Mendelssohn, and which the late Dean Milman has put into English thus:
Come, fellow-citizens, and see
The desolate Antigone.
On the last path her steps shall treed,
Set forth, the journey of the dead,
Watching, with vainly lingering gaze,
Her last, last sun’s expiring rays.
Never to see it, never more,
For down to Acheron’s dread shore,
A living victim am I led
To Hades’ universal bed.
To my dark lot no bridal joys
Belong, nor o’er the jocund noise
Of hymeneal chant shall sound for me,
But death, cold death, my only spouse shall be.
Oh tomb! Oh bridal chamber! Oh deep-delved
And strongly-guarded mansion! I descend
To meet in your dread chambers all my kindred,
Who in dark multitudes have crowded down
Where Proserpine received the dead. But I,
The last—and oh how few more miserable!—
Go down, or ere my sands of life are run.
And let me ask you whether the contemplation of such a self-sacrifice should draw you, should have drawn those who heard the tale nearer to, or farther from, a certain cross which stood on Calvary some 1800 years ago? May not the tale of Antigone heard from mother or from nurse have nerved ere now some martyr-maiden to dare and suffer in an even holier cause?
But to return. This set purpose of the Athenian dramatists of the best school to set before men a magnified humanity, explains much in their dramas which seems to us at first not only strange but faulty. The masks which gave one grand but unvarying type of countenance to each well-known historic personage, and thus excluded the play of feature, animated gesture, and almost all which we now consider as “acting” proper; the thick-soled cothurni which gave the actor a more than human stature; the poverty (according to our notions) of the scenery, which usually represented merely the front of a palace or other public place, and was often though not always unchanged during the whole performance; the total absence, in fact, of anything like that scenic illusion which most managers of theatres seem now to consider as their highest achievement; the small number of the actors, two, or at most three only, being present on the stage at once,—the simplicity of the action, in which intrigue (in the playhouse sense) and any complication of plot are utterly absent; all this must have concentrated not the eye of the spectator on the scene, but his ear upon the voice, and his emotions on the personages who stood out before him without a background, sharp-cut and clear as a group of statuary, which is the same, place it where you will, complete in itself—a world of beauty, independent of all other things and beings save on the ground on which it needs must stand. It was the personage rather than his surroundings, which was to be impressed by every word on the spectator’s heart and intellect; and the very essence of Greek tragedy is expressed in the still famous words of Medea:
Che resta? Io.
Contrast this with the European drama—especially with the highest form of it—our own Elizabethan. It resembles, as has been often said in better words than mine, not statuary but painting. These dramas affect colour, light, and shadow, background whether of town or country, description of scenery where scenic machinery is inadequate, all, in fact, which can blend the action and the actors with the surrounding circumstances, without letting them altogether melt into the circumstances; which can show them a part of the great whole, by harmony or discord with the whole universe, down to the flowers beneath their feet. This, too, had to be done: how it became possible for even the genius of a Shakespeare to get it done, I may with your leave hint to you hereafter. Why it was not given to the Greeks to do it, I know not.
Let us at least thank them for what they did. One work was given them, and that one they fulfilled as it had never been fulfilled before; as it will never need to be fulfilled again; for the Greeks’ work was done not for themselves alone but for all races in all times; and Greek Art is the heirloom of the whole human race; and that work was to assert in drama, lyric, sculpture, music, gymnastic, the dignity of man—the dignity of man which they perceived for the most part with their intense æsthetic sense, through the beautiful in man. Man with them was divine, inasmuch as he could perceive beauty and be beautiful himself. Beauty might be physical, æsthetic, intellectual, moral. But in proportion as a thing was perfect it revealed its own perfection by its beauty. Goodness itself was a form—though the highest form—of beauty. Καλος meant both the physically beautiful and the morally good; αισχρος both the ugly and the bad.
Out of this root-idea sprang the whole of that Greek sculpture, which is still, and perhaps ever will be, one of the unrivalled wonders of the world.
Their first statues, remember, were statues of the gods. This is an historic fact. Before B.C. 580 there were probably no statues in Greece save those of deities. But of what form? We all know that the usual tendency of man has been to represent his gods as more or less monstrous. Their monstrosity may have been meant, as it was certainly with the Mexican idols, and probably those of the Semitic races of Syria and Palestine, to symbolise the ferocious passions which they attributed to those objects of their dread, appeasable alone by human sacrifice. Or the monstrosity, as with the hawk-headed or cat-headed Egyptian idols, the winged bulls of Nineveh and Babylon, the many-handed deities of Hindostan—merely symbolised powers which could not, so the priest and the sculptor held, belong to mere humanity. Now, of such monstrous forms of idols, the records in Greece are very few and very ancient—relics of an older worship, and most probably of an older race. From the earliest historic period, the Greek was discerning more and more that the divine could be best represented by the human; the tendency of his statuary was more and more to honour that divine, by embodying it in the highest human beauty.
In lonely mountain shrines there still might linger, feared and honoured, dolls like those black virgins, of unknown antiquity, which still work wonders on the European continent. In the mysterious cavern of Phigalia, for instance, on the Eleatic shore of Peloponnese, there may have been in remote times—so the legend ran—an old black wooden image, a woman with a horse’s head and mane, and serpents growing round her head, who held a dolphin in one hand and a dove in the other. And this image may have been connected with old nature-myths about the marriage of Demeter and Poseidon—that is, of encroachments of the sea upon the land; and the other myths of Demeter, the earth-mother, may have clustered round the place, till the Phigalians were glad—for it was profitable as well as honourable—to believe that in their cavern Demeter sat mourning for the loss of Proserpine, whom Pluto had carried down to Hades, and all the earth was barren till Zeus sent the Fates, or Iris, to call her forth, and restore fertility to the world. And it may be true—the legend as Pausanias tells it 600 years after—that the old wooden idol having been burnt, and the worship of Demeter neglected till a famine ensued, the Phigalians, warned by the Oracle of Delphi, hired Onatas, a contemporary of Polygnotus and Phidias, to make them a bronze replica of the old idol, from some old copy and from a drama of his own. The story may be true. When Pausanias went thither, in the second century after Christ, the cave and the fountain, and the sacred grove of oaks, and the altar outside, which was to be polluted with the blood of no victim—the only offerings being fruits and honey, and undressed wool—were still there. The statue was gone. Some said it had been destroyed by the fall of the cliff; some were not sure that it had ever been there at all. And meanwhile Praxiteles had already brought to perfection (Paus. 1, 2, sec. 4) the ideal of Demeter, mother-like, as Heré—whom we still call Juno now—but softer-featured, and her eyes more closed.
And so for mother earth, as for the rest, the best representation of the divine was the human. Now, conceive such an idea
