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20 thing, but knew not yet all that it meant, or into what struggles and dangers it might hereafter carry them; a people who had learned and had taught mankind that national independence is a thing worth fighting for, but had too weak a hold of the other lesson which they had also taught by their example, that the federation of free peoples is nobler than any form of tyranny; a people with glorious memories and boundless possibilities, but surrounded with unknown dangers. This people gave their whole attention to tragic performances for days together, year after year. Was there ever such an opportunity? And never was great opportunity more grandly met.

True relation of the drama to national life.—We are not to suppose, however, that it could be the business of tragedy to become the direct exponent of the national consciousness, and to teach or preach political and social truth. That would be to misconceive the relation in which art stands to the events of history. The Tragic Muse gave a passing tribute to the mighty movements that were lifting her to higher levels and into a wider sphere; as when Phrynichus in his Phœnissæ, or Æschylus in the Persæ, chose to celebrate the repulse of Xerxes. But, as Phrynichus found upon another occasion, when he made a drama of the taking of Miletus, the people did not want to be reminded of their own recent joys or sorrows, but to forget the present in the contemplation of things imaginary or remote. The true home of tragedy was the ideal; or rather was to be sought in those early legends where primitive experience was mirrored in traditional belief. In moulding these to his purpose the tragedian fused them with what he felt to be most precious in the spirit of his own age, whether he regarded the old heroic tale as the record of a struggle towards principles which now ruled mankind, or as typifying the eternal laws which in all ages equally must be the light of men. If, in treating the legend of Orestes, Æschylus made particular reference to the Court of the Areopagus; or if, in the Œdipus