Note 126.1 — Chapter IV · THE THIRD PERIOD, 500-338 B.C.

Influence of comedy.—Those who believed that the faith in the polytheism was falling into rapid decay by 400 B.C. sometimes quote by way of evidence the astonishing licence of Attic comedy in dealing with the divine personalities; the notorious example is the ludicrous figure and part of Dionysos in the Frogs of Aristophanes. Yet the people who enjoyed the humour of the play were more devoted to Dionysos than to most of the other persons of their pantheon. If the ‘excellent fooling’ of Aristophanes is a proof of popular unbelief, what shall we say of that Attic terra-cotta of the sixth century that represents him half asleep and half drunk on the back of a mule and supported by an anxious Seilenos?126.1 The present writer has suggested that “this is some peasant’s dedication, who feared his god little but loved him much and treated him en bon camarade.” Epicharmos in Sicily had been beforehand with Aristophanes in venturing on the burlesque of divine actions, Hephaistos and Herakles specially lending themselves to ridiculous situations. Even in the epic period the same gay irreverence had occasionally appeared, as in the Homeric hymn to Hermes. These things do not necessarily arise from an anti-religious spirit, but they may be taken as indication of a certain vein in the Hellenic character, a light-heartedness and a reckless freedom in dealing on certain occasions with things divine that is markedly in contrast to the Oriental spirit. Nevertheless, it is not improbable that comedy at Athens and elsewhere did gradually exercise a weakening or a debasing influence on the popular faith. For the other poets of Attic comedy took greater liberties than even Aristophanes; Kratinos and Telekleides of the fifth century, Amphis of the fourth, did not shrink from introducing the High God himself on the stage in ridiculous and licentious situations. There probably was some reserve and no gross indecency in the presentation of these plots. And much is conceded to the spirit of the carnival, especially when a certain αἰσχρολογία was sanctified by custom and ritual. Nevertheless, the more earnest-minded of the Athenians may have agreed with Plato’s condemnation of such a handling of divine personages,127.1 and though the popular faith may have been robust enough to endure such shocks, one cannot but suspect that the people’s religious imagination suffered a debasement in moral tone. A few South-Italian vases of the fourth century, on which are scenes that appear to have been inspired by such comedies, are the worst examples of Hellenic vulgarity.