Greek drama (Tragedy) -- History and criticism; Mythology, Greek, in literature
It may be that Europeans of our own day are better fitted to estimate him
aright than enthusiasts under the Empire or his companions who saw him
too close at hand. During the last half-century we have witnessed great
changes which have their counterpart in the Athens for which he wrote.
Hopes have been realized only to prove disappointments and the source
of fresh perplexities. In England the spread of knowledge has resulted
not in a cultivated, but in a mentally restless people. Universal
ability to read has for its most obvious fruit not wider knowledge of
literature, but more newspapers and a rank jungle of “popular” writing.
Similarly at Athens the sophists had produced mental avidity where
there was no quickening of spiritual vigour to correspond. Another fact
of vital import has been the rise of our working-class to solidarity
and political power: it probably resembles that “demos” which Cleon led
more closely than “the masses” with which Peel or Russell had to deal.
Again, experience of war has shown how small is the effect which settled
government, social reform, and education have exercised upon the raw,
primitive, human instincts, both base and noble. In Greece, the empire
of Athens, with its tyranny and selfishness, and the Peloponnesian war
which had produced a frightful corruption of conduct and ideals,[855]
tainted society with that cynicism (ἀναίδεια) of which Euripides so often
speaks. Just as we are severed by a wide gulf from the crude but not
ignoble certainty, the superficial worship of progress which marked the
Victorian era, so was Euripides severed from the “men of Marathon” for
whom Æschylus wrote.
Public-domain text, read in full here on John Shaqi.
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