The Golden Verses of Pythagoras — with commentary (1917)

One feels, after this, that Greek tragedy had in its theatrical forms, much in common with our modern operas; but what eminently distinguishes it is that, having come forth complete from the depths of the sanctuaries, it possessed a moral sense which the initiates understood. This is what put it above anything that we might be able to conceive today ; what gave it an inestimable price. Whereas the vulgar, dazzled only by the pomp of the spectacle, allured by the beauty of the verse and the music, enjoyed merely a fleeting gratification, the wise tasted a pleasure more pure and more durable, by receiving the truth in their hearts even from the deceitful delusions of the senses. This pleasure was as much greater as the inspiration of the poet had been more perfect, and as he had succeeded better in making the allegorical spirit felt, without betraying the veil which covered it.

-iEschylus went further in comprehension of the subject than any of his successors. His plans were of an extreme simplicity. He deviated little from the mythological tradition.' All his efforts tended only to give light to their teachings, to penetrate into their hidden beauties. The characters of his heroes, strongly drawn, sustained them at heights where Homer had placed them. He caused terror to pass before them that they might be frightened. ' His aim was to lead them to virtue by terror, and to inspire the soul with a force capable of resisting alike the intoxications of prosperity and the discouragements of poverty.

Sophocles and Euripides followed closely .lEschylus and surpassed him in certain portions of the art ; the first, even triumphed over him in the eyes of the multitude^; but the

'Aristoph. In Pint., v. 423; Pausan., 1. i., c. 28; Vitd Mschyl. apud., Stanley, p. 702. ' Dionys. Chrys., Oral., 1. ii.

3 Aristojph., In Ran.; Philostr., In VM Apollon, 1. vi., c. ii. < Plutar., In Cimon.; Athen., 1. viii., c. 8.

54 The Golden Verses of Pythagoras small number of sages, faithful to the true principles, regarded him always as the father of tragedy.' One can admit that Sophocles was more perfect in the conduct of his plans, in the regularity of his style ^; that Euripides was more natural and more tender, more skilful in arousing interest, in stirring the passions'; but these perfections, resulting from the form, had not been acquired without the very essence of drama being altered; that is to say, without the allegorical genius which had presided at the composition of the fables that the poets had always drawn from the religious mysteries, suffering many deviations, which rendered it often unrecognizable through the foreign adornments with which it was burdened. Sophocles and above all Euripides, by devoting themselves to perfecting the form, really harmed therefore the principle of the art and hastened its corruption. If the laws which had at first been promulgated against those who in treating of the tragic subjects vilified the mysterious sense had been executed, Euripides would not have been allowed to depict so many heroes degraded by adversity, so many princesses led astray by love, so many scenes of shame, of scandal, and of crime''; but the people, already degraded and bordering upon corruption, allowed themselves to be drawn along by these dangerous tableaux and hastened half-way to meet the poisoned cup which was offered to them.-

It must candidly be admitted, that it is to the very charm of these tableaux, to the talent with which Euripides understood how to colour them, that the decadence of Athenian manners and the first harm done to the purity of religion must be attributed. The theatre, having become the school of the passions, and offering to the soul no spiritual nourishment, opened a door through which doubt, contempt, and derision for the mysteries, the most sacrilegious auda-

' Philostr., In Vitd ApolL, 1. vi., c. ii.

'Schol., In Vitd SophocL; Suidas, /nao0oKV; Pluter., De Profect. Vikt.

3 Aristot., De Poet., c. 25. * Aristoph., In Ran., v. 874 et 1075.

The Essence and Form of Poetry 55