa/ L Z''^" palm, 6 00?..^ (^k 458 ; Ion 920 /ip^T^u^^^^^ ^.'^ cypress, v KVTrdpcaao, (Fr. 472 8) -the mvr 1. ' ^'~ ' "" (J/c. 172,759; AY. 324, 512 778 • /o'. m ' fl^T?"'' tree, 6 Xa,x6^^-the appl^, Ji^^^^e^^^?^^ ojorpv, and vine, ^ a>,re\o9 (i?ac. 11, 26°lT9 382 m' f '^f 3^^?s: ^^:■^^ Tc^ti^''^:h im'To Im^ Yh'^---7^),-th; lotuslflower (Pa': 12Qq; vT ^*1>'*"^^ the hyacinth '^ ia«.i.^o? (Iph. Aul Iv 7^-4 iar'l T«i»entioned without being specified ^n In Aeschylus we find no mention of the silver-fir wh.VI, a. 1 , so prominent in Eurinides, or of fl.« .1 ill !'„..'.! "^^\'^'\4TK\;;.'[f i. so prominent in Eui^, i;;^ h S>^ "^; ^^ cypress, myrtle, lotus-ti4e, apple or fig.^ ffi'oak lis ^^'^^^ the 1^(^341?^' ^.f^- ^^^ ^^^/^- (^4 ToTa^^d -'"' (An 9S« - V /• P^ ,PJ"^ ('^ ''^'^*'' occurs three times q1^; ? T ^''''9^' ' ^*" 171 and in form irevKmi^ Chn 380) and there is a single mention of the vaTetyT;r.W Sr SrS^4^"2''ici.t °"-.^PP-- onlytu'J.S The mulberrv tA ' ' u^ ?• ° ^^^P*^' " nowhere found, ine muibeiry, to fiopov, which appears nowhere in EiiH Hes^^urs m Fr. 264 and 116.^ Ve of the flowers ai^ 93;.'^ ^"'' ^«« ""'d^ from ifc : Hel. 170 ; Iph. Aul. 1036 ;7ro. 544 ; Fr. J^H. F. 396; Hipp. 742. Possibly /na'^ in general is meant in both I % «;^''^'^"'s", Iph. Aul. 792 and 'A^-icfiara, Hel. m^ . k/. the metaphorical use of hvOo^ H. F. 875 Cvc 42 and the O. 17, 484, ■lOOflUi Fv. berry once T. 83 and vine three (o ^orpv^) [Ant. 826, !2). The narcissus the rose, , and the ply, show- it in the ifei-red to bull, cow , but the Of those lace; the the lynx are very ders.» < generic /.a(j>o^ and There are erences to \\» 40 tunpides makes more frequent use of tliis field than hk"'«' et;S';eakn:;'''V„",T?''''= ""'-"K th«t\*™ow: «l;;r'^"" »p>cuou. His allusions to the ho«e, cordo" and "heen" sVoXi^o^X,?" "^'"^"' "^ '"- "f Aesch^t^'S The lion is much more common In Euripides than i„ pi-K^i tei/n'oH^x'rx.;';^'' •'° ""=- '° '^•"■'- Aeschylus and Sophocles have little to do with Eurir.ides' ftivonte swan,' and his halcyons are wholly n J £ In souiP of his references to the lower creatures, we firj ivndor- in Eunpides a pecuhar tenderness that is quite Vir'ilian ''' " m tone and rare in Greek poetry. "I aul lofh In !^''«'"'l'' you. -says lon'^ to the birds that iLnt th^ tempt "^^t^Z must serve Phoebus in the work to which I ani devoted '' The unhappy Electra, bewailing her father Agame™, o\v r .;' f «^^7«^««d swan beside the flowin^v rier' e±iare " Th'' 'T"' '"'^' "^'^'^ ^' ''^'^"^ ^^ -'t.oach.' eious .snare The captive women in the Chersonese who 'long for he assemblies of Hellas," find an e ho to the r '^^^^n^^^^^^^or^ that by the > i'lm: oh^vu,; and compounds occur 51 times. andvulture.3each;oft4halycon?2 'ofL^^^^^^ of the dove .Soph'otsX^etreir ''' ''''''''''' '' *^"' '' ^or^ Whylus and * Five instances in Aesch., four in Sophocles. » Seven ,-„«*„„ " vs(ipor occurs in Aesch. three times bnf ,.Pifl,^,. ;>„. instances, found. On the other hand ^vJo h' u. ' bv Son t' T T"' '" itemdea i?M6,/8o?Ja and iAa6o 36? or LvJf-,^ 7 ^«P'»ocle8 three times, ^ Referred to twfce in elh '' ''"* °""'*"' '^"^^^^^or -/^P«C occurs. " Five instnnpM lo A la-, , ., osven instances. - Ion."??""" - Ei«iJ?'' ^"'^ ^»™- «6^ , ,. - H.-F. 72. **'• ^•"- ** Iph, Taar. 1089. 50 l''t'eliii<. for iiatu under a inytlio- logical setting. re . eas leefs ot rock cliantest a piteous wail, to be lieard of those that will hear and mark how thou art ever n sonl >nc^.n,ng tor thy mate, I match my dirge w th thir " ' ^ Andromache who has lost her nobfe Hec or finds an |v.m logy m the ho.se that has lost its yoke-feHow • "Eve the horse, when parted fron. its mate, will be e uctant to •Iraw the yoke; and yet beasts know not speech areheln less in wit and inferior by nature " ^' Mogara guards the children of Heracles "as a hen keens under her wings the chicks she has gathered h, "' Pol throat- ''^"'^ ''"^ ^° '^' ^^^^^'^ ^ith severed of fi,. 7'.. T '« f^' ^^'^ '^'"^ sod in the opening lines of the Iroades 'I come from the depths of the brinv itffyl^c:- 'cT '' ^--^^ r'^^^ ^^^ mazes of h^ Z^t? n ?• , >*^"'P^''^ *'"^ ^^'tlj the ode in the Bl^ctra^ on the Greek ships sailing to Troy, which " led he N^ds 1.1 their dance, when the Hute-loving dolphin leaned arrl rolled about the deep blue prows." What foyou dTnf h? i e sea is expressed in the following beaut ful strophe from the Iphgenm among the Tauri!^ "HowdidtheyZs tho e clashing rocks and the sleepless beach of PhS flee in ' h tj iNeieid maids sing m circling dance, while the breeze h Is the saiLs and the guidiug rudder pipes at the stem to the breath of the south wind or the blowing zephyr o to a and where flock the birds, that white beal ^ith the ia r race-coui^e of Achilles al6ng the unfriendly deep ?" 1 he ocean is the domain of Amphitrite, the Nereids dLe on the shore, while Notus and Zephyrus spiritt of th/ «f. make their kindly presence felt. ^'^"'' 'l'"'<^'^ «» the air, ~y^'^^^&^^^rfrv^. Georg. 3, 517! — ■ An.lrom. 441 ; Tro. 751, where we have tl veoGGOi-. So in Macbeth, Act 4, Sc. 3 - same pathetic use of "K; fil."^ P'^"^ *''"''*^"« *'"• t^ei"- dam, ~, At, one rell swoop. ' Ihe same sunile occurs in Heracl. 10. » Of Or i'i7?^'^* "^«"... , ^ Anilrom. 1011. C/. Or. 13/7. « Iro. 1. J EI. 432. s jp^. Taur. 421-437. Ill ' be heard of ever in .sonjf h thine." !tor, finds an ow.' " Even rehictant to 3ch, ai-e lielp- a hen keens it)."- Poly- 1 its mother tvith severed ften finds a otlier Greek ;he sea, that ters of the pening lines t' the briny azes of the the ElectrcO the Nereids leaped and IS delight ill trophe from ^ pass those ills, fleeting e choirs of the breeze he stern to iihyr, on to 1 with the ly deep ? " ■eids dance of the air, tlietic use of lur, 421-437. 51 Full of picturesque beauty is the fan.ous chorus' in the ^ces^Ks wherein are .ung the praises of •' that Pythian hiS-r.-f'" -'^'f ^^y"f' ^^h« deigned. . . .to lea.l a shep- iieids life, and oer the sloping hills to the flocks pi ptvl pas oral melodies." Not only the joy of Nature k, t a poet s ,oy ^n Nature is expressed throughout the ode. f h. 1 ^^""^' ^^ huntress^' " roams o'er lake and beyond th! ^f"V.''.^T?" '"'='"» '•'■"^"•" Aphrodite makes all the world feel her power. "Thro' the sky she ranges n hen the sunbeams clart across the ,)eaks of Parnassus it s Dionysus who " with pine torch bounds o'er the double tiest, tossing and waving his Bacchic wand."* Ihe .stream on whose banks Priam settled Alexander has many charms.^ The water is crystal {X^vkov i^iZ\i meadow- and blooms with fresh flower , and goddesses may cull ro.se.s and hyacinth.s, but the;e too ''rthe fountains of the nymph.s."' Instead of the sun, the ancient poet is prone to sneak of the sun's chariot,' and Euripides is desclibing day-break 11. a beautiful way, when he makes Jocasta utter this in vocation.« " () .sun, who cleavest thy w.ay amid £ s ta , ot heaven, mounted on car of inlaid gold, and rolling on thy flame with fleet .steeds." '"J""^ on k\.t rJT^ '*'*'''''• ^ ^".? picturesque description of dawn is that at the opening of the Ion where the young ministrant upon the sanctuary of Apollo pours forth his'=thrght'?o the nsmg sun.* "Lo the gleaming chariot with its four harnessed steeds, which the sun-god is even now turninc earth-wards ! Before yon fire th^e stars fade from t le sk? into mystic night, and the untrodden peaks of Parnassu^ all ablaze, catch for mortals the wheels of day " The Greeks fancied they heard the music of the o-od Pan everywhere in nature. He was a " mountain "- god and onT:^ "^ 'fe ^'\K' "t"^^ "wax-fastened reef cC nm hJr f^Vi^" ""f ^^T ^^""^'^ ^'-^ "«^^ i" Arcadia' ' and no^ ^beneath the Acropolis of At hens.'* Here on " the rock 7 lT%' •^.5- IP*»- Awl. 1294. fl wXn O^l • « Iph- Tfur 1127o- "•• \ " '?? «2, ./ Ion 887 ; g^. sV*^'" >i PI *7aJ^ ' ""Z"^'"^' "ai'of; Bac. 951. '»Prfiq«'. ' . •. '. , '^Iph. Taur. 1125. ' ♦ Ion 492.' ^' ''"" '"""^^ '^""X^'I'^P'"' I nav {fiBarevac. B«8t example- in the Medea. a Kiiripiileti fond of sueli epithets as ifpor and (iyvtir. 52 sluine of ralla« LtiL ■ , ""' 8""" '■">"" Ixifore tho !;.L; -.ua„«rp^t,l';» VyU.o'i'o^,^;, '„"„i^ ™™™ " his native an l°.^r»°"™ "' """^ who conceives «ing ho; tL CvnHa\^ i Harmonia; and men of rose Wossoin, sS, f ,,^h AT' "'"' " """>«' S»rf»"'l ->e a„„ t.k nh::;e''i„':t;'':.^Ec^..r' 'y -'»o«">'« " "tio'L,rsc'''the"t"^of'tV"i:';''»'''''. "« --"-' 'Vd? is used of night, Ion 85 ; if',- 114 light 7/. ^. 797 ; Iph. TauT. 194. sky.i'^MU, 487, 985. rivers, Med. 410, 846 ' J^J^^^y>Hipp^ 1 206; Cy. 265 ; /on 1 17 }Sp6aoi) trees, /p/i. T'awr. 1101 (olive) '^ ^' mountains, ^-Z. 446 (Ossa); 5«c. 60 (Tmolus) ^/^«m. 234; Or. 1383. ^' ' Med. 824 S ' ~ ■ •" "■ ""PP- '^-^ ; I'C'eus) FV. 94], etc. daughters oi* 'ns before the music of the ^ caverns " — a thought into great modern f the ancient. Medea, wheii' the graceful '■ho conceives of valor and arm of ]any wisdom's le so-called r and dyv6<;, and imply- 'e-inspiring 5 orthodox 7)8p6j[>. 750. d/u.^p6(Tio<; of fountains, //iy>y>. 748. Sioyeu})<; of light, il/<'^/. 1258. The i)ersonifying tendency, ^o oloselv idliod K-. fliA„ AtschyhLs. In the 7iacc/.«(? we have a hynm to Holiness KuHpides. nTn. lf\'^'''' ^tr'- " ^"l'"«-^«' Q»««" «f Heaven ! Holiness, that over the earth bcndest thy golden pinion ' " Shakespeare's beau iful tribute to Sleep (A/a. JJvct 2. fee. 2) finds a very close parallel in Orestes 211, where the ^^'^^T^'"'^^::!^'^''- ^-ther apostrophe to Calm' rl^' '''^ ' n'ght,' occurs in the Cyclops'^ So jailors ISature is apostrophized in Or. 126 • we have Peace,* "giver of wealth and most fair of the bleS lock. Madness Avaaa, " daughter of night,"' appears in person in the Herci desjhcre^^ an address to ' Bac. 370, " Hec. 1110 and Fr. 118. ■ H. F. 833 in.v5(:p5j''"^?!I;|J!»K>'^* is perhaps b;n«wea from Aeacl.vlus. wh.. « iriLu Ilia Xiintnae. ?>ee Fr. of Aescii. Itfy. Symbol- ism of nattirc. 64 nu,et ;•■ ''&''"'"» 'J", t'i'''.','-' ^k'.^l'-o the ,ea. ^n^^\"":Wl'''T "■" *="■"' I-"" 'hee. ...;",. "'^'"''' .""'';<' "f i^Mnolf, cio-.vn tIi.V8elf with ivy, of llurndfr destroy,, ,„a„y ' AY 467 * Tl.f !?" m" '"''•■''f'' ^-oir.. Pleiade., i„d Hyad^, " "^ fm " Th "•7"''; Helena i.s a .«,/,•«<.; on the Attic co^4 " lv„-. ■ , ' "'■","' of ■■ the .,oa» back •■ UM. 774 . • thelv', &' ?,f K';'' • 5as'f, ;. d 1 cve°7iy''r02'', ." tf ■ """ " <*■'• /••"'> "■"' ?ac,-ed eye of hi, iglu ([m- ^l 1 M t' Z iST " "'" rs " the eye of glomny „'i,H,t .• (S, ''rr,. , ?, ' .'^py""" •"4 I; Andronmcl.e's l»bc is he ■ '"I fc'seves " /^ / "' Hon ofpne b'ai-r '* tiLZ^t-" .,''- )» ';'e^feHp- Light and darkness are freely used hv v„ • • Y . o^e^^JWHien^reusaJi^ son restored to her.n ' See Schol. on Aristoph. Thenm. lOfi.",. ~ p.. 040 TTT:" ■■■ " " . /• T ' ^- ^'-'"^- Pro"'- 981, and rr' Kiir. Fr. 42 ,v/"'«""' tto/j-, '■ Androm. 319. " Bae. 105. ' ' Of. Aesc. Ag. 306. f.331, 797; IpK. T. 187 Iph. Ta»»r. 102«. See Aristoph. Ran. 100. ' IpJ>. T. 393. » Ha,, gg. ,.. .,, ,,„ „ '"Tio. 4o8. r', '\'*'*^' Hec. 841 ; Iph. A. 150«> rr H Iph. A. 1062. The ligh't belon^io ?{„th: • Jon 1466. no *J' and to tho " O Breeze, galleys across •lie, unhappy )st uiiHightly even tfn'ouj;ii trutli,"* mid usands of tlie )ot)t ad drosses leie tho seas »nors thee ; "" i' with ivy,"" s her country >, " Ino's inis- Tpfi. T. 422, kIIoss breath u'h' heavenly ' The island pides speaks '' (Fr.lH)- id "bearded ^iV. 780) and y close " the ) ; the moon ), >:/: Phoev. {Androm. ihe "eye of the descrin- 1200). ui-ipides to laus brin<>s 3n is to his {Ion 1439). e the light id to her,' ' ' Fr. 222. "81, and rf. 56/5. 502. Cf. H. igs to truth. " her house no longer looks upon the night, but lifts its eyes to the beaming sun." Age "casts a darklin.' liirlit » lit r^ ri over ones eves. ' Characteristic of Euripides is the e.vprossion of a sense NiUuiv of .sympathy between nature and man, at times half uncon-'""*"""''° srious, but always very niotlein in its tone. Witness the "^'"''"'^ chaniiing description of early morning in a fragment of the Vhadlionr "Amid tho trees rises tho nightingale with sighs, and trills her .subtle music of Itys, mournful Ityn. The mountain-pines awake the pipes of the tioek ; tlie chestnut horses arcfuse themselves for their fodder : and now to their tasks go lorth the huntsmen. . . .while at the founts of Uceauus the tunefid swan makes melodv." The conception of nature, to which the name' of '• the 'y' ''"''" pathetic fallacy" has ,so aptly been given, is extreniely lac" rare in earlier Greek literature. We have seen how few Ei are thu instances in Aeschylus and Sophocles. Amon*' mod. in poets Keats, who i^ so thoroughly Greek in Ins way of looking upon the external woild, is remarkably free from th*^ pathetic fallacy." But as a rule, modern ))oetry is steeped in the self-conscious, introspective spirit that tiansfers man's joys and sorrows to inanimate nature. " Wi- receive hut what we give. And in our life alone doen nature live ; Oars is her wedding-garment, unrn her sliroud." Such is the correct explanation of the poet Coleridge, who thus accounts for the impressions we seem to receive from nature. In Euripides, who comes into contact with modern life 't» tre- at so many points, are to be found veiy many instances of "^'''''''^y* this reflection of human emotion in the mirror of nature. In the sadness of their human grief, the captive Greek ivomen can feel for the halcyon, which is ever moaning for its mate.* " bird by ocean's rocky reefs : thou halcyon, that singest thy piteous wail with thee I match mv dirges, I an un winged bird, longing for the gatherings of Hellas." Compare Helen 1107.* In a fine imaginative passage* Helen's attendants pray the " long-necked " cranes ' H. F. 088. Cf. H. F. 1071, where HerncleH is sleeping after his mad- ness, " night possesses his eyes." > Fr. 773. •' See Studies in Inter pretation, by Prof. VV. H. Hudson, New York, ISDfi. * Iph. Taur. 108!i. " "Thee let me invoke, tearful nightingale, bird melodious, that lurkest neath the leafy .overt in thy seat of song, most tuneful of all birds : come, trilling through that tawny throat of thine, conte to unite V ith mv •''? ""S""' ™-«»'">« beside our raler'., throne LdT,.^ 'r™' ^'' J''^ ^n'l Athena."' ^'"' '" *'"' serine of gray-eyed implied ffat t'he riv'e":»rvtw" 'i'Tr.'^ «*™ >'-' groves on the hills to „,ou™ "^^f "'%'''>»■■<'». »■>« 'eafy less?" P'""' "'" mourn with me left mothei^ ye paved streets of our seven!'^^^^^^^^^ ' ing; come Dirce, foim of fn?..w! ^^' ,''.'"^*'' ^"^^'^ ^'anc- ye daughters of Asopus com.r ''' "^VT"^ ^'^^ l^^r. add your .maiden Trt'c^nC ''' t? "^r/? Pythian rock, and haunts of thTji^u " "^ f<^«est-clad city and her walls re ech7vv;/r • '^"" '""'^•'^' "^^^e my " VVI 'i^ /"»"••' te-ecno with cries of iov " i.e':s:;g ::t:l'rtr„:tL':er;;f„rti'^™*^ ^>- '^»i«" »t the Ekctran .r»ir,s, ""S^g™ bke lions in deadly duel Heracl. 748. -■ mnn now ■ tt « * Uelr- Bothe. f So 847 H^' ^- '*'• H the news i^urystheus, ind bright- n, bear the >!' joy and gray-eyej '€Tai ydvo was exiled of old " tl,o? e Sethe El" ' ""i'^'l ''^"T^- -'"■-'>'" J"/ »un t™ed^"„ "d h ,^ e,ri.nhrrf '*',7\'" *"' *'» mortals' .lespite beL,e of « , f «"'''• "hanging i* "' .c^ijitt;, uecause ot a (luarre anionf^ them "» Here again under the guise of a mvfh jlH^ f ^i . ijnp>ou.s or polluted man to defile theh Itnc i v H the captives in the /»//?W»m r L ■ i •^*)"^'^'^>- Hence to give his ov/n wordsr- ea"th will ?rv out A^^^^^ *''^'' -to.^her;theseaandtheri;l:^i-:'^l^^^^^^^ ^rougho^Ujhe^5ac.cA,^.,J,ow tr^^ does the pulse of ' VA. 54. » Kl. 720. El. 8(iC. " Ipli. T. 1207. Kl. 586. ' C'r. 822. ♦ Ion. 1074. " H. F. 1293. as it" claiin- w to " sable "the wide a, her great it careerincf N^ow may 1 )lay, when the Argive alecl to the )ld." 1 v/hat joy lents unite ra*, " what nd dances er the sea ppingly in ;r majestic erpetrated s changed le sun and le western the rain- f Ammon n's lovely that the ging it in n."» tlie storj' Heaven simit the • Hence jarded a* ed.« Yet lie sword, ecognizes lous that, Iding me ly, ' cross pulse of m. 129."i. 59 nature throb in perfect accord with the votaries of Diony- sus ! " The whole land will dance "' with joy : " with milk flows the earth, with wine and honey's nectar, and a smoke arises as of Syrian incense."- The Bacchantes sleep in security where they will,' on pine branches or oak leaves in the forest. They* "gird themselves with snakes, that lick their cheeks. Some fondle in their arms gazelles or savage whelps of wolves and give them suck. Others crown their heads with ivy or oak or blossoming smilax, and one taking hei- thyrsus, strikes it into the rock and straightway there leaps forth a dewy stream of water. Another plunges her wand into the earth's soil and there the god sends up a fount of wine, and all who wish for the white fluid, with finger-tips scratch the soil and get them milk in streams, while from their wands, with ivy wreathed, sweet rills of honey trickle." When the Bac- chantes wave their wands and call in loud chorus upon their god, at once " the >vhole mountain joined in the Bacchic cry, the wild beasts answered and all nature was stirred."* And lastly, there is that marvellous description of the sudden lull in the voices of nature just before nature's god breaks out in his storm of wrath : '' Hushed was the sky, hushed were the leaves in the grassy glade, no noise of" living thing could you have heard."" If Euripides thus found nature responsive to the soul of man, it is not surprising that every aspect of her face presented charms to him that were either undiscovered by his predecesso: .s or at least seldom heeded by them. No ancient poet is richer in single epithets or brief descriptive I>hrases which suffice to bring before us the most striking features of a landscape. As in Theocritus, too, his landscapes are often more than mere artistic accessories. They are in harmony with the spirit of the charactorii ; when the latter are in distress the landscape is uncongenial and a longing is ex' "ssed for more restful scenes or a more harmonious phere.' The captive Greek women in the wilds of the Tauric Chersonese heave a sigh for the ' Bac. 115. -//>. 142-3. /?>. 684-5. W/<. 69S-711. " Bac. 72(). lhi.s flight of imugiimtion attracts the attention of Longinus, who, si»eakiug of nvui ^"'^'^" "'iwment naturally utSnS^l^rt^; 'r^T; ^ ^''^'^ ^'^->- ^ives combined with a feelini for ' ?''' ""^ ^''^^^'^t pface' paralleled in Eurinid "^the p7ayr •^l'?"^"'^^ ^^'^ the chorus in the Baccho' •« -C?^^t\ ■^^' ^^'' instance, i^le of Aphro(liteoi Papt; (Tul ,\ ""f.^^^° ^^ Cyprus '•ain, is enriched by that fS • ^' '''".'^^' "overfed by "souths •" Again ^TJ to be S ""^'^ ^'^^ ^^^^ ^^nd^ed " air like Libyan craneiln close aX^"^^'^^^"^^'^ *^^ wmter rains and move obed?ent Vn^k""^"''' ^"^^'« *J^e * Hipp. 208. rcHses Theseus as " the .,^/^8,^^e latter demands meadows, yearn for hill, with nd sacred its rolling uses. ^lytus the s beneath fig brook, 3 sharply nients in ledra her- Bonscious 'roni my kened, it ' rebuke ves us a the day 'le time, s is the d never i drama iturally a gives places, itly be 'Stance, Cyprus, fed by Jndred gh the ve the their flight cleave 208, s"the ■ninruls 61 the liquid air beyond the land of Hellas, away to the ' western stars, so keen the anguish of my soul ' "' ^ The captive Greek women in the Chersonese would fain ^ set foot, even ni dreams, in their father's home and _The Phrygian eunuch of the Orestes cries in his terror:' \\ hither can I tly, winging my way through the bright sk^ or over the sea, which bull-headed Ocean draws in circling course, as he folds his arms about the earth ? " \\ith very different feelings Antigone cries out, on see- ?f ^''^^"1 *^'- ^^^^""•^"'g army:* "Would I could hasten through he air with the speed of wind-borne cloud to my own brother and throw my arms about his dear necK . Hermione when frantic at the escape of Andromache exclaims: "To what rocky height can I climb, an^he sea or in a mountain forest, there to die ? "* Much of the sentiment of this sort, oiSensive as it wasv, .• to ancient critics, appears even to us overstraLed and un-Stof"' natural. For example :« "Would that like the bee of^»"P'^««- riis.set wmg I could collect from every source my sighs and blending them together shed them in one full tear ^" The simile m the following is. striking and beautiful, but its apphcation to old age seems very forced : " Let it sink beneath the waves. O that it had never come to the homes and cities of mortals. Nay, let it ever wing its way a ong the ether.'" Extravagant too seem to us^the aspirations of Electra in the Orestes-!^ "Fain would I reach the rock suspended midway between heaven and earth, the rock that swings with eddying motion by crolden chains, a mass thrown off by Olympus." Here Euripides tails to harmonize poetry and natural science, for he is giving expression to Anaxagoras' doctrines of the Uvti or rotation of the heavenly bodies and of the constitution of the sun.* ^ Equally extmyagant but much more poetical is an imaginative flight in ihe H ippolytus. The simple " Or. 1375. * Piioen. 163. ' Iph T. 452. €/. 861-5. H. F. 487. r h. F. ftW. " C/. Fr. 783 xp^am pcAot: and Diog. Laert. 2, 10 " Androin. 848. * Or. 982-6. "Kui ipidfs tha fore- I'ur.ier of tus in rojuantic seii^iineui. I.lyllie tone in Kuripides 62 theme,'" Would that I were a l.irl"' i. o, r^ i • variety of ways. "I woIIS f^.'" vL a n't^n"!." ^f caverns, where God would m'^^^me a S a^.fe would 7ea2 r" ''f\ '^"•^' ^"^^^'- l^'illianre. ; nd T Tus s vhet the lo?/if'^'^''"" ^'^""^^ '^^ '^^ ^^ 'tern oi heaven upheld of Atlas, and wnte s an.bti f ^u"^ towards nature he come, „?a TtL- • J„" '',"".■'"'? in fh. ■ .'-'-"^^ ' <^,? /^« ^ui-e, can complai^i of its fitness of the me^oi and .Jt^r^:::^:,?;;:^^^-:^,^;^ S'v^r^^r^" "'^''^ the'lambl^^r^te^^ Awj ! wait not browse I.ere. here on the dewy hili: Less appropriate, however, in the opinion of many critic. •she msists on performing menial tasks • " '"' thnV 1' t'Tr"/x""Pl^^^^-^ H«^«»'« attendant tells us tj^^hejmdjaeardj^^ .. When near the llue .; Hipp. 732^751. 3 Hel. 1487. V. u. 07, 64, 71-6. 7 Hel. 179. 78-81. iried in a 1 aby.smal amid the -waves of a father's int/j the >. .^ndl wcifcern ) sailors a oly v-rge 1 well np there tho " imilar r,o le " iong- omantic d differ- I'ittitude io " best *> forests H.s in a pastoral •actei- of i titne.ss gather- res and gone to i■.•'. mis rock. A hi-nmn IS, IS a rule, r Jsomely object, yet Euripides has .uiyesteU one wit), beu-yn and dignity. Ion, the voun.^ mmistrant at Apollo's temple, thus glorities l.is\laily toil :- " Come then, tender shoot of fairest laurel, that st-r- vest me to sweep the temple-steps of Phiebus, oathered Jrom gardens nevori'ai:ing'neath the temple wall, where thfiy fo.-.nts that are ijushing with ceaseless How, bedew the myrtle 'b boJluwed s|;iay, wherewith I sweep the temple- floor .",ay by day, so soon as the sun's swift wing appears in my daily >..m vice," There is much idyllic charm in the song of theChalcidic women on the shepherd Paris.' " Thou didst come, Paris to \yhere thou wert reared as herdsman among the white heile; ; of Ida, piping foreign strains and breathing on thy reeds Olympus' aiis for Phrygian flutes. Full-uddered cows nore browsing when* the decision between goddesses madde»,pd thee— that whi-^h sent thee to Hellas before the ivory mansion "—a song which reminds one of the creat beauty of the second ode in the Andromache on the same theme, wlierein the s(in of ^eus and Maia guided the thrpe goddesses " to the shepherd's fold, the lonely home of the young herdsman, a solitary lodge with its hearth." An early morning scene in the country is beautifully pictured m graceful, Theocritean fashion in lines already quoted from the Pliaethon." Sublimit;y can hardly be claimed as a feature of Euripides. Kunpides in this he is certainly inferior not only to Aeschylus but'nfeiior in also to Sophocles. Not that from the philosophical stand- »"''"'"'*y' point some of his conceptions of the universe and its <'ov- ernment are not grand and lofty, but we can hardlv'say of him, as we can of Lucretius, that scientific know- ledge tended to enhance the greatness of his ima<^inative thought. " ' Hipp. 121. * ore H'^viiiann, » Ion 112. » Fr. 773. ■• Iph. Aul. ■»73-.)83. See p. 55. m\ 64 Instanceu of 8Ub- iimity. Moun- tuiiis in Kuripi(l( Snow. Intdlitnc^'rtThou Z"",A'°'5r ""'P^"' '» "'^ Creative the „„i™4,' !„?„„■,!, ?f ■■«!»"«■•. that hast enwrapped pole "« *^ ^""^ ^^"'""^ ^'^ng«. g"ard the Afclantean »eeS^eS^r„i-^^^^^^^^^ that stayest the earth a„" art seated the"?o„ whos'eW oWa,,„.e,esspath%„dwitfAi^eS-,„L''::,,r^^^^^^^ Mountains are introduced into Eurinides ohi^ft.r +• •oTetwerretr- 7 !f'™ •"' ^«^^i^L^ huTe,*:n.'"thTL\" "/f^ ^'°'^^'" Di4"- hoWs St earns ' Th„ B "if /' Parnassus, mothei* of gushin.- bett?ftits:;.fr^ *" "'■' -/3«arrd't' The snow of mountain tops is a picturesque feature in « KaZ: Ts'..r"^^"^/^'^-^'^ '»^« notiiroTthe poet rarnassus is a sacred, snow-smitten mount "i' On ^l^haeror^^ ry. the remark of AJenelaus, 1. 889 >-'••>•»*. fcl. 44;i. Androm. 2JKi, ' loh Tan.- W^o « - , . '•M'hoen.234. «^Bac.661 '"//'• 560-4. illustrative brea.st of iog waves anguish in e Creative enwrapped the light, countless 5 the con- vitli ever- ancl twin A.tlantean cened by " thou whosoe'er • natural treadest le course iefly for nd marks es. The id glades iphaea."* as holds gushing " sacred t Pieria s moun- fiis lute, red the ire in a le poet. ^' On ng'-_ ■if)' e)^. 5fi0-4. )mi- Cithaeron " vale of sacred leaves, where throng wild beasts ' the si^oay eye of Artemis."' xvl^^n^A'"" ""T^' "'^>'A"^'gf t loneliness aiul desolation, asScenes-.f viien JJemeter, searching tor her daughter,-' "crossed the-l<-'««l'^tio» snow-capped heights of Ida's nyn)phs, and in sorrow mst snow '*' * "'" amongst the rocks and brush, deep in Furthe.-, the mention of wild animals* suggests the perils iVHis of that encompass man in the mountains, though Dionysus*''*'"'- can range freely over " Nysa, haunt of beasis."» Wlieii '"'""'• liDwever as in the Bacchae, man is in perfect accord with' nature, he_ may not only move at will "over the shadv mountains, « but ho may ev^n regard the wild beasts of the held as friendly companions and as objects of his lostering care. Phaedra, in her frenzy of passion, yearns for the freedom ot the mountains," but Agave, who bitterly repents he.- Ckhaerorr''' '''^''' ^'""^ '^'^ '"^'^ "^''^' ''=''^" '^' ^"'■'^'•' ^ Finally a mountain may typify gloom and sorrow, for -Mountahm Age IS a burden heavier than Aetna's crags and casts over^-T^'''-"' "', the eyes a darkling light.'"" «'"°'" •'^'"l We have already had occasion to refer to Euripides' 1""""' knowledge of natural philosophy. It is largely due to this,^"[?,;S tha we hnd in his plays so many reference" to astrononu-al i.i'it cal tacts In a chorus in the Helen occurs an allusion to"P''^- the theory of Anaxagoras that the stars moved round the earth, Xafnrptov aarpwv vtt' ae\\ai- ' Bac. r,.-,(i. Bac ''IS -M^o^off^'- .,Hoc 1101 '*H^l»^«»''-/rfr:9*f- "*'^- ^*"J- " Iplj. Atil, 0, 9 06 ;«.!!l£'*"-^^^'r;,' ^\\^yP'Wyl^ ^aa an allusion to the I elvo signs of the Zodiac- Illustrations from the stars, // /^TT «-^' and setting, will l.e found in Phocn, s3o //./. 067. //jj;^). 372 and 1121. The elaborate tapestry work in the banqtief ,'.«): af Xu hus at Delphi exhibited " Uranus niarshalKn^ K. .iZ ui the vault ot heaven; the sun-god dri mg ni. .....ds bright star of evening. 8able-gaibed ni-hi, with a sinr^le K'.n if ''''' ^P^'^ ^y in bounding car. and 'the stars bo e the goddess company. Across the mid-sk \ sailed a Pleiad and sword-bear „g Orion too. while above was the Bear c.rclmg round by the tail upon the golden pole The moons full orb. which divides the month, waV looting her arrows a oft, the Hyades were there. ci;arest sign fo? sailors, and light-bringing Daw. was chasing Jty the RheHus. A^unpides close observation (,r external phenomena was Its an. i^cognized IS to be found in tlit, argument prefixed to the thenfcty M.,. This is a play SO little •^SripideanTitrg^^.tl •style that many have denied its genuineness. The writer o the argument mentions the doubts entertained even in his day. " But," he adds. <■ it is entered in the D.lLoaliie as belonging to Euripides, and the curiosity shown in it land- Vi^.P^""'""""?*" V'^ ^'^^'^^' '-t'-^y^ ^^ T .u ^ ?tatement evidently refer, to tho passacre* where the Trojan sentinels expect to be relieved.^ Thfy notice the signs of approaching morn. " Night's earliest sta s are on the wane, the seven Pleiads mount the sky whv Hnf!? f gl'^«« "Midway through the heavens. Awake.' wh^ linger ? Up from your beds to the watch. See ye not he moons pale beams? Morn, yes morn is now It hand and lo I the star that is day's harbinger " . pass. 1 which may well be compared with the astronon. A obse^r! vations at the opening of the Iphigenia at Aulis But if we go a little further in the Rhesus, we s^,:," find still better evidence of the genmneness of . .is play. It is Hon ? *1? ^r^'^^'- ^>^^ "^^ '^^ ^» ^^^ pleasing descrip- -'^'L^!Li^^i^gJ!^l!^''i^^kJJ hear herl 'tis the ' Fr. 755. , Ion 1147^ % » (17 on to the the stars, 'hoen. 83.5, it Im)] nf train the h a single stars bore I a Pleiad, the Bear, ole. The shoot mg sign for way the !nt times lena was ed to the ■s geneml le writer even in (lasoaliae wn in it rays his passage* I. TJiey earh'est •he sky ; Awake, See ye now at pas.sp,j>e il obser- vil^ find r. It is descrip- 'tis the m/.oyei. tuneful nightinj^ale. °^, " ••■ *^'''HJng her woes. Already on Idas slopes they are pasturing tl)e flocks and through the night I catch the shrill note- of the pipe. Sleep soothes my eye-hds ; tor sweetest is that which steals o'er them at dawn. ' Of the three tragic poets, Kuripides undoubtedly ileli-'hts Pi^tu- most m pictures(|ue coloring. If he does not Ldve° his '"'''''">' fancy free play he will a. least suggest the beauty of nf!;S scene or heighten romantic interest by means of strikinu ^ and charming touches. The Bacchantes are seated " under the green firs ami on the roofless rocks."- The fawn ' bounds over the meadow by the river," glad to bu.v herself ■• in the foliage of the shady wood.'" A. ave will e.spy Pentheus behind "smooth rock or tree."^' ami the unlucky king climbs a fir that has a " towering neck "" In the race for their prey, the Bacchantes " bound o'er torrent glen and broken crags,"" then s( atter the corpse " beneath rugged rocks and amid the dense green woods."' Phaedra IS the noblest of all women "seen by the sun's light and nights starry radiance."" The great wave sent ur. by I'osidon comes swelling and " plashing x\ ith foam."» Thrace u-Ai'n'T/'i ''^^'"'*^'"' ^^' Acropolis a wind-swept hill, Castfilm has " silvery eddies."'-' Phi.'bus met ( 'rousa when his "Irks were agli... with gold," and she was gathenng sau'iun flowers " of goMen gleam,"" but Hades is a winged creature that "glares •- leath Ins dark brows"" 1 he sun was a " long-levelled rule of strean , ,' light.'" Kupoiv aa the moon ;• eye of gloomv night"-'- is " daughter of Latona of the bright zone, a cii Je of golden light,"^'-' and heaven is the ' star-spangled firmament."- ■ Salamis is a " sea-gir isle that lies n ear Attica's holy hills,"-'^ and Aulis i I ^'*1* o4;;- ' ^''°- ''^' ^•^- "• ^^^ *"'* ^'^'- " ''*• "• 873-6. *u-^'^Ih ^^''•' <'81- //-. 11. 1093-4. ^'V II 1137.8 Hipp. 849-K,.l ; cf. lun 870 and Fr. 114, H. F. 4(t6. ; Hjpp. 1. 1210. •» A' •. 68, cf. Fr. 696 ; Hec. 81. iSu 'S'- ''i>n95. '■■Ion887-89,i. -* Ale. -261. MJlto^ 8 (7o»»tt^. ■ « Suppl. 650. ' ^ Suppl. 757-9. '" Kl 740 •"Phoen 809, ef. Pr, 771. 78! : Trn. HfiO. ="> P!-.:.=n. gJ in t IS •^' Iph. IV r. iio. s'J Phoeii" lii' Hel. 1096. Tro. 799. I'oftifiil 6M •' wayeless, Euboea's Kliclterin;; wintf."' EurinuH is " av»., urn.ngl.is eddies, with the changing breoxe whi e he ^Ils us de.n Dine wave."^' The «on/of Silenus ten? th'flo^k, on the edge of the hills "' and the " dewey s ope ' " ami take hea- pleasu.v i„ •■ Jewey cave,s."« ^ '.Xodlan S of iviln "h 'r"^: h "'^•^«"«^'' -^J at Vh'e we ! ng ot 1 Heus the Nereids dance.l on the " white-irleani- ng sand ' Ueracles - has tamed pathless wilds and m ing sea/'«and Pel ops " drove his ca^r nea^th .'aes ,1' sands of Ocean's surge, when white with foam.' - t..at,nont fcionrof ni.rh^.nTt \''f^']^ ""l' ^""'"''^^ characteriza- of niuht '^"'"■? Ot night and day to he found in all Greek literat.n.. a.ul .fay. are in Euripu es. Thus we have " white-winged dat'- night of .sable garb,"" "dusky. spar,gled night '''^ - sable night, mu-so of golden stars/'-^ and " Jght. queenly nSt giver of sleep to mortal men "" queeniy night, mamTri^HrnsZ"'' P'f "Tl"« '^'^'^ at night admits ,.f niaii} an illustration. J„ the open ng of thaRhe^Ms '• t]m Argive host kindles fires the live-long nig^a.ul the orW ffJi' '' '"f ' "^*' 'r''^^'"' S«- '- ^he nigh ot iio3 .s fall came down m gloom,"' yet th.re was a sounri of evelry. and " in the halls the bright blazing l?^hts she flulenng gleams upon the sleepers."'^ The Carnea th?n"h^'^'Vh' '}T'''''''tA' "•"- rides higr:;; n Inn n- 1 . i^ [l>I^Wn«t at Aulia open.s in the dead of a .s ,1 n.ght with Agamemnon in restle.Js mood, pacing u, and down before his tent upon the beach, and anx ous v scanning the bright stars.'" ""xiousiy The narrative passages in Euripides are unsurpas.sed in tl)eir vivid ana realistic force. tL messenger, deSin" Neoptolemus death, tells us how " in perfect ^almS Irons fotT'"'' '""''^'^ ""''''' «'«°d"amid hismir- Rhesus comes to Troy " like a god. mounted on Thracian His snow-white steeds ai o yoked with gold,^^ and to Jntlets IS bnimW o r,«,.„^„ „f u % , '. ". r? Pictu rosque scenes. Viviil unil pictu- resciue narrative. car. "21 ... ^ "•" •"""." " '"«'«^ steeus are yoked with irold ^ and to their frontlets s bound a gorgon of bronze.- his sSfeld flashes with welded gold.^^ s«"eui ' Iph. Aul. 120. • Cyc. ->I6. ■* H. F. S-.l. - Iph. Taur. 6. " Cyc. 27. " Ipli. Aul. 141. .J . , " Or. «(»2. J » Tro 847 . * .V" '?2'?' '"^' ^®*'''''- P*"*""- 24 >} noiKileiuuv vi'i ' * Or. 1,4. • » RhcB. 41-3. < « Tro -i4>i Ale. mK rf. Ht-1. I3m.7. ■ " Iph (ul (t ■ ■ Rl.es. 301. -. /(,, 304..-,. '*""• t'/,,''-300- * Cyc. 50. ' Iph. Aul. 1054. '» Ion 1150. •"El. 64. ' ' Tro. r)47-5<-)0. ■ ' Androni. 114."(. iH 18 " ever ile he rolls the flocks 3pe,"« and VVoodlajul the weoeni8m.,^ " where Phoebus d welfs 'neath the snow-sJtten peaks ot Painassus." There the maidens will h^d " Ca" taly s waters, to bedew the glory of their tresses." Theiv IS the rock that kindles bright fire, with double cist rta} b3 day drips with wme, sending forth fruit- laden dusters ot the grape, and there are the sacred cavern of t::^^^:^:^'^^' - ^»- "^'"^ -' the hafirJ The opening scene in the Hitypol^^tua; where the pure- minded prince bimgs to the chaste Artemis the offeri i^ of a w.^ath of flowers, culled not from well-tilled gSn' but froni he unshorn meadows, untouched by anf shep.' . herd s flock or mower's scythe, but where the wil7bee fn spnng-time passes free,~is a beautiful proof of the poe 's love and reverence for nature unadorned, aH the mo e ;5S!;;;'^^:ir"^^" '' ^^^^ ^^"'^ pu^ty wituL'r ' n's^'^ifi «... I ' ^'- ^ro ^'^ ^'- 3'«. 'luotecl on p. 9. 71 age of the 'eature of s marked Dst ap^ro- and pas- w be clear evidence itraint by frequent ! heavens s earthly ibundant il night- like the , may be note the rroylaml ■ms from n smites hi in the -smitten id " Cas- There le crest, ine that it- laden vern of allowed e puie- ii'ing of fartlens, / shep- bee in 3 poet's 3 more be sim- \\ e have seen that in their attitude towards nature tliere are considerable differences between the three Attic tragedians. A love of nature can undoubtedly be attributed to each but while in Aeschylus, and to a less extent in bophocles, this love is inconspicuous and, so to speak merely latent, in Euripides it is a prominent feature and niuls much more definite expression. A simple, sensuous enjoyment of nature is easily dis- cerned in all three poets. In each we may observe how nature plays the secondary part of illustrating life, and of afiordmg an appropriate background for the display of human thought and feeling. But as wo ascend in the aesthetic scale, wo Hnd that the attitude of mind, which pei-sonahzes nature antl endows her with a life and spirit ot her own, is more maiked in Sophocles than in Aeschylus and more pronounced in Euiipides tlyin in Sophocles. As to a sense of sympathy between nature and man, includiu-' the ascription of human thought and feeling to nature there is none in A eschy lus, except in the Prometheus. ' We' recognize its occasional appearance in Sophocles, especiallv in the latest plays, but in Euripides we find this conception abundantly dlustrated,— a conception which, while rare in Oreek literature, is so conspicuous in modern poetry. Euripides' feeling for nature can be detected in a num- ber of nnnor ways. He delights in frequent picturesque touches from nature, in all the varied beauties of earth and sea and sky, in harmonious landscapes, in brilliant light and wealth of coloi-, in sympathetic references to birds and animals, as well as numerous allusions to the trees, fruits and flowers of the botanical world. But notwithstanding Euripides' genuine appreciation of ""'^"'■'^- ^^e must not fail to notice his shortcomings. Aeschylus and Sophocles om never be accused of senti- luental padding. We are convinced that in them not only IS the emotion expressed at all times genuine, but the aesthetic coloiing is never too profuse, and is always artistically sound. In the case of Euripides, we have to complain of excessive pathos and sentiment, and in his numerous prettinessea we occasionally detect an air of unreality and insincerity.' Sometimes this is due to the mere frequency with which they are introduced, sometimes ' See pp. 17 and 18 above. •' Cf. pp. -20.2 witli pp. .17 and 52 above. The tliiee tmgoiUaiis coinpuri'd. How i)iir:piili's diff'eiH from tile other tun. Kuripideti •ncn to (Titicism. 72 to their scliolastic air,' in a few cases to tlie tlisnliv ..f . CHAPTER V. Aristo- pliaiifs niid Kiuipides im,.r\uT> ?l. 7"?"''-'* "' ""'".V a" amusing parody. He :y"/Jfif >Yd:sip7TS XtV>T^ru/,f ;f/.«,l„^> |e watere/,^,r,'r'/t,;' ^i? v^ S^:i et "^ srr- Such pretty retioements mUrht • , .V'*" ""*: ®"\<^ eriiead. Sec pp. 66, IW above. iv. 88. See Aristopli. Ran. »3. ,, ^ Nee p. 70a. ir. .1U8. See Aristoph. Vesp. 757. display of ly to the 1 the vari- Jd. If we change of tei-ance, as all be able ds nature lit of view timental- idy. He ■ metrical grandilo- ledley of affected jeniingly lanner of luinute- e sights >e point nnocent BdUro- nnount irhead.'* Iguient, cter of 'ace on esp. 757. 73 Aristophanes' most concentratM criticism of Euripides' ^Wiciem tailings occurs in the Froga,^ where, before the niock'/J '''« tribunal m the land of Hades, Aeschylus recites delicious "''''• parodie,. upon the choral-songs and monodies of his brother poet, who has recently come down to the world of the departed. "Ye halcyons, that by the evor-flowincr sea- waves chatter, sprinkling with the moist drops fj-om your wings your dew-sprayed l)odies, and ve that dwell in crannies under eaves— ye spiders, that tw . . . . irl with your hngers the loom-worked threads, the singin^' shuttle'.H cares, where the flute-loving dolphin flounders"about the prows of ships with their dark-blue beaks— oracles, and furlongs, the vine-blossom's jov, tendril of the grape that Jbanishes care ! . . . . " I'd like," continues Aeschylus,- " to set forth the fashion of your monodies." The thek)e of the example «iven is this : A woman, while spinning thread for the market, falls asleep and is visited by a horrible dream that her neicrhbor Glyce has robbed her hen-roost. She awakes with invo- cations to the Powers of night, and in impassioned tones calls upon Artemis and Hecate, as well as her Cretan maidens, to aid her in finding the thief. " O darkly shin- ing gloom of night, what hideous dream dost thou sen.l me from the world unseen, a minister of Hell, with lifeless life sab e night's ottspring, a horrible vision of dread, clad in' liark-tunereal robes, with glare so bloody, bloody and claws so huge ! Come, my maids, light me a lamp and briii.^ me in your pitchers fresh water from rivers, and warm some that I may wash off the fiendish dream. Ho ! crod of th«> sea : there we have it : Ho : my fellows, mark^these por- tents. My cock— Glyce has carried him ofl and is <^one Ye nvmphs, mountain-born : Mania, help l^ Luckless one, r was working at my tasks, tw. . . .irling in my hands a spindle full of flax, spinning a skein of thread, that at early oawn I might take it to the market to be sold J3ut up he flew, up into the sky, with the tips of nimblest pinions, and for me he left behind woes- and tears, tear.s from my eyes I let fall, fall, unhappy one! Come, ye Cretans, children of Ida, seize your bows and succor me and lightly move youi- limb.'-, oncirclin*'- the liouoe. Ay and let the maid Dictynna, too, fair Artemis AriBtoph. Ran. 1301 ff. See Kock'H note on 1. \M5, 10 " ArUtopii. Ran. l?,'2\i. Tl 7-t in the sion of the .scenes • (2) ihl Zu ' ^-^ - t .^■^'^^''''^ ^°"^"- bSnt 'of ton; r?wr' '• ^""^'"^ ^^^^'^ '^'^ "PP'^rent luiuness ot ton*- , (3) the misuse of rhetorical fiaurea • f4.Y ^Xr^rei' t^''*""^' -^'^ '^^^ arbitra.;- ctaSr^o Addition- Lt merkl in .• "T' innovations. f'r'"^" tures m T L ^"*-""' ^'"'^?^^^' ^'^ ^hese additional fea- tole tures (]) The prominence given to the sights and sounds observed, of external nature : vines and aninp« •-' fKo • ^ ^ deivv wafpr-i fKo 1, anagmpes,- the sea, rivers and /of' ^ ^ ' ^"^' tM:Xm>ov€Kvdnova, J. 1337- vnt. '"*^""'.'' ^•^^*^''' ^ ^'^ at Euripides' fondness for anou« expressions for darkness and ligk ;» . ^*^ Tj^^ "«e of hp6iJ"i.' "' A«'»«l»y»"H «"• Andrea. 1«7 ; Ion »7 '^yriitJS' S'lns!?^'" ' %^ '^"'- ''''-" per senne of dew, Ai. 1208- in Ae^.h T^. '"'*'«' P^oph. and then m pro- m, but it occur; five thne; n atl *^ " '^l*'"^^. f^L^"*!'- «"««' Emn. -^eeKI.4.8., •' See ppl a«.4, above. ^^st^^^^fi litlier anil* ng in thy Hecate, nd make a ng points sral confu- s and cir- apparent jures; (4) aracter of ional fea- id sounds ■ivei-s and lers' spin- of night,' ? NyKTOS" clness for e expres- abundant uripides' liphrasis )ilar ex- 0. .•«9, 1341. " 1. 1313. particulur Pr. KKJ). y Aesch. employed ipmk and icliylus or Aul. 182;. an in pro- ice, Euiii. pp. 48-»na"i«^ntation : Kl. 462 extraordinary paHHagewLerssakihrfPri^ ^^^ j^"^ ^^'^^"V^e is the breath took groat care to fall In «?aceS S?^^ even with her lant UiHlrenco in spirit lietweeii Jint'ieiit and mod- ern life. 'J'lie secret of Aristo iiost of his puhlic life e midst of se of a few irt, men of 1 inind and intellectual nth all its I seclusion, al. cutting r-n\en and i, to books in unprac- imental. air ardent ir from it. t air, they common- odern life, id among Jply dyed ' with his e, such a i national ural and :iation as 'f niruv Ktu HIS. •A. (Hgiires 196. F. 673. T. 1148.9. .pie is the ith her last ■ one oiiyht r mnh pru- tal. H. K. i;h. R*ii. 94.^ 77 Euripides of the beautiful in nature, and possibly as much appreciation of the patho.s' of hun.an fife, but he also recognized the principle that deep feeling did not call for tuil expression, that a certain moderation and reserve •should prevail m all art, and that just as it is a well known rule in painting not to crowd too much upon the canvas, so, too, in literary art, self-restraint should be exei-cised. .strength of expression lying in brevity and suggestiveness, but weakness in full expansion Ihe mo.st romantic of the plays of Euripides is one of n. his very latest-the /^ra.c7..;-iomposed Jvhile the poet )a"w.. was enjoying the hospitality of Archelaus in Macedonia, '""' *'"' and not exhibited m Athens until after Euripides' death ^'""'^ ihe many points of similarity between the Froas of Aristophanes and the Jiacc/uw, have naturally su.^sted that the comedy was to .some extent, a parody upTn the tragedy. And though on an examination of the external biw ' A ""-^ "T^ ^' convince,l that the Frogs was written betoie Aristophanes could have .seen the Bacchae per- t(.rmed,tho impression will .still remain that there is .some connection between the two plays and that po.ssibly the gHieral p an of the Frogs is partly due to the lu mors that bad reached Athens in reference to the character aii<1 success of this, the most sentimental and at the same time the most successful #f Euripides' plays Finally, we might ask, How far did Euripides' departure Su«ue8ted from Athens to a country where, in the midst of tho,seS^".; northern wilds, his spirit had freer range, and the emotions''"" "^ .*''^- awakened by communion with nature unadorned wereZS!;. unchecked m heir expression by the sneers of critics and o? the''*'' the established canons of art-how far di.l this aHect the ""'•■'*'*'' orm of the highest creation of pure fancy in Greek literature / » ^ «. ' '•"'"^' l'"*''?'^ "f K"ripidc8 i, 8o prominent that Mrn. Brow nine reaanb n UM the imet'a inain charuoteriHtic : ""«« n.i5!nu» " Onr Euripides the human, U'ith Ids dropjMRjjg of wuitii tears, And his touches of thingM coniiiiun, Till they rose to tonoh »ho ""hs INi)EX OF CITATIONS FROM THE GREEK TRAGEDIANS. Agttiti. Ohoepli. Eumen. 4».... 79.... 13«.... 141.... 263 264 281-316, 306 .... 394. 490. S22. SW. HfiO. 655.. 659., 740. 743.. 954.. 958.. 1050.. 1063.. 1141. 1146.. 1157.. 1180.. 1258.. 1316.. 1389. . 1444.. 1473.. 1533.., 1671.. 51. 61. 184. 247., 390.. 421.. 506. 9«1.. 972.. 111. 246. 280. 555. 861. 904. Sii. AKSCHYLUS. I'AOK. .. 14 .. 12 .. 16 .. 14 .. 17 .. 17 .. 19 .16,54 .. 14 .. 16 .. 16 .. 19 .. 15 .. 15 .. 13 .. 19 .. 13 . 13 . 19 . 14 . 14 . 13 . 13 . 10 . 17 . 14 . 14 . 12 . 14 . 14 . 12 . 14 16 17 12 14 11 14 12 17 17 14 14 15 II 14 74 12 i Eumen. 1005. Pers. Prom. 150, 1 33... 45..., 53. . 59.... KW.... 129.... 231-2.. 300.... 353-432 424.... 428.... 448.... 487.... 677 ... 611-8.. 763.... d . . 7... 24... H8 . . , 90... 139... 144... 348... 351 .. . ;W9. . . 420. . 425-30. .11, I'AUK. . 11 10 10 10 10 13 19 14 10 16 19 12 16 15 16 16 13 11 18 13 24 17 19 19 !.'> 15 15 11 13 17 431-5 17 452. 531 717 720 726 805.... 809 812 867 880 885 915-1093.! . 984 1022 102» 14 19 45 18 16 10 45 11 14 16 12 19 54 If 74 1091-3 17 PAOK. Sept. 17 16 63 \2 64 l« 85 ]'2 156 15 212 12 290 14 ;K)4 11 tm 10 390 16 494 16 608 14 768 II Suppl. 4 10 5 11 57 13 74 13 86 U 223 14 360 14 408 12 469 25 648 11 551 18 566 11 668 11 661 11 668 13 780 14 776 18 792-8 18 865 10 886 14 963 13 1029 10 Fragm. 44 15 66 11 69 15 70 16 169 53 170 16 192 U 195 19 199 19 261 12 300 11 31 A a 464 15 lGEDIANS. tAQK. . 16 . 12 . Ui . I--' . 15 . 12 . 14 . 11 . 10 . 16 . 16 14 11 10 II 13 13 14 14 14 12 26 11 IK 11 11 11 13 14 18 18 10 14 13 10 15 11 15 15 53 16 U 19 19 12 11 o 15 SOPHOCLES. Ajax Antig. Eleot. 139 27 >«7 26 205 26 257 26 361 24 395 30 4129 22,31 418 45 558 28 629 27 654 22 66»tt77 ... 24 074 30 693 32 695 22,29 706 .30 709 30 815 ff 23 845. 862. 960. 1148. 1208. 1217. 100 113 167 332 350 418 423 586 605 670 712 715 785 825 844 879 994 1040 1115-1152.. 1131 25, 17. 86. 107. 147. 1075. 30 31 27 26 74 22 30 28 28 33 32 45 28 34 32 25 25 25 33 26 31 30 25 28 29 2« 28 30 27 27 27 Oed. Col, fAUK. 16 21,26 17 27 56 21 83 26 137 26 183 .30 482 20 668-700.21,27,29 668 24 870 22,28 671 27 685 23 687 45 694-706 .... 26 1059 21,32 1081 27 1240 25 1248 .32 1333 .31 1549 .30 15}(0 21 Oed. Tyr. 104 151-202.. 175 195 374 474 716 733 25 29 28 33 30 32 22 22 25 30 22 33 32 32 1227 25,45 987.. 1026.. 1088.. 1100.. 1104.. 1279. 1315. 1368. 1.398. 1427. 2*5 25 23 '23 :vi 1451-4 .33 Philoct. 16 21... 180-190 . 188 212 .... 394 479 20 31 29 33 23 20 I'AUR. PItiloc-t. 4SS OQ .■>4H 22 664... . 20 26 Fragin. 22 26 26 28 86 28 234 26 264 28 342 .>9 363 26 366 oj, 413 27 435 28 449 (Ell.) . . 40 469.., 24 718 27 784 27 1025 38 1027 .32 80 KURIPIDES. AlcCMt. (W.. 91.. 115.. 245.. 'Ml.. 4.-I0. . mt.. 669.. 803.. 1(»67.. Androiii 1)6. . J«7.. 215,. 284.. 29(i.. »I9.. 327.. :)49.. 4(N<.. 441.. 5;{3.. 773.. M4S.. M6I-5 lull.. J045.. 1145.. ■■AOK. . 67 43 87 70 67 (i8 37 SI 74 42 42 74 37 35 64 64 42 43 54 60 42 36 61 61 50 36 68 Baccli Cycl. Boocli. II 4(j 13 36 !■> 37 25 46 38 ti7 64-.") 04 105 64 115 59 142 -,9 154 36,64 218 65 2336 76 306 9,51 370 53 402 60 406....;i6, 37, 44 410 64 438 41 453 9 76 536 (J5 56(» 37, 64 565 r>4 fi6H 45 569 44 625 44 Elect. Hec. 661 677-775 , 684 693 695-703 . 698-711 . 72«i 749 .... 821 -.36... 873-6 . . . I'AUK. ... 64| . . 69 ' .. 59 .. 76 .. 85 .. 59 .. 69 .36.44 .. 76 67 927-44 76 951 rA 977 53,67 992. 1043-1152 1051 1061 1084 1093 1137 1384 16. 41-62. 50..., 213... 294.... 516. . . . 663.... 601 ... . 54 U9 37 67 69 U7 67 65 41 1 68 62 1 68' 66 1 36! 68 76 53 61 ... 78-81. 1(»2... 161..., 210..., 432.... 4,38 ... 445.... 449.... 452 ... .68,68 .. 62 .. 'A .. 49 . . 66 .. 50 .. 74 .. 64 .. 54 76 467 54,66 620 3 , 585. 704. , 726., 730., 740,. 866.. 80. 81. 151. 41 68 61 58 64 67 08 44 67 41 I'AUV. Hec. 206 ao 894 64 444 04 481 36,37 460 46 468 76 660 7« 568 7« «41 44 650 .37,46 807 76 841 M 1067 67 1100 67,61 1101 65 UIO 58 Helen. 1 44 124 44 162 44 179 41,62 208 44, 45 250 44 262 76 342 51 348 57 349 45 368 44, 45 404 .•J7 491 44 m 44 im 45 r;4 54 m 67 1107 55 i 323-6 65 1366 68 1433 57 1455-1462.... 43 1466 53 1^^5 44 1477-89 60 1478-94. 65 1487 62 1489 65 1498 65 1501 41 1530 .J3 1673 . 54 Herncl. 10 50 168 42 427 43 748 56 H] EimiVimiH-Vontiiimd. .... fiO ... 04 ... 84 ..88,37 ... 4» ... 7« ... 76 ... 7« ... 44 ..37, 4fi ... 76 ... R4 ... 57 .57, 61 ... 65 . . . .'58 ... 44 .. 44 •.. 44 .41, 62 .44,45 .. 44 .. 7« .. 51 . . .*)T .. 45 44, 45 .. 37 .. 44 . . 44 .. 45 .. 54 ,. 67 . 55 . 65 . 68 . 67 . 43 . 53 . 44 . (iO . 55 . (i-2 . 65 . 65 . 4] . 13 . 54 . 50 , 4'J 43 56 Heraol. 7X\. Han: ¥. Hippol. ..u 34.S.450. 361 S89 386 4(J6 487 531 083 573 638... 660 867 873 781 797 888 861 861 02'2-l()l5 1071 1087 , 1140 1148 1158 1178 1295 rAuK. , 67 . 41 76 M 41 46 45 67 61 .'i4 42 41 65 61 66 76 56 64 5.'« OS 64 (ill *%, 43 42 61 (il 6U 58 lou. 73 77 121 . . . . 127 144 tt. . . 208 214 215 315 372 447 7.32-5J .. 737 750 822 8.3H 849 1121 1126 11.37 1173 1254.. 1173 1198 1206 1210 13, 4C..70|lpli. Aul. 74! 6.3 74 .... 51 , 60 60 ! <)5 i .... 43 .... 66 .... 51 .... 62 .... 44 .... 3« .... 43 .... 61 .... 87 ... 66 .... 56 46 60 38 37 37 67 »2. .. «6.... !»7.... 112... 174. 17» .. 184-2 1 U 189 KNi. .'71. 492. 595. 796. 870. 88«. 887 919. 927. mi 1074. 108;{, 1141. 1147. 1150. ll.)2. 1261 . 1283. 14.30. 144.V 1464>. 182... 222-5 . , 23H-76 420..., 57383 618.... 620. . . . 1036. 1054. 1062. 1284. 1294.. 1.102. , Iph. Timr. .51, 44, I'AdK. 51 67 74 63 4.-I 49 76 .•4 76 76 51 76 60 67 57 67 57 43 43 .58 44 "0 66 68 6i-> 45 61 54 57 54 •> (i5, 68 9-20 56 120 68 141 (J8 179 44, 45 74 41 76 37 6:^ 61 61 751 44, 45 76 68 54 65 51 54 (y 68 10 43 110.... 16, .54, 67 IM m\ 134.... 44, 45, 60i I' tun. llili.Tiiur. 156-1 (>(i ... I.'! 187 ri4 194 . .■)4. .>7 222 76 256 74 379 44 3»8 64 399 45 421-37 .... 50 422 54 462 HI 814 78 889 37 1(J26. ... 64 1089 49, 55 1097 9, 60 1099 46 1101 46 • 125 .51 1128 51 11.34 43 1143 78 1148 78 1192 74 1207 68 1235 30 1240 38 1242 M 124.-) 41 1327 1420.... 69 1.34.-. 43 1390 1408.... 43 1 398 »■ ;15 1487 64 Mcil. 106 42 362 43 824-46. . ..-)2, 70 8.35..... 37, 44,45 1200 54 I2!)6 61 Oie«t. 126 53 174 «8 211 .-,3 243 .-i4 279 43 340 44 728 43 822 58 982-6 61 992 H8 l0O.-> 65 1310 44, 4.-. !37.-» 31 1377 .50 82 KURIPIDKS CotUinmd. ihml. I'llllUII. Rbi 1383. 1386. 1(M2. 1 ... 24... 84... 109... 163.. 175.. 202-13 202-39 294.... BOi... 580... 043 ... 644.... 648... 786 ,,. 801.... 809.... 827 ... 885.... 859... 1515... 1570... 1605... . 36 . .VI . .->3 .61,57 .... 46 41. 3*11.7 . , 731 . 921 . . . 67 . .. 44 .. HI , .. H7 . . 43 . . 70 . . (J4 .. 61 .. 36 .42, 54 .. 3« .. ;i6 .. 76 .. 65 .. 67 .44,45 .. 66 .. 43 .. 56 . 56 .. 66 .. 68 .. 65 .. 68 .. 66 .. 67 .. 74 Rhva. Huppl. Tioad. i)"0. 76.. 80 , 222. . 269 ! 660.. 767.. 834.. 961. , 990... ilffo... I... "S... 102... 208... 210... 214... 216... 226 .. . 458... 543... 647-60 669... 686 . 687..., 688-96 696.... 781 ... . 772.... 799.... 810.... 847 ... 860 ... I'AltK. . ;»6 . 41 42 42 43 67 «7 43 42 57 56 .. 30 .. 43 .. 44 .. 35 . 44 .. 44 .. 36 .44, 45 .. 54 ... 68 . . 68 . . . 50 . 42 . . 76 . . 43 . . 43 .. .50 .. .38 .. 67 .. 37 ..'56, 68 .57, 67 I' All a Tioacl. 884-8 64 1866-70.... 70 Krugiii. 42 54 8H 70,72 104 74 114 .14,67 UN 63 222 64 229 36 248 64 308 72 316 9,70 330 43 415 42 417 44 441 64 453 63 555 64 593 64,68 694 64 618 76 896 61,67 756 66 771 67 773 55,63 779 66 781 67 783 61 836 54 929 66 941 64 1083 36,44 rfl PAOE -8 64 «-70 .... 70 M 70, 7'2 74 .H, 87 53 04 38 04 72 9,70 42 42 44 04 OS 04 64, 88 64 76 01,87 86 67 66,83 66 67 61 04 66 64 36,44