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This surely would be the verdict of an impartial critic who compared Homer, the lyrists, the tragedians, Plato, Theocritus, the epigrammatists, with the corresponding names in modern literatures.
These pages must necessarily produce a considerable effect in the way of persuading the reader that Shakespeare knew the Greek tragedians as intimately as Mr. Collins did. Mr. Greenwood is obliged to leave these parallels to readers of Mr. Collins's essay. Indeed, what more can we do? Who would read through a criticism of each instance? Two or three may be given.
Hence this power extends also to the world of gods: for the Grecian gods are mere powers of nature; and although immeasurably higher than mortal man, yet, compared with infinitude, they are on an equal footing with himself. In Homer and in the tragedians, the gods are introduced in a manner altogether different.
It was at the Theatre Francais that she won her final acceptance as the greatest of all tragedians of her time. This was in her appearance in Corneille's famous play of "Horace." She had now, in 1838, blazed forth with a power that shook her no, less than it stirred the emotions and the passions of her hearers. The princes of the royal blood came in succession to see her.
But what if the Greek tragedians had particular reasons for circumscribing themselves within this extent of time, which with the constitution of our theatres no longer exist? We shall immediately see that this was really the case.
On this account Quinctilian expressly recommends him to the young orator, and with great justice, as capable of furnishing him with more instruction than the older tragedians.
Indeed, he seems in general to have looked with indifference, if not with dislike, upon the professed athletes. He often appointed prizes, for which not only tragedians and musicians, pipers and harpers, but rhapsodists also, strove to outvie one another; and delighted in all manner of hunting and cudgel-playing, but never gave any encouragement to contests either of boxing or of the pancratium.
Mendelssohn is reported to have made a first attempt at writing Grecian music, or what we suppose it to be, mainly a matter of unison and meagre instrumentation. He was soon dissuaded from such a step, however, and wisely. The Greek tragedians, really writers of grand opera, made undoubted use of the best musical implements and knowledge they had.
Nevertheless he had at this moment, in the back of his head, a weary consciousness that war was roseate only to young boys and girls, that the day was cold and drear, the general hostile, the earth overlaid with dull misery, that the immortals, if there were any, must be clamouring for the curtain to descend forever upon this shabby human stage, painful and sordid, with its strutting tragedians and its bellman's cry of World Drama!
Similarly, when your tragedians represent this subject on the stage, you are loud in your applause; the spectacle of one friend risking his life for another generally brings tears to your eyes: but you are quite incapable of rendering any such signal services yourselves; once let your friends get into difficulties, and all those tragic reminiscences take wing like so many dreams; you are then the very image of the silent mask which the actor has thrown aside: its mouth is open to its fullest extent, but not a syllable does it utter.
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