and privileges, to the several states" (196 B.C.). The deluded Greeks received this announcement with exultation, and the highest honors which a grateful people could bestow were showered upon Flaminius. [Footnote: See a more full account of the events connected with this proclamation, in Mosaics of Roman History.]

A Roman master stands on Grecian ground, And to the concourse of the Isthmian games He, by his herald's voice, aloud proclaims "The liberty of Greece!" The words rebound Until all voices in one voice are drowned; Glad acclamation by which the air was rent! And birds, high flying in the element, Dropped to the earth, astonished at the sound! A melancholy echo of that noise Doth sometimes hang on musing Fancy's ear. Ah! that a conqueror's words should be so dear; Ah! that a boon should shed such rapturous joys! A gift of that which is not to be given By all the blended powers of earth and heaven. --WILLIAM WORDSWORTH.

The Greeks soon realized that the freedom which Rome affected to bestow was tendered by a power that could withdraw it at pleasure. First, the Ætolians were reduced to poverty and deprived of their independence, for having espoused the cause of Anti'ochus of Syria, the enemy of Rome. At a later period Perseus, the successor of Philip on the throne of Macedon, being driven into a war by Roman ambition, finally lost his kingdom in the battle of Pydna (168 B.C.); and then the Achæans were charged with having aided Macedon in her war with Rome, and, without a shadow of proof against them, one thousand of their worthiest citizens were seized and sent to Rome for trial (167 B.C.). Here they were kept seventeen years without a hearing, when three hundred of their number, all who survived, were restored to their country. These and other acts of cruelty aroused a spirit of vengeance against the Romans, that soon culminated in war. But the Achæans and their allies were defeated by the consul Mum'mius, near Corinth (146 B.C.), and that city, then the richest in Greece, was plundered of its treasures and consigned to the flames. Corinth was specially distinguished for its perfection in the arts of painting and sculpture, and the poet ANTIP'ATER, of Sidon, thus describes the desolation of the city after its destruction by the Romans:

Where, Corinth, are thy glories now-- Thy ancient wealth, thy castled brow, Thy solemn fanes, thy halls of state, Thy high-born dames, thy crowded gate? There's not a ruin left to tell Where Corinth stood, how Corinth fell. The Nereids of thy double sea Alone remain to wail for thee. --Trans. by GOLDWIN SMITH.

The last blow to the liberties of the Hellenic race had now been struck, and all Greece, as far as Epi'rus and Macedonia, became a Roman province under the name of Achaia. Says THIRLWALL, "The end of the Achæan war was the last stage of the lingering process by which Rome enclosed her victim in the coils of her insidious diplomacy, covered it with the slime of her sycophants and hirelings, crushed it when it began to struggle, and then calmly preyed upon its vitals." But although Greece had lost her independence, and many of her cities were desolate, or had sunk into insignificance, she still retained her renown for philosophy and the arts, and became the instructor of her conquerors. In the well-known words of HORACE,

When conquered Greece brought in her captive arts, She triumphed o'er her savage conquerors' hearts. -Bk. II. Epistle 1.

As another has said, "She still retained a sovereignty which the Romans could not take from her, and to which they were obliged to pay homage." In whatever quarter Rome turned her victorious arms she encountered Greek colonies speaking the Greek language, and enjoying the arts of civilization. All these were absorbed by her, but they were not lost. They diffused Greek customs, thought, speech, and art over the Latin world, and Hellas survived in the intellectual life of a new empire.

CHAPTER XVII.

LITERATURE AND ART AFTER THE CLOSE OF THE PELOPONNESIAN WAR.

LITERATURE.

I. THE DRAMA.

As we have seen in a former chapter, Greek tragedy attained its zenith with the three great masters--Æschylus, Sophocles, and Euripides. As MAHAFFY well says, "Its later annals are but a history of decay; and of the vast herd of latter tragedians two only, and two of the earliest--Ion of Chi'os, and Ag'athon--can be called living figures in a history of Greek literature." Even these, it seems, wrote before Sophocles and Euripides had closed their careers. But few fragments of their genius have come down to us. Longi'nus said of Ion, that he was fluent and polished, rather than bold or sublime; while Agathon has been characterized as "the creator of a new tragic style, combining the verbal elegancies and ethical niceties of the Sophists with artistic claims of a luxurious kind."

While tragedy declined, with comedy the case was different, for its changes were progressive. Most writers divide Greek comedy into the Old, the Middle, and the New; and although the boundary lines between the three orders are very indistinct, each has certain well-defined characteristics. It is asserted, as we have elsewhere noted, that the chief subjects of the first were the politics of the day and the characters and deeds of leading persons; that the chief peculiarity of the second, in which the action of the chorus was much curtailed, was the exclusion of personal and political criticism, and the adoption of parodies of the gods and ridicule of certain types of character; and that the New Comedy, in which the chorus disappeared, aimed to paint scenes and characters of domestic life. The Middle Comedy, however, still continued to be in some degree personal and political, and even in the New Comedy these features of the Old are frequently apparent.

Aristoph'anes, the leader of the Old Comedy, toward the close of his life produced The Frogs--a work that signalized the transition from the Old to the Middle Comedy. The latter school, however, took its rise in Sicily, and its most distinguished authors were Antiph'anes, probably of Athens, born in 404, and Alex'is of Thu'rii, born about 394. The New Comedy arose after Athens had fallen under Macedonian supremacy, and as many as sixty-four poets belong to this period, the later of whom composed their plays in Alexandria, in the time of Alexander's successors. The founder of this school was Phile'mon of Soli, in Cilicia, born about 360 B.C. Of his ninety plays fragments of fifty-six remain. The majority of these have been described as "elegant but not profound reflections on the 'changes and chances of this mortal life.'" A late critic chooses the following fragment as illustrative of Philemon, and at the same time favorable to his reputation:

Have faith in God, and fear; seek not to know him; For thou wilt gain naught else beyond thy search; Whether he is or is not, shun to ask: As one who is, and sees thee, always fear him. --Trans. by J. A. SYMONDS.

MENANDER.

The acknowledged master and representative of this period, however, and the last of the classical poets of Greece, was Menan'der, an Athenian, son of Diopi'thes, the general whom Demosthenes defended in his speech "On the Chersonese," and a nephew of the poet Alexis. Menander was born in 342 B.C.; and although only fragments of his writings exist, he was so closely copied or imitated by the Roman comic poets that his style and character can be very clearly traced. MR. SYMONDS thus describes him: "His personal beauty, the love of refined pleasure that distinguished him in life, the serene and genial temper of his wisdom, the polish of his verse, and the harmony of parts he observed in composition, justify us in calling Menander the Sophocles of comedy. If we were to judge by the fragments transmitted to us, we should have to say that Menander's comedy was ethical philosophy in verse; so mature is its wisdom, so weighty its language, so grave its tone. The brightness of the beautiful Greek spirit is sobered down in him almost to sadness. Yet the fact that Stobæ'us found him a fruitful source of sententious quotations, and that alphabetical anthologies were made of his proverbial sayings, ought not to obscure his fame for drollery and humor. If old men appreciated his genial or pungent worldly wisdom, boys and girls read him, we are told, for his love-stories."

Menander was an intimate friend of Epicu'rus, the philosopher, and is supposed to have adopted his teachings. On this point, however, MR. SYMONDS thus remarks: "Speaking broadly, the philosophy in vogue at Athens during the period of the New Comedy was what in modern days is known as Epicureanism. Yet it would be unjust to confound the grave and genial wisdom of Menander with so trivial a philosophy as that which may be summed up in the sentence 'eat and drink, for to-morrow we die.' A fragment from an unknown play of his expresses the pathos of human existence with a depth of feeling that is inconsistent with mere pleasure-seeking:

"'When thou would'st know thyself, what man thou art, Look at the tombstones as thou passest by: Within those monuments lie bones and dust Of monarchs, tyrants, sages, men whose pride Rose high because of wealth, or noble blood, Or haughty soul, or loveliness of limb; Yet none of these things strove for them 'gainst time; One common death hath ta'en all mortal men. See thou to this, and know thee who thou art.'"

As EUGENE LAWRENCE says: "Most modern comedies are founded on those of Menander. They revive their characters, repeat their jokes, transplant their humor; and the wit of Molière, Shakspeare, or Sheridan is often the same that once awoke shouts of laughter on the Attic stage."