I have dwelt on questions of
intellectual
interest and perhaps
thereby diverted attention from that quality in the play which is the most
important as well as by far the hardest to convey; I mean the sheer beauty
and delightfulness of the writing.
thereby diverted attention from that quality in the play which is the most
important as well as by far the hardest to convey; I mean the sheer beauty
and delightfulness of the writing.
Euripides - Alcestis
Its claims are admitted
on the strength of the tradition. It was the act for which Admetus was
specially and marvellously rewarded; therefore, obviously, it was an act
of exceptional merit and piety. Yet the admission is made with a smile,
and more than one suggestion is allowed to float across the scene that in
real life such conduct would be hardly wise.
Heracles, who rose to tragic rank from a very homely cycle of myth, was
apt to bring other homely characters with him. He was a great killer not
only of malefactors but of "keres" or bogeys, such as "Old Age" and "Ague"
and the sort of "Death" that we find in this play. Thanatos is not a god,
not at all a King of Terrors. One may compare him with the dancing
skeleton who is called Death in mediaeval writings. When such a figure
appears on the tragic stage one asks at once what relation he bears to
Hades, the great Olympian king of the unseen. The answer is obvious.
Thanatos is the servant of Hades, a "priest" or sacrificer, who is sent to
fetch the appointed victims.
The other characters speak for themselves. Certainly Pheres can be trusted
to do so, though we must remember that we see him at an unfortunate
moment. The aged monarch is not at his best, except perhaps in mere
fighting power. I doubt if he was really as cynical as he here professes
to be.
* * * * *
In the above criticisms I feel that I may have done what critics are so
apt to do.
I have dwelt on questions of intellectual interest and perhaps
thereby diverted attention from that quality in the play which is the most
important as well as by far the hardest to convey; I mean the sheer beauty
and delightfulness of the writing. It is the earliest dated play of
Euripides which has come down to us. True, he was over forty when he
produced it, but it is noticeably different from the works of his old age.
The numbers are smoother, the thought less deeply scarred, the language
more charming and less passionate. If it be true that poetry is bred out
of joy and sorrow, one feels as if more enjoyment and less suffering had
gone to the making of the _Alcestis_ than to that of the later plays.
ALCESTIS
CHARACTERS OF THE PLAY
ADMETUS, _King of Pherae in Thessaly_.
ALCESTIS, _daughter of Pelias, his wife_.
PHERES, _his father, formerly King but now in retirement_.
TWO CHILDREN, _his son and daughter_.
A MANSERVANT _in his house_.
A HANDMAID.
The Hero HERACLES.
The God APOLLO.
THANATOS _or_ DEATH.
CHORUS, _consisting of Elders of Pherae_.
"_The play was first performed when Glaukinos was Archon, in the 2nd
year of the 85th Olympiad_ (438 B.
on the strength of the tradition. It was the act for which Admetus was
specially and marvellously rewarded; therefore, obviously, it was an act
of exceptional merit and piety. Yet the admission is made with a smile,
and more than one suggestion is allowed to float across the scene that in
real life such conduct would be hardly wise.
Heracles, who rose to tragic rank from a very homely cycle of myth, was
apt to bring other homely characters with him. He was a great killer not
only of malefactors but of "keres" or bogeys, such as "Old Age" and "Ague"
and the sort of "Death" that we find in this play. Thanatos is not a god,
not at all a King of Terrors. One may compare him with the dancing
skeleton who is called Death in mediaeval writings. When such a figure
appears on the tragic stage one asks at once what relation he bears to
Hades, the great Olympian king of the unseen. The answer is obvious.
Thanatos is the servant of Hades, a "priest" or sacrificer, who is sent to
fetch the appointed victims.
The other characters speak for themselves. Certainly Pheres can be trusted
to do so, though we must remember that we see him at an unfortunate
moment. The aged monarch is not at his best, except perhaps in mere
fighting power. I doubt if he was really as cynical as he here professes
to be.
* * * * *
In the above criticisms I feel that I may have done what critics are so
apt to do.
I have dwelt on questions of intellectual interest and perhaps
thereby diverted attention from that quality in the play which is the most
important as well as by far the hardest to convey; I mean the sheer beauty
and delightfulness of the writing. It is the earliest dated play of
Euripides which has come down to us. True, he was over forty when he
produced it, but it is noticeably different from the works of his old age.
The numbers are smoother, the thought less deeply scarred, the language
more charming and less passionate. If it be true that poetry is bred out
of joy and sorrow, one feels as if more enjoyment and less suffering had
gone to the making of the _Alcestis_ than to that of the later plays.
ALCESTIS
CHARACTERS OF THE PLAY
ADMETUS, _King of Pherae in Thessaly_.
ALCESTIS, _daughter of Pelias, his wife_.
PHERES, _his father, formerly King but now in retirement_.
TWO CHILDREN, _his son and daughter_.
A MANSERVANT _in his house_.
A HANDMAID.
The Hero HERACLES.
The God APOLLO.
THANATOS _or_ DEATH.
CHORUS, _consisting of Elders of Pherae_.
"_The play was first performed when Glaukinos was Archon, in the 2nd
year of the 85th Olympiad_ (438 B.
