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"It grieves me that I cannot tell so fair a damsel that it is inestimably valuable," said the dealer, stroking his gray whiskers. "But we have here only a very feeble copy. The original is in the Villa belonging to Phinius on the Lake of Larius, and which he calls Cothurnus. I have no use whatever for this piece." "And this carved cup?" asked Keraunus.
But all his poetry evinces a sublime and earnest mind. Terror is his element, and not the softer affections, he holds up a head of Medusa before the petrified spectators. In his handling Destiny appears austere in the extreme; she hovers over the heads of mortals in all her gloomy majesty. The cothurnus of Aeschylus has, as it were, the weight of iron: gigantic figures stalk in upon it.
As to the intention of this, I shall say a word or two hereafter, when I come to consider the new Greek comedy. Voltaire, however, is without excuse, as the mention of the cothurnus leaves no doubt that he alluded to tragic masks. But his error had probably no such learned origin. In most cases, it would be a fruitless task to trace the source of his mistakes.
Coppe's sandals were no more durable than the fleeting rose, and whenever a fair dame came to show her torn cothurnus to the great Coppe he replied sadly, "The evil is irremediable: madame has been walking!" A Future for Women.
The other, however, The Destruction of Numantia, has altogether the elevation of the tragical cothurnus; and, from its unconscious and unlaboured approximation to antique grandeur and purity, forms a remarkable phenomenon in the history of modern poetry.
Adone, his understudy, took his place. My own share in the mummery was humble and confusing. In toga and cothurnus I had to read a pompous prologue, and did it amid shouts of "Basta! basta!" from the audience. I don't believe that I was more thankful than they were when I had done. The less I say about the rest of the evening and night the better.
The whole description of the Greek tragedy, as well as that of the cothurnus in particular, is worthy of the man whose knowledge of antiquity was such, that in his Essay on Tragedy, prefixed to Brutus, he boasts of having introduced the Roman Senate on the stage in red mantles. No; the countenance remained from beginning to end the very same, as we may see from the ancient masks cut out in stone.
But the Greek actor knew better, I believe, than to exhibit or to decorate his cork sole; and, with shafts as with heroes, it is rather better to put the sandal off than the cothurnus on.
As Aeschylus, who raised tragic poetry from its rude beginnings to the dignity of the Cothurnus, was his predecessor; the historical relation in which he stood to him enabled Sophocles to profit by the essays of that original master, so that Aeschylus appears as the rough designer, and Sophocles as the finisher and successor.
At the same epoch the ladies who had fallen in love with Greek and Roman fashions had abandoned the old-fashioned shoe in order to adopt the cothurnus; and Coppe, the chic shoemaker, or corthurnier, of Paris charged sixty dollars a pair for his imitation antique sandals, with their straps. Alas!
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