The Golden Verses of Pythagoras — with commentary (1917)

In the meantime, the governments, until then quite indifferent to these rustic amusements, warned that certain liberties permitted by Thespis were becoming too flagrant, began to see the profanations which had resulted, and of which the Eumolpidae had no doubt pointed out the consequences. ' They tried to prevent them, and Solon even made a law regarding this subject'; but it was too late: the people attracted in crowds to these representations, all informal as they were, rendered useless the foresight of the legislator. It was necessary to yield to the torrent and, being unable to arrest it, to strive at least to restrain it within just limits. A clear field was left open for the good that it was able to do, in fertilizing the new ideas, and severe rules were opposed to check whatever dangers its invasions might have for religion and for customs. The dramatic writers were permitted to draw the subject of their pieces from the source of the mysteries, but it was forbidden them, under penalty of death, to divulge the sense, ^schylus, first of the dramatic poets, having involuntarily violated this law, ran the risk of losing his life. '* Discriminating judges were established to pronounce upon

' Athen., 1. ii., c. 3; Arist., De Poet., c. 3, 4, 5.

* Tragedy, in Greek rpayifSla, comes from the words rpoxfe, austere, severe, lofty, and <i8i), chant.

Comedy, in Greek KUfUfSla, is derived from the words kSm»», joyful, lascivious, and «iSi), chant.

It is unnecessary for me to say that the etymologists who have seen in tragedy a song of the goat, because rpiyot signifies a goat in Greek, have misunderstood the simplest laws of etymology, tpdyos signifies a goat only by metaphor, because of the roughness and heights which this animal loves to climb; as caper, in Latin, holds to the same root as caput; and chhre, in French, to the same root as chef, for a similar reason.

= Diog. Laert., 1. i., § 59. ' Plutar. In Solon.

< Arist., De Mor., 1. iii., c. 2; ^lian., Var. Hist., 1. v., c. 19; Clem. Alex., Strom., 1. ii., c. 14.

52 The Golden Verses of Pythagoras the excellency of the works offered in the competition, and one was very careful not to abandon oneself at first to the passionate acclamations of the people, and the approbations or disapprobations of the maxims which were therein contained.' These judges, proficient in the knowledge of music and of poetry, had to listen in silence until the end, and maintain all in order and decency. Plato attributes to the desuetude into which this law fell, and to the absolute dominion which the people asstuned over the theatre, the first decadence of the art and its entire corruption.

^schylus, whom I have just named, was the true creator of dramatic art. Strong with the inspiration which he had received from Homer, * he transported into tragedy the style of epopoeia, and animated it with a music grave and simple. ' Not content with the moral beauties with which his genius embellished it, he wished that music, painting, and dancing might lend their aid and contribute to the illusion of the senses. He caused a theatre to be built where the most ingenious devices, the most magnificent decorations displayed their magic effects.'' One saw in the tragedy of Prometheus, the earth trembling, clouds of dust rising in the air ; one heard the whistling of wind, the crash of thunder ; one was dazzled by the lightnings. * Old Ocean appeared upon the waves, and Mercury came from the heights of heaven to announce the commands of Jupiter. In the tragedy of the Eumenides, these infernal divinities appeared upon the scene to the number of fifty, clothed in black robes ; blood-stained, the head bristling with serpents, holding in one hand a torch and in the other a lash. ' They replied to the shade of Clytemnestra, who invoked them, by a choir of music so frightful, that a general terror having struck

' Plato, De Legib., 1. iii. " Athen., 1. viii., c. 8.

3 Plutar., De Music.

* Horat., De Art. poet, v, 279; Vitruv., In Prefac, 1. vii., p. 124. s ^schylus, In Prometh., Act i., Sc. i, et Act. v., Sc. ult. '^schylus, In Eumenid., Act v., Sc. 3.

The Essence and Form of Poetry 53 the assembly, certain of the women experienced premature pains of confinement.'