e issues of his principles coincided with the contemporary
political and philosophical radicalism, and was the first and chief
apostle of that new cosmopolitan humanity which broke up the old Attic
national life. This was the ground at once of that opposition which
the ungodly and un-Attic poet encountered among his contemporaries,
and of that marvellous enthusiasm, with which the younger generation
and foreigners devoted themselves to the poet of emotion and of love,
of apophthegm and of tendency, of philosophy and of humanity. Greek
tragedy in the hands of Euripides stepped beyond its proper sphere and
consequently broke down; but the success of the cosmopolitan poet was
only promoted by this, since at the same time the nation also stepped
beyond its sphere and broke down likewise. The criticism of
Aristophanes probably hit the truth exactly both in a moral and in a
poetical point of view; but poetry influences the course of history
not in proportion to its absolute value, but in proportion as it is
able to forecast the spirit of the age, and in this respect Euripides
was unsurpassed. And thus it happened, that Alexander read him
diligently; that Aristotle developed the idea of the tragic poet with
special reference to him; that the latest poetic and plastic art in
Attica as it were originated from him (for the new Attic comedy did
nothing but transfer Euripides into a comic form, and the school of
painters which we meet with in the designs of the later vases derived
its subjects no longer from the old epics, but from the Euripidean
tragedy); and lastly that, the more the old Hellas gave place to the
new Hellenism, the more the fame and influence of the poet increased,
and Greek life abroad, in Egypt as well as in Rome, was directly or
indirectly moulded in the main by Euripides.

Roman Tragedy

The Hellenism of Euripides flowed to Rome through very various
channels, and probably produced a speedier and deeper effect there
by indirect means than in the form of direct translation. The tragic
drama in Rome was not exactly later in its rise than the comic;(39)
but the far greater expense of putting a tragedy on the stage--which
was undoubtedly felt as a consideration of moment, at least during the
Hannibalic war--as well as the nature of the audience(40) retarded the
development of tragedy. In the comedies of Plautus the allusions to
tragedies are not very frequent, and most references of this kind may
have been