Gilbert Murray

“ Slavery had always been one of the subjects that haunted Euripides. We do not happen to find in our remains of his work any definite pronouncement that slavery is "contrary to nature," as was held by most Greek philosophers of the succeeding century. Probably no practical man of the time could imagine a large industrial city living without the institution of slavery. But it is clear that Euripides hates it. It corrupts a man; it makes the slave cowardly and untrustworthy. Yet "many slaves are better men than their masters"; "many so-called free men are slaves at heart." ”

“ Memory, according to Greek legend, was the mother of the Muses; and the "memory" of which Euripides is thinking is that of the race, the saga of history and tradition, more than his own. The Muses taught him long ago their mystic dance, and he will be theirs for ever; he will never from weariness or faint heart ask them to rest. He was thinking doubtless of the lines of the old poet Alcman to his dancing maidens, lines almost the most beautiful ever sung by Greek lips: "No more, ye maidens honey-throated, voices of longing; my limbs will bear me no more. ”

“ Books that are still read with delight after two thousand years are certainly, in some sense, models to imitate. But the great flaw in the classicist view, as regards the ancient literature itself, was that it concentrated attention on the external and accidental; on the mannerism, not the meaning; on the temporary fashion of a great age, not on the spirit which made that age great. A historical mind will always try, by active and critical use of the imagination, to see the Greek poet or philosopher in his real surroundings and against his proper background. ”

“ And in a sense the greatest triumph that any tradition can accomplish is to rear noble and worthy rebels. The Greek tradition of the fifth century B.C., the great age of Athens, not only achieved extraordinary advances in most departments of human life, but it trained an extraordinary band of critical or rebellious children. Many a reader of Plato's most splendid satires against democratic Athens will feel within him the conclusive answer: "No place but Athens could ever have reared such a man as this, and taught him to see these faults or conceive these ideals." ”

“ The Taurians are savages who kill all strangers, and if ever a Greek shall land in the wild place it will be her task to prepare him for sacrifice. She lives with this terror hanging over her, and the first Greek that comes is her unknown brother, Orestes. Their recognition of one another is, perhaps, the finest recognition-scene in all Tragedy; and with its sequels of stratagem and escape forms a thrilling play, haunted not, like a tragedy, by the shadow of death but rather by the shadow of homesickness. ”

“ Here, too, a raging world wakes to find itself at peace and its past hatreds unintelligible. And the first thought that comes to the surface is, in each case, the great guiding preoccupation of each man's life; with Menelaus it is Helen; with Orestes the oracle that made him sin. Nay more; when Orestes wakens, half-conscious, to find Hermione lying in his arms, his natural movement, as experiments on hypnotized persons have shown, is to accept the suggestion and draw her to him in love. Greek legend knew well that, as a matter of history, Hermione became Orestes' bride. ”

“ For sheer beauty of writing, for a kind of gorgeous dignity that at times reminds one of Aeschylus and yet is compatible with the subtlest clashes of mood and character, the Trojan Women stands perhaps first among all the works of Euripides. But that is not its most remarkable quality. The action works up first to a great empty scene where the child's body is brought back to his grandmother, Hecuba, for the funeral rites. A solitary old woman with a dead child in her arms; that, on the human side, is the result of these deeds of glory. ”

“ Then, in the finale, come scenes of almost mystical tone, in which Hecuba appeals first to the gods, who care nothing; then to the human dead who did at least care and love; but the dead, too, are deaf like the gods and cannot help or heed. Out of the noise and shame of battle there has come Death the most Holy and taken them to his peace. No friend among the dead, no help in God, no illusion anywhere, Hecuba faces That Which Is and finds somewhere, in the very intensity of Troy's affliction, a splendour which cannot die. ”

“ It is likely enough that they conformed carefully to the popular religious prejudices—such politicians always do: but in practice they thought as little of "the gods" as the most pronounced sceptic could wish. They had quite rejected such unprofitable ideals as "pity and charm of words and the generosity of strength," to which the simple man of the old times had always had the door of his heart open. They were haunters of the market-place, mockers at all simplicity, close pursuers of gain and revenge; rejecters, the poet might feel in his bitterness, both of beauty and of God. ”

“ There follows a first scene with Jason, in which man and woman empty their hearts on one another—at least they try to; but even yet some fragments of old habit and conventional courtesy prevent Jason from telling the full truth. Still it is a wonderful scene, Jason reasonable and cold, ready to recognize all her claims and provide her with everything she needs except his own heart's blood; Medea desolate and half mad, asking for nothing but the one thing he will not give. Love to her is the whole world, to him it is a stale memory. ”

“ They claim that in recent years they alone have met the Persians single-handed on behalf of all Greece; that in old times it was they who gave refuge to the children of Heracles when hunted through Greece by the tyrant Eurystheus; it was they who, at the cost of war, prevented the conquering Thebans from leaving their dead enemies to rot unburied and thus offending against the laws of Greece and humanity.
This is the light in which Athens conceived herself; the ideal up to which, amid much confused, hot-headed and self-deceiving patriotism, she strove to live. ”

“ Probably the most high-minded man when engaged in a death-grapple fights in much the same way as the most low-minded. And there can be no doubt that as the toils of war closed tighter round Athens, and she began to feel herself fighting, gasp by gasp, for both her empire and her life, the ideals of the Saviour of Hellas fell away from her. She fought with every weapon that came.
Such times called forth naturally the men that suited them. The assembly cared less to listen to decent and thoughtful people, not to speak of philosophers. ”

“ There is in the Heracles a wistful chorus, put in the mouths of certain Theban elders (637 ff.) , "Youth is what I love for ever; Old Age is a burden upon the head, a dimness of light in the eyes, heavier than the crags of Etna. Fame and the crown of the East and chambers piled with gold, what are they all compared with Youth?" A second life is what one longs for. To have it all again and live it fully; if a man has any aretê in him, any real life left in his heart, that is what ought to be possible. . . . For Euripides himself it seems there is still a life to be lived. ”

“ For the Gods, to work much death and woe,
Devised this loveliness all dreams above,
That men in Greece and Troy for thirst thereof
Should strive and die, and so the old Earth win
Peace from mankind's great multitude and sin.
The superlative beauty may probably enough be found in company with heartlessness and treachery; but cannot these things be purged away, like the hates of Menelaus and Orestes, and the pure beauty remain a thing to pray to and be helped by, much as the old sagas pretend? There is here again the touch of mysticism. ”

“ THE ART OF EURIPIDES CONTINUED: THE CHORUS: CONCLUSION
And lastly there is the Chorus, at once the strangest and the most beautiful of all these ancient and remote conventions. If we can understand the Chorus we have got to the very heart of Greek tragedy.
The objections to the Chorus are plain to any infant. These dozen homogeneous persons, old men or young women, eternally present and almost never doing anything, intruded on action that often demands the utmost privacy: their absurdity, on any plane of realism, is manifest. ”

“ The greatest change that has come over our study of Greek civilization and literature in the last two generations is this: that we now try to approach it historically, as a thing that moves and grows and has its place in the whole life-history of man. The old view, sometimes called classicist, was to regard the great classical books as eternal models; their style was simply the right style, and all the variations observable in modern literature were, in one degree or another, so many concessions to the weakness of human nature. ”

“ In devoting the present volume to the study of a single writer, remote from us in time and civilization and scarcely known by more than name to many readers of the Library, I am moved by the belief that, quite apart from his disputed greatness as a poet and thinker, apart from his amazing and perhaps unparalleled success as a practical playwright, Euripides is a figure of high significance in the history of humanity and of special interest to our own generation. ”

“ There were many factors at work, doubtless, to produce the Bacchae: the peculiar state of Athens, the poet's ecstasy of escape from an intolerable atmosphere, the simple Homeric life in Macedonian forests and mountains, and perhaps even the sight of real Bacchantes dancing there. But it may be that the chief factor is simply this. When a man is fairly confronted with death and is consciously doing his last work in the world, the chances are that, if his brain is clear and unterrified, the deepest part of his nature will assert itself. Euripides was both a reasoner and a poet. ”

“ There is a brief wild attempt at bargaining; then hate in Menelaus overcomes fear. He rejects all terms. Orestes' party sets fire to the palace; and Menelaus at the head of his soldiers beats blindly at the barred gate. "The fire of Hell," to use Dr. Verrall's phrase, has been let loose; rage, hatred, revenge, all blazing to the point of madness; what more can befall?
What does befall is strange and daring. An entry of a god not in gentleness, not with any preparation or introduction, but sudden and terrific, striking all beholders into a trance from which they awaken changed men. ”

“ If so, why are the shrines polluted by lustful gods, the legends made specially barbaric, and the beautiful earth-born Princess shown as a seduced woman and a would-be murderess? Nay, further, why does the hero of the play explain in a careful speech that he would sooner live a friendless slave in the temple at Delphi than a free man and a prince in such a place as Athens—a city "full of terror," where men "who are good and might show wisdom are silent and never come forward," while the men in power watch enviously round to destroy any possible rival? ”

“ He is secondly, in one degree or another, a rebel against that tradition. And the best traditions make the best rebels. Euripides is the child of a strong and splendid tradition and is, together with Plato, the fiercest of all rebels against it.
There is nothing paradoxical in this. No tradition is perfect. The best brings only a passing period of peace or triumph or stable equilibrium; humanity rests for a moment, but knows that it must travel further; to rest for ever would be to die. ”

“ Poetry is there and drama is there, and character and plot interest; but often they are unrolled before you not as things immediately happening, but as things to feel and reflect upon. It is a bigger world than ours and every movement in it is slower and larger.
And when the poet wants to show us the heroine's state of mind his method will be quite different from ours. We should rack our brains to compose a "natural" dialogue in which her state of mind would appear, or we should make her best friend explain what she is like, or we should invent small incidents to throw light upon her. ”

“ A good Greek play moves almost always in a curve of steadily increasing tension—increasing up to the last scene but one and then, as a rule, sinking into a note of solemn calm. It often admits a quiet scene about the middle to let the play take breath; but it is very chary indeed of lifting and then dropping again, and never does so without definite reason. In pursuance of this plan, Euripides likes to have his opening as low-toned, as still, as slow in movement, as he can make it: its only tension is a feeling of foreboding or of mystery. ”

“ Imagine then what would occur in the mind of a clever and high-thinking boy who was brought suddenly from the one society into the heart of the second, and made to realise that the battles and duties and prizes of life were tenfold more thrilling and important than he had ever dreamed. That is the kind of awakening that must have occurred in the minds of a large part of the Greek people in the early fifth century. ”

“ Clytemnestra, who has watched like a drowning woman to see which way the youth's fierce vanity would leap, throws herself at his feet in gratitude; "Shall her daughter, also, come and embrace his knees?" No; Achilles does not want any woman to kneel to him. Let the women try to change Agamemnon's mind; if they can do it, all is well. If not, Achilles will fight to the last to save the girl. ”

“ He lived on the island of Salamis in a cave which had two openings and a beautiful view—a good cave was probably more comfortable than many a Greek house, so this may not have been a great eccentricity—and there you could see him "all day long, thinking to himself and writing, for he simply despised anything that was not great and high." It is like the memories of a child, rather a puzzled child, watching the great man from a distance. ”