Page:Greece from the Coming of the Hellenes to AD. 14.djvu/404

374 This melancholy, indeed, finds expression very early in Greek literature, and can be traced through many generations of it, as perhaps of all literatures, taking the form of resignation or despair, angry protest against providence, or faith in an unseen power, according to the character of the individual or his age.

The fifth century saw the rise of the Athenian Drama. Of this literature once so copious we have only plays remaining from three Tragic poets, Aeschylus, Sophocles, and Euripides (between B.C. 525 and 405). The foundation of a Greek Play was the Choric Song, which being for the most part of Dorian origin, continued by a literary convention to be written in the Doric dialect, though with considerable modifications. The first step towards a play was the employment of an actor to hold a dialogue with the leader of the chorus. Aeschylus (B.C. 525–456) added a second actor—and perhaps a third—and thus the drama, as we have it, became possible. In the tragedies of Aeschylus the chorus plays a much more conspicuous part than in those of Sophocles, and still more so than in Euripides. In form, however, the plays are, roughly, on the same model, but the poets differ considerably in style and in their view of life, of duty, and providence. Yet there are certain characteristics common to all three arising chiefly from the peculiar circumstances of their age. Thus they are all affected by the rising need and use of oratory. In every play speeches delivered either by the persons chiefly affected, or by some messenger describing the catas-