An examination of some recent theories on Greek tragedy, in their bearing upon the interpretation of certain plays

Abstract

In entering upon a consideration of the plots of extant Greek plays it is impossible to pass over without examination the various theories which have been brought forward concerning the origin of tragedy. In every department of literature origins must of necessity have a considerable effect on the finished form, and criticism is justified In expecting that any satisfactory theory of the origins of Greek tragedy shall shed light upon the problems of interpretation rather than create new difficulties. It will therefore be the object of the present discussion to show, In the first place, that theories like those of Ridgeway, Murray and Miss Harrison, whatever their value from mythological and anthropological points of view, give us little help In the understanding of the plays as we have them; for such writers, In order to establish their own theories, invent hypotheses which raise problems far more serious than any that originally existed. Secondly, it will be necessary to consider the rationalizing system of Dr. Verr all and his follower, Professor Norwood, who put forward an interpretation of certain plays Infinitely more difficult of comprehension than the matter that they propose to elucidate; finally, an explanation of certain points of difficulty will be attempted upon an entirely different basis which appears to have been as yet unduly neglected, - the deep and far-reaching differences of thought and feeling between the people of fifth-century Athens and the present day (upon which we cannot too strongly insist), and the conditions of dramatic production in the two ages.