Page:Symonds - A Problem in Greek Ethics.djvu/39

Rh as a great artist. He never fails to teach by precept and example; he does not, as Ibycus is reported to have done, adorn his verse with legends of Ganymede and Tithonus, for the sake of insinuating compliments. Yet no one shared in fuller measure the Greek admiration for health and grace and vigour of limb. This is obvious in the many radiant pictures of masculine perfection he has drawn, as well as in the images by which he loves to bring the beauty-bloom of youth to mind. The true Hellenic spirit may be better studied in Pindar than in any other poet of his age; and after we have weighed his high morality, sound counsel, and reverence for all things good, together with the passion he avows, we shall have done something toward comprehending the inner nature of Greek love.

The treatment of paiderastia upon the Attic stage requires separate considerations. Nothing proves the popular acceptance and national approval of Greek love more forcibly to modern minds than the fact that the tragedians like Æschylus and Sophocles made it the subject of their dramas. From a notice in Athenæus it appears that Stesichorus, who first gave dramatic form to lyric poetry, composed interludes upon paiderastic subjects. But of these it is impossible to speak, since their very titles have been lost. What immediately follows, in the narrative of Athenæus, will serve as text for what I have to say upon this topic. "And Æschylus, that mighty poet, and Sophocles, brought masculine loves into the theatre through their tragedies. Wherefore some are wont to call tragedy a paiderast; and the spectators welcome such." Nothing, unfortunately, remains of the plays which justified this language but a few fragments cited by Aristophanes, Plutarch, Lucian, and Athenæus. To examine these will be the business of this section.

The tragedy of the Myrmidones, which formed part of a trilogy by Æschylus upon the legend of Achilles, must have been popular at Athens, for Aristophanes quotes it no less than four times—twice in the Frogs, once in the Birds, and once in the Ecclesiazusæ. We can reconstruct its general plan from the lines which have come down to us on the authority of the writers above mentioned. The play opened with an