Agamemnon, for instance, is simply Hybris typified in a legendary person. He is a hero flown with “insolence” (the pride and elation of victory), and that is all that can be said of him. He is not, like a character in Ibsen, a complete human being with a complex personality, a center from which relations radiate to innumerable points of contact in a universe of indifferent fact. He has not a continuous history: nothing has ever happened to him except the conquest of Troy and the sacrifice of Iphigenia; nothing ever could happen to him except Pride’s fall and the stroke of the axe. As we see him he is not a man, but a single state of mind, which has never been preceded by other states of mind (except one, at the sacrifice in Aulis), but is isolated, without context, margin, or atmosphere. Every word he says, in so far as he speaks for himself and not for the poet, comes straight out of that state of mind and expresses some phase of it. He has a definite relation to Cassandra, a definite relation to Clytemnestra; but no relation to anything else. If he can be said to have a _character_ at all it consists solely of certain defects which make him liable to Insolence; if he has any _circumstances_, they are only those which prompt him to his besetting passion.[342] There seems no human thought so primitive as to have lost its bearing on our own thought, nor so ancient as to have broken its connection with our own life.—E. B. TYLOR. CHAPTER VII THE INFLUENCE OF NATIONAL CUSTOMS AND IDEAS[343] It is unnecessary to state that the differences between ancient life in Greece and modern life in America and Western Europe are endless. To attempt to enumerate them all would require a separate volume. In the present chapter I shall undertake to touch upon some of the features which more intimately affected Greek drama.