The Liberty of Athens

The supreme arts and literature of ancient Athens all sprang from the State’s refusal to interfere in the life of the citizen.

1857

Queen Victoria 1837-1901

Introduction

In 1808, William Mitford (1744-1827) published a History of Greece to the death of Alexander in 327 BC. A recurrent theme of his narrative was a horror of the kind of popular politics for which Athens is famous, and his conviction that stability comes from a close-knit group of elder statesmen keeping the country on a tight rein. Macaulay completely disagreed.

AT Athens the laws did not constantly interfere with the tastes of the people. The children were not taken from their parents by that universal step-mother, the state. They were not starved into thieves, or tortured into bullies; there was no established table at which every one must dine, no established style in which every one must converse. An Athenian might eat whatever he could afford to buy, and talk as long as he could find people to listen. The government did not tell the people what opinions they were to hold, or what songs they were to sing. Freedom produced excellence. Thus philosophy took its origin. Thus were produced those models of poetry, of oratory, and of the arts, which scarcely fall short of the standard of ideal excellence. Nothing is more conducive to happiness than the free exercise of the mind, in pursuits congenial to it.

From “On Mitford’s History of Greece” in ‘Critical and Miscellaneous Essays’ Volume 3 (1857) by Thomas Babington Macaulay (1800-1859).
Précis
Commenting in a history of classical Greece, Victorian critic Lord Macaulay reminded readers that the government of Athens in her pomp had left her citizens free to think, speak and enjoy the simple pleasures of life as they saw fit. From this quiet liberty, he said, had come the bountiful harvest of arts and sciences for which Athens is famous.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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