ON NOT KNOWING GREEK
gestion, of questioning; but if we look to the choruses to make this plain we are often baffled rather than instructed. At once in the Bacchæ we are in the world of psychology and doubt; the world where the mind twists facts and changes them and makes the familiar aspects of life appear new and questionable. What is Bacchus, and who are the Gods, and what is man’s duty to them, and what the rights of his subtle brain? To these questions the chorus makes no reply, or replies mockingly, or speaks darkly as if the straitness of the dramatic form had tempted Euripides to violate it in order to relieve his mind of its weight. Time is so short and I have so much to say, that unless you will allow me to place together two apparently unrelated statements and trust to you to pull them together, you must be content with a mere skeleton of the play I might have given you. Such is the argument. Euripides therefore suffers less than Sophocles and less than Aeschylus from being read privately in a room, and not seen on a hillside in the sunshine. He can be acted in the mind; he can comment upon the questions of the moment; more than the others he will vary in popularity from age to age.
If then in Sophocles the play is concentrated in the figures themselves, and in Euripides is to be retrieved from flashes of poetry and questions far flung and unanswered, Aeschylus makes these little dramas (the Agamemnon has 1663 lines; Lear about 2600), tremendous by stretching every phrase to the utmost, by sending them floating forth in metaphors, by bidding
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