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Lectures on Dramatic Art and Literature by August Wilhelm Schlegel
page 90 of 644 (13%)
Thebes, families who had nothing to do with the political history of the
Athenians, for whom the pieces were composed. We do not see that the Attic
poets ever endeavoured to exhibit the ancient kings of their country in an
odious light; on the contrary, they always hold up their national hero,
Theseus, for public admiration, as a model of justice and moderation, the
champion of the oppressed, the first lawgiver, and even as the founder of
liberty. It was also one of their favourite modes of flattering the
people, to show to them Athens, even in the heroic ages, as distinguished
above all the other states of Greece, for obedience to the laws, for
humanity, and acknowledgment of the national rights of the Hellenes. That
universal revolution, by which the independent kingdoms of ancient Greece
were converted into a community of small free states, had separated the
heroic age from the age of social cultivation, by a wide interval, beyond
which a few families only attempted to trace their genealogy. This was
extremely advantageous for the ideal elevation of the characters of Greek
tragedy, as few human things will admit of a very close inspection without
betraying some imperfections. To the very different relations of the age
in which those heroes lived, the standard of mere civil and domestic
morality is not applicable, and to judge of them the feeling must go back
to the primary ingredients of human nature. Before the existence of
constitutions,--when as yet the notions of law and right were
undeveloped,--the sovereigns were their own lawgivers, in a world which as
yet was dependent on them; and the fullest scope was thus given to the
energetic will, either for good or for evil. Moreover, an age of
hereditary kingdom naturally exhibited more striking instances of sudden
changes of fortune than the later times of political equality. It was in
this respect that the high rank of the principal characters was essential,
or at least favourable to tragic impressiveness; and not, as some moderns
have pretended, because the changing fortunes of such persons exercise a
material influence on the happiness or misery of numbers, and therefore
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