No More Learning

;
_Pulcinella_, pp. 63, ff. ), has been illuminatingly developed in an
unpublished monograph by Mr. J. A. K. Thomson, of Aberdeen. ]

The complete Satyr-play had a hero of this type and a Chorus of Satyrs.
But the complete type was refined away during the fifth century; and one
stage in the process produced a play with a normal chorus but with one
figure of the Satyric or "revelling" type. One might almost say the
"comic" type if, for the moment, we may remember that that word is
directly derived from 'Komos. '

The _Alcestis_ is a very clear instance of this Pro-satyric class of
play. It has the regular tragic diction, marked here and there (393,
756, 780, etc. ) by slight extravagances and forms of words which are
sometimes epic and sometimes over-colloquial; it has a regular saga plot,
which had already been treated by the old poet Phrynichus in his
_Alcestis_, a play which is now lost but seems to have been Satyric;
and it has one character straight from the Satyr world, the heroic
reveller, Heracles. It is all in keeping that he should arrive tired,
should feast and drink and sing; should be suddenly sobered and should go
forth to battle with Death. It is also in keeping that the contest should
have a half-grotesque and half-ghastly touch, the grapple amid the graves
and the cracking ribs.
* * * * *

So much for the traditional form. As for the subject, Euripides received
it from Phrynichus, and doubtless from other sources. We cannot be sure of
the exact form of the story in Phrynichus. But apparently it told how
Admetus, King of Pherae in Thessaly, received from Apollo a special
privilege which the God had obtained, in true Satyric style, by making the
Three Fates drunk and cajoling them. This was that, when his appointed
time for death came, he might escape if he could find some volunteer to
die for him. His father and mother, from whom the service might have been
expected, refused to perform it. His wife, Alcestis, though no blood
relation, handsomely undertook it and died. But it so happened that
Admetus had entertained in his house the demi-god, Heracles; and when
Heracles heard what had happened, he went out and wrestled with Death,
conquered him, and brought Alcestis home.

Given this form and this story, the next question is: What did Euripides
make of them? The general answer is clear: he has applied his usual
method. He accepts the story as given in the tradition, and then
represents it in his own way. When the tradition in question is really
heroic, we know what his way is. He preserves, and even emphasizes, the
stateliness and formality of the Attic stage conventions; but, in the
meantime, he has subjected the story and its characters to a keener study
and a more sensitive psychological judgment than the simple things were
originally meant to bear. So that many characters which passed as heroic,
or at least presentable, in the kindly remoteness of legend, reveal some
strange weakness when brought suddenly into the light. When the tradition
is Satyric, as here, the same process produces almost an opposite effect.
It is somewhat as though the main plot of a gross and jolly farce were
pondered over and made more true to human character till it emerged as a
refined and rather pathetic comedy.