Meditations 11.6

At first tragedies were brought on the stage as means of reminding men of the things which happen to them, and that it is according to nature for things to happen so, and that, if you are delighted with what is shown on the stage, you should not be troubled with that which takes place on the larger stage. For you see that these things must be accomplished thus, and that even they bear them who cry out, "O Cithaeron." And, indeed, some things are said well by the dramatic writers, of which kind is the following especially:—

"Me and my children if the gods neglect, This has its reason too."

And again,—

"We must not chafe and fret at that which happens."

And,—

"Life's harvest reap like the wheat's fruitful ear."

And other things of the same kind.

After tragedy the old comedy was introduced, which had a magisterial freedom of speech, and by its very plainness of speaking was useful in reminding men to beware of insolence; and for this purpose too Diogenes used to take from these writers.

But as to the middle comedy, which came next, observe what it was, and again, for what object the new comedy was introduced, which gradually sank down into a mere mimic artifice. That some good things are said even by these writers, everybody knows: but the whole plan of such poetry and dramaturgy, to what end does it look?

Marcus Aurelius, Meditations 11.6, translated by George Long

Originally tragedies were brought on to remind us of real events, and that such things naturally occur, and that on life's greater stage you must not be vexed at things, which on the stage you find so attractive. For it is seen that these things must be gone through, and they too have to endure them, who cry Ah, Kithaeron! Aye, and the dramatic writers contain some serviceable sayings. For example this more especially:

Though both my sons and me the gods have spurned, For this too there is reason;

and again:

It nought availeth to be wroth with things;

and this:

Our lives are reaped like the ripe ears of corn;

and how many more like them.

And after Tragedy the old Comedy was put on the stage, exercising an educative freedom of speech, and by its very directness of utterance giving us no unserviceable warning against unbridled arrogance. In somewhat similar vein Diogenes also took up this role. After this, consider for what purpose the Middle Comedy was introduced, and subsequently the New, which little by little degenerated into ingenious mimicry. For that some serviceable things are said even by the writers of these is recognized by all. But what end in view had this whole enterprize of such poetical and dramatic composition?

Marcus Aurelius, Meditations 11.6, translated by C. R. Haines