Hesiod continually insists on justice, whose law no man may violate unpunished. The Gnomic poets show how guilt, if unavenged at the moment, brings calamity upon the offspring of the evil-doer. This notion of an inheritance of crime is particularly noticeable, since it tinged the whole tragedy of the Greeks. Solon, again, in his dialogue with Croesus, develops another aspect of the same idea. With him the Deity is jealous of all towering greatness, of all insolent prosperity; his Nemesis punishes the pride of wealth and the lust of life. Some of the most prominent personages of Greek tragedy--Creon, Oedipus, Theseus, Agamemnon--illustrate this phase of the idea. In the sayings of the Seven Sages we trace another shade of the conception. All of them insist on moderation, modesty, the right proportion, the due mean. The lyrists take up a somewhat different position. The vicissitudes of life, both independent of and connected with personal guilt, fascinate their imagination. They have a deep and awful sense of sudden catastrophes. Pindar rises to a loftier level: his odes are pervaded by reverence for a holy power, before whom the insolent are forced to bow, by whom the humble are protected and the good rewarded. Such are the traces of a doctrine of Nemesis to be found in all the literature of the pre-dramatic period. That very event which determined the sudden splendor of the drama gave a sublime and terrific sanction to the already existing morality. The Persian war exhibited the downfall of a haughty and insolent race, cut off in all its pomp and power. Before the eyes of the men who witnessed the calamities of Oedipus and Agamemnon on the stage, the glory of godless Asia had vanished like a dream. Thus the idea of Nemesis quelling the insolent and smiting the unholy was realized in actual history; and to add to the impression produced on Greek imagination by the destruction of the Persian hosts, Pheidias carved his statue of Nemesis to be a monument in enduring marble of the national morality. Æschylus erected an even more majestic monument to the same principle in his tragedies.[1] Nemesis is the fundamental idea of the Greek drama. It appears strongest in Æschylus, as a prophetic and awful law, mysteriously felt and terribly revealed. Sophocles uses it to point the deep moralities which govern human life. In Euripides it degenerates into something more akin to a sense of vicissitudes; it becomes more sentimental--less a religious or moral principle than a phenomenon inspiring fear and pity. This sequence appears to be necessary in the growth and expansion of a primitive idea. Rugged and superstitious at first, it is next harmonized and humanized, and ends at last in being merely artistic.