- Page ID
If Greek society was thus nothing like present-day concepts of fairness or equality, what about it led to this era being regarded as “classical”? The answer is that it was during the Classical Age that the Greeks arrived at some of their great intellectual and cultural achievements. The Athenian democratic experiment is, of course, of great historical importance, but it was relatively short-lived, with democratic government not returning to the western world until the end of the eighteenth century CE(!) In contrast, the Greek approach to philosophy, drama, history, scientific thought, and art remained living legacies even after the Classical Age itself was at an end.
The fundamental concept of Greek thought, as reflected in drama, literature, and philosophy, was humanism. This was an overarching theme and phenomenon common to all of the most important Greek cultural achievements in literature, religion, drama, history-writing, and art. Humanism is the idea that, first and foremost, humankind is inherently beautiful, capable, and creative. To the Greek humanists, human beings were not put on the earth to suffer by cruel gods, but instead carried within itself the spark of godlike creativity. Likewise, a major theme of humanism was a pragmatic indifference to the gods and fate - one Greek philosopher, Xenophanes, dismissed the very idea of human-like gods who intervened in daily life. The basic humanistic attitude is that if there are any gods, they do not seem particularly interested in what humans do or say, so it is better to simply focus on the tangible world of human life. The Greeks thus offered sacrifices to keep the gods appeased, and sought out oracles for hints of what the future held, but did not normally pursue a deeply spiritual connection with their deities.
That being noted, one of the major cultural innovations of the Greeks, the creation of drama, emerged from the worship of the gods. Specifically, the celebrations of the god Dionysus, god of wine and revelry, brought about the first recognizable “plays” and “actors.” Not surprisingly, religious festivals devoted to him involved a lot of celebrating, and part of that celebration was choruses of singing and chanting. Greek writers started scripting these performances, eventually creating what we now recognize as plays. A prominent feature of Greek drama left over from the Dionysian rituals remained the chorus, a group of performers who chanted or sang together and served as the narrator to the stories depicted by the main characters.
Greek drama depicted life in human terms, even when using mythological or ancient settings. Playwrights would set their plays in the past or among the gods, but the experiences of the characters in the plays were recognizable critiques of the playwrights' contemporary society. Among the most powerful were the tragedies: stories in which the frailty of humanity, most importantly the problem of pride, served to undermine the happiness of otherwise powerful individuals. Typically, in a Greek tragedy, the main character is a powerful male leader, a king or a military captain, who enjoys great success in his endeavors until a fatal flaw of his own personality and psyche causes him to do something foolish and self-destructive. Very often this took the form of hubris, overweening pride and lack of self-control, which the Greeks believed was offensive to the gods and could bring about divine retribution. Other tragedies emphasized the power of fate, when cruel circumstances conspired to lead even great heroes to failure.
In addition to tragedy, the Greeks invented comedy. The essential difference is that tragedy revolves around pathos, or suffering, from which the English word “pathetic” derives. Pathos is meant to inspire sympathy and understanding in the viewer. Watching a Greek tragedy should, the playwrights hoped, lead the audience to relate to and sympathize with the tragic hero. Comedy, however, is meant to inspire mockery and gleeful contempt of the failings of others, rather than sympathy. The most prominent comic playwright (whose works survive) was Aristophanes, a brilliant writer whose plays are full of lying, hypocritical Athenian politicians and merchants who reveal themselves as the frauds they are to the delight of audiences.
One famous play by Aristophanes, Lysistrata, was set in the Peloponnesian War. The women of Athens are fed up with the pointless conflict and use the one thing they have some power over, their bodies, to force the men to stop the fighting by withholding sex. A Spartan contingent appears begging to open peace negotiations because, it turns out, the Spartan women have done the same thing. Here, Aristophanes not only indulged in the ribald humor that was popular with the Greeks (even by present-day standards, Lysistrata is full of “dirty” jokes) but showed a remarkable awareness of, and sympathy for, the social position of Greek women. In fact, in plays like Lysistrata we see evidence that Greek women were not in fact always secluded and rendered mute by male-dominated society, even though (male) Greek commentators generally argued that they should be.
Greek drama, both tragedy and comedy, is of enormous historical consequence because even when it used the gods as characters or fate as an explanation for problems, it put human beings front and center in being responsible for their own errors. It depicted human choice as being the centerpiece of life against a backdrop of often uncontrollable circumstances. Tragedy gave the Greeks the option of lamenting that condition, while comedy offered the chance of laughing at it. In the surviving plays of the ancient Greeks, there were very few happy endings, but plenty of opportunities to relate to the fate of, or make fun of, the protagonists. In turn, almost every present-day movie and television show is deeply indebted to Greek drama. Greek drama was the first time human beings acted out stories that were meant to entertain, and sometimes to inform, their audiences.