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Even at the height of the recent Red Terror the United States never went so Conservative as this. This should help us to realize the rock-firm basis of tradition, of use and wont, of patriarchal sanctities, which underlay the working of fifth-century Athenian democracy as we watch its apparent vicissitudes.
But this leads us to the second great division of our subject. We turn from the phenomena of the sky to those of the soul. If what I have written elsewhere is right, one of the greatest works of the Hellenic spirit, and especially of fifth-century Athens, was to insist on what seems to us such a commonplace truism, the difference between Man and God.
There are extravagances, theatricalities, impossibilities enough. The Gothic princes comport themselves like British seamen ashore in Suez or Bombay; Raphael talks like young Lancelot Smith in Yeast; Hypatia is a Greek Argemone; and Bishop Synesius is merely an African fifth-century Charles Kingsley, what Sydney Smith called a "squarson," or compound of squire and parson.
Thus there seem to be cases where he has been affected in his conceptions of fifth-century tragedy by the practice of his own day, when the only living form of drama was the New Comedy. For example, as we have noticed above, true Tragedy had always taken its material from the sacred myths, or heroic sagas, which to the classical Greek constituted history.
It is not too much to say that, before fifth-century Greece, politics did not exist. There were powers and principalities, governments and subjects, but politics no more existed than chemistry existed in the age of alchemy. An imitation of an idea, as Plato has taught us, is not the same as an idea; nor is the imitation of a science the same as a science.
And no writer after the year 400 speaks of any other city as Pericles used to speak of fifth-century Athens, not even Polybius 250 years later, when he stands amazed before the solidity and the 'fortune' of Rome. The city state, the Polis, had concentrated upon itself almost all the loyalty and the aspirations of the Greek mind. It gave security to life. It gave meaning to religion.
There are an enormous number of inscriptions, a few sculptures comparatively, a great many architectural fragments, and an infinity of small objects. Among the sculptures two or three, sarcophagi may be specially noted. One with the subject of Hippolytus and Phædra, found in the narthex of the little basilica at Salona in 1859, in a fifth-century stratum, is a late copy of one in the Louvre.
The worst fate you could wish a man is genius without moral strength. It wrecks individuals, and it wrecks nations. I said we stand now on an isthmus of time; fifth-century Greece stood on such another.
Perhaps it may not be thought too pedantic on my part if I explain that the King Clodion referred to in Millaud's last verse was the legendary "Clodion the Hairy," a supposed fifth-century leader of the Franks, reputed to be a forerunner of the founder of the, Merovingian dynasty.
Certainly Lady Lisa might stand as the embodiment of the old fancy, the symbol of the modern idea. Slightly fanciful and Pateresque as these words are, they are substantially true, as any one who sets Monna Lisa by a piece of fifth-century sculpture can easily see. There is the same contrast between Greek literature and our own.
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