Athens: Its Rise and Fall, Complete

[ Roos hespera. Aristoph., Vesp 1080.

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[ Justin, lib. ii., c. ix.

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[ According, however, to Suidas, he escaped and died at Lemnos.

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[ This incident confirms the expressed fear of Miltiades, that delay in giving battle might produce division and treachery among some of the Athenians. Doubtless his speech referred to some particular faction or individuals.

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[ Plut. in Vit. Arist.

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[ These apparitions, recorded by Pausanias, l. i., c. 33, are still believed in by the peasantry.

FOOTNOTES TO SECOND VOLUME

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[ “Cum consuetudine ad imperii cupiditatem trahi videretur.”—Nepos in Vit. Milt., cap. 8.

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[ Corn. Nepos in Vit. Milt., cap. 7.

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[ Nepos. in Vit. Milt., cap. 7.

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[ Herod., lib. vi., cap. cxxxvi.

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[ Nepos says the fine was estimated at the cost of the navy he had conducted to Paros; but Boeckh rightly observes, that it is an ignorant assertion of that author that the fine was intended for a compensation, being the usual mode of assessing the offence.

The case is simply this—Miltiades was accused—whether justly or unjustly no matter—it was clearly as impossible not to receive the accusation and to try the cause, as it would be for an English court of justice to refuse to admit a criminal action against Lord Grey or the Duke of Wellington. Was Miltiades guilty or not? This we cannot tell. We know that he was tried according to the law, and that the Athenians thought him guilty, for they condemned him. So far this is not ingratitude—it is the course of law. A man is tried and found guilty—if past services and renown were to save the great from punishment when convicted of a state offence, society would perhaps be disorganized, and certainly a free state would cease to exist. The question therefore shrinks to this—was it or was it not ungrateful in the people to relax the penalty of death, legally incurred, and commute it to a heavy fine? I fear we shall find few instances of greater clemency in monarchies, however mild. Miltiades unhappily died. But nature slew him, not the Athenian people. And it cannot be said with greater justice of the Athenians, than of a people no less illustrious, and who are now their judges, that it was their custom “de tuer en amiral pour encourager les autres.”

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[ The taste of a people, which is to art what public opinion is to legislation, is formed, like public opinion, by habitual social intercourse and collision. The more men are brought together to converse and discuss, the more the principles of a general national taste will become both diffused and refined. Less to their climate, to their scenery, to their own beauty of form, than to their social habits and preference of the public to the domestic life, did the Athenians, and the Grecian republics generally, owe that wonderful susceptibility to the beautiful and harmonious, which distinguishes them above all nations ancient or modern. Solitude may exalt the genius of a man, but communion alone can refine the taste of a people.

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[ It seems probable that the principal Bacchic festival was originally held at the time of the vintage—condita post frumenta. But from the earliest known period in Attica, all the triple Dionysia were celebrated during the winter and the spring.

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[ Egyptian, according to Herodotus, who asserts, that Melampus first introduced the Phallic symbol among the Greeks, though he never sufficiently explained its mysterious significations, which various sages since his time had, however, satisfactorily interpreted. It is just to the Greeks to add, that this importation, with the other rites of Bacchus, was considered at utter variance with their usual habits and manners.

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[ Herodotus asserts that Arion first named, invented, and taught the dithyramb at Corinth; but, as Bentley triumphantly observes, Athenaeus has preserved to us the very verses of Archilochus, his predecessor by a century, in which the song of the dithyramb is named.

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[ In these remarks upon the origin of the drama, it would belong less to history than to scholastic dissertation, to enter into all the disputed and disputable points. I do not, therefore, pause with every step to discuss the questions contested by antiquarians—such as, whether the word “tragedy,” in its primitive and homely sense, together with the prize of the goat, was or was not known in Attica prior to Thespis (it seems to me that the least successful part of Bentley’s immortal work is that which attempts to enforce the latter proposition); still less do I think a grave answer due to those who, in direct opposition to authorities headed by the grave and searching Aristotle, contend that the exhibitions of Thespis were of a serious and elevated character. The historian must himself weigh the evidences on which he builds his conclusions; and come to those conclusions, especially in disputes which bring to unimportant and detached inquiries the most costly expenditure of learning, without fatiguing the reader with a repetition of all the arguments which he accepts or rejects. For those who incline to go more deeply into subjects connected with the early Athenian drama, works by English and German authors, too celebrated to enumerate, will be found in abundance. But even the most careless general reader will do well to delight himself with that dissertation of Bentley on Phalaris, so familiar to students, and which, despite some few intemperate and bold assumptions, will always remain one of the most colossal monuments of argument and erudition.

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[ Aeschylus was a Pythagorean. “Veniat Aeschylus, sed etiam Pythagoreus.”—Cic. Tusc. Dis., b. ii., 9.

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[ Out of fifty plays, thirty-two were satyrical.—Suidas in Prat.

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[ The Tetralogy was the name given to the fourfold exhibition of the three tragedies, or trilogy, and the Satyric Drama.

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[ Yet in Aeschylus there are sometimes more than two speaking actors on the stage,—as at one time in the Choephori, Clytemnestra, Orestes, Electra (to say nothing of Pylades, who is silent), and again in the same play, Orestes, Pylades, and Clytemnestra, also in the Eumenides, Apollo, Minerva, Orestes. It is truly observed, however, that these plays were written after Sophocles had introduced the third actor. [Footnote The Orestean tetralogy was exhibited B. C. 455, only two years before the death of Aeschylus, and ten years after Sophocles had gained his first prize.: Any number of mutes might be admitted, not only as guards, etc., but even as more important personages. Thus, in the Prometheus, the very opening of the play exhibits to us the demons of Strength and Force, the god Vulcan, and Prometheus himself; but the dialogue is confined to Strength and Vulcan.

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[ The celebrated temple of Bacchus; built after the wooden theatre had given way beneath the multitude assembled to witness a contest between Pratinas and Aeschylus.

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[ 1st. The rural Dionysia, held in the country districts throughout Attica about the beginning of January. 2d. The Lenaean, or Anthesterial, Dionysia, in the end of February and beginning of March, in which principally occurred the comic contests; and the grand Dionysis of the city, referred to in the text. Afterward dramatic performances were exhibited also, in August, during the Panathenaea.

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[ That is, when three actors became admitted on the stage.

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[ For it is sufficiently clear that women were admitted to the tragic performances, though the arguments against their presence in comic plays preponderate. This admitted, the manners of the Greeks may be sufficient to prove that, as in the arena of the Roman games, they were divided from the men; as, indeed, is indirectly intimated in a passage of the Gorgias of Plato.

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