The Greek Sense of Theatre by Walton J. Michael;

Author:Walton, J. Michael;
Language: eng
Format: epub
Publisher: Taylor & Francis Group

7 Euripides

The tragedies

Nineteen plays attributed to Euripides have been handed down to posterity. It may be fortuitous that so many have survived compared to the much smaller number of Aeschylus and Sophocles, but there is not one which fails to exemplify his dramatic method. In simple terms, Euripides uses surprise. Sometimes the effect is shocking, sometimes humorous. Occasionally the text that has been handed down is so baffling as to invite emendation, even if there is no external evidence of later tampering. So much of this adjusting of plays seems to have taken place before Lycurgus introduced his law in the late fourth century BC to standardize texts that the commentator has to be tentative in interpreting or explaining Euripides’ purpose. When, for example, in Orestes Menelaus is arguing with Orestes, who stands on the roof of the palace with a sword at Hermione’s throat, he appeals to Pylades, Orestes’ companion, ‘You, Pylades, are you his accomplice in this murder?’ But it is Orestes who replies, ‘He says so, though silent. Let my word suffice.’ (1592)

What are we to make of such a speech at such a time? Does the dialogue suggest that Pylades is reluctant to be involved? Might Menelaus be intent on distracting Orestes in order to save his daughter’s life? Or is Orestes covering up for Pylades’ inability to speak because he is being played by an ‘extra’ at this point, only three actors being available and the third about to appear as Apollo? There are pitfalls of all kinds in assessing such a scene and to advocate a final answer would be rash. What can be said with confidence is that the stage picture presented at this moment is unusual but compelling. Menelaus and his soldiers have been beating at the locked door below. Orestes and Pylades are on the roof with Hermione as hostage. Pylades is brandishing a flaming torch and they are threatening to burn down the palace. And at any moment Apollo will arrive with the dead body of Menelaus’ wife Helen, not dead after all but translated to the stars. The god will sort out all their troubles by telling Orestes not to slit Hermione’s throat, but to marry her instead.

The most immediate difference between Euripides and earlier playwrights is in the attitudes of the characters. Consider the following passage from Madness of Heracles where Lycus addresses Amphitryon and Megara, the father and wife of Heracles:

Where is Zeus now, that other father of Heracles

You boast about? Where is your most

Noble of husbands now when you need him?

Tell me, what was so impressive about those deeds

Of your man? The fact that he killed a snake in a bog.

Or the lion of Nemea already trapped in a net?

Hardly strangled with his bare hands, was it?

(146–52)

Or Orestes to his sister in Iphigeneia Among the Taurians:

Even the gods, for all they are called wise,

Are no more to be trusted than fleeting dreams.

Amongst the gods, no less than mortal men,

Confusion reigns.

(570–73)

Or again Hermione to Andromache in Andromache:

What

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