e Romans, and was already interwoven with their own national
legends; and the susceptible foreigner found himself far more at home
in the ideal world of the heroic myths than in the fish-market of
Athens. Nevertheless tragedy also promoted, only with less abruptness
and less vulgarity, the anti-national and Hellenizing spirit; and in
this point of view it was a circumstance of the most decisive
importance, that the Greek tragic stage of this period was chiefly
under the sway of Euripides (274-348). This is not the place for a
thorough delineation of that remarkable man and of his still more
remarkable influence on his contemporaries and posterity; but the
intellectual movements of the later Greek and the Graeco-Roman epoch
were to so great an extent affected by him, that it is indispensable
to sketch at least the leading outlines of his character. Euripides
was one of those poets who raise poetry doubtless to a higher level,
but in this advance manifest far more the true sense of what ought to
be than the power of poetically creating it. The profound saying which
morally as well as poetically sums up all tragic art--that action is
passion--holds true no doubt also of ancient tragedy; it exhibits
man in action, but it makes no real attempt to individualize him.
The unsurpassed grandeur with which the struggle between man and
destiny fulfils its course in Aeschylus depends substantially on
the circumstance, that each of the contending powers is only conceived
broadly and generally; the essential humanity in Prometheus and
Agamemnon is but slightly tinged by poetic individualizing. Sophocles
seizes human nature under its general conditions, the king, the old
man, the sister; but not one of his figures displays the microcosm of
man in all his aspects--the features of individual character. A high
stage was here reached, but not the highest; the delineation of man
in his entireness and the entwining of these individual--in themselves
finished--figures into a higher poetical whole form a greater
achievement, and therefore, as compared with Shakespeare, Aeschylus
and Sophocles represent imperfect stages of development. But, when
Euripides undertook to present man as he is, the advance was logical
and in a certain sense historical rather than poetical. He was
able to destroy the ancient tragedy, but not to create the modern.
Everywhere he halted half-way. Masks, through which the expression
of the life of the soul is, as