faces
Now look wealth to me and mine.
Her so willing, ye more willing,
Now receive.  This land and city,
On ancient right securely throned,
Shall shine for evermore.

Furies.

Hail, and all hail, mighty people, be greeted,
On the sons of Athena shines sunshine the clearest.
Blest people, near Jove the Olympian seated.
And dear to the maiden his daughter the dearest.
Timely wise ’neath the wings of the daughter ye gather,
And mildly looks down on her children the Father.

Those of you here who love your country as well as the old Athenians loved theirs, will feel at once the grand political significance of such a scene, in which patriotism and religion become one—and feel, too, the exquisite dramatic effect of the innocent, the weak, the unwarlike, welcoming among them, without fear, because without guilt, those ancient snaky-haired sisters, emblems of all that is most terrible and most inscrutable, in the destiny of nations, of families, and of men:

To their hallowed habitations
’Neath Ogygian earth’s foundations
In that darksome hall

Sacrifice and supplication
Shall not fail.  In adoration
Silent worship all.

Listen again, to the gentler patriotism of a gentler poet, Sophocles himself.  The village of Colonos, a mile from Athens, was his birthplace; and in his Œdipus Coloneus, he makes his Chorus of village officials sing thus of their consecrated olive grove:

   In good hap, stranger, to these rural seats
   Thou comest, to this region’s blest retreats,
   Where white Colonos lifts his head,
   And glories in the bounding steed.
Where sadly sweet the frequent nightingale
   Impassioned pours his evening song,
And charms with varied notes each verdant vale,
   The ivy’s dark-green boughs among,
   Or sheltered ’neath the clustering vine
   Which, high above him form a bower,
   Safe from the sun or stormy shower,
   Where frolic Bacchus often roves,
And visits with his fostering nymphs the groves.

   Bathed in the dew of heaven each morn,
   Fresh is the fair Narcissus born,
   Of those great gods the crown of old;
   The crocus glitters, robed in gold.
Here restless fountains ever murmuring glide,
   And as their crispèd streamlets play,
To feed, Cephisus, thine unfailing tide,
   Fresh verdure marks their winding way.
   Here oft to raise the tuneful song
   The virgin band of Muses deigns,
And car-borne Aphrodite guides her golden reins.

Then they go on, this band of village elders, to praise the gods for their special gifts to that small Athenian land.  They praise Pallas Athené, who gave their forefathers the olive; then Poseidon—Neptune, as the Romans call him—who gave their forefathers the horse; and something more—the ship,—the horse of the sea, as they, like the old Norse Vikings after them, delighted to call it.—

Our highest vaunt is this—Thy grace,
   Poseidon, we behold.
The ruling curb, embossed with gold,
Controls the courser’s managed pace.
Though loud, oh king, thy billows roar,
Our strong hands grasp the labouring oar,
And while the Nereids round it play,
Light cuts our bounding bark its way.

What a combination of fine humanities!  Dance and song, patriotism and religion, so often parted among us, have flowed together into one in these stately villagers; each a small farmer; each a trained soldier, and probably a trained seaman also; each a self-governed citizen; and each a cultured gentleman, if ever there were gentlemen on earth.

But what drama, doing, or action—for such is the meaning of the word—is going on upon the stage, to be commented on by the sympathizing Chorus?

One drama, at least, was acted in Athens in that year—440 b.c.—which you, I doubt not, know well—

that Antigone of Sophocles, which Mendelssohn has resuscitated, in our own generation, by setting it to music, divine indeed, though very different from the music to which it was set, probably by Sophocles himself, at its first, and for ought we know, its only representation.  For pieces had not then, as now, a run of a hundred nights and more.  The Athenian genius was so fertile, and the Athenian audience so eager for novelty, that new pieces were demanded, and were forthcoming, for each of the great festivals, and if a piece was represented a second time it was usually after an interval of some years.  They did not, moreover, like the moderns, run every night to some theatre or other, as a part of the day’s amusement.  Tragedy, and even comedy, were serious subjects, calling out, not a passing sigh, or passing laugh, but all the higher faculties and emotions.  And as serious subjects were to be expressed in verse and music, which gave stateliness, doubtless, even to the richest burlesques of Aristophanes, and lifted them out of mere street-buffoonery into an ideal fairy land of the grotesque, how much more stateliness must verse and music have added to their tragedy!  And how much have we lost, toward a true appreciation of their dramatic art, by losing almost utterly not only the laws of their melody and harmony, but even the true metric time of their odes! music and metre, which must have surely been as noble as their poetry, their sculpture, their architecture,

possessed by the same exquisite sense of form and of proportion.  One thing we can understand—how this musical form of the drama, which still remains to us in lower shapes, in the oratorio, in the opera, must have helped to raise their tragedies into that ideal sphere in which they all, like the Antigone, live and move.  So ideal and yet so human; nay rather, truly ideal, because truly human.  The gods, the heroes, the kings, the princesses of Greek tragedy were dear to the hearts of Greek republicans, not merely as the founders of their states, not merely as the tutelary deities, many of them, of their country: but as men and women like themselves, only more vast; with mightier wills, mightier virtues, mightier sorrows, and often mightier crimes; their inward free-will battling, as Schlegel has well seen, against outward circumstance and overruling fate, as every man should battle, unless he sink to be a brute.  ‘In tragedy,’ says Schlegel—uttering thus a deep and momentous truth—‘the gods themselves either come forward as the servants of destiny and mediate executors of its decrees, or approve themselves godlike only by asserting their liberty of action and entering upon the same struggles with fate which man himself has to encounter.’  And I believe this, that this Greek tragedy, with its godlike men and manlike gods, and heroes who had become gods by the very vastness of their humanity, was a preparation, and it may be a necessary preparation,

for the true Christian faith in a Son of man, who is at once utterly human and utterly divine.  Man is made in the likeness of God—is the root-idea, only half-conscious, only half-expressed, but instinctive, without which neither the Greek Tragedies, nor the Homeric Poems, six hundred years before them, could have been composed.  Doubtless the idea that man was like a god degenerated too often into the idea that the gods were like men, and as wicked.  But that travestie of