Mammonart: An essay in economic interpretationSinclair, Upton
History
Mammonart: An essay in economic interpretation
Sinclair, Upton
Arts and society; Economics and literature; Literature -- History and criticism -- Theory, etc.
But now came another dramatist, in a different mood. This man looked at
the Greek legends and decided that they were not true. He looked at
Greek institutions, private property, and state patriotism, and the
sovereignty of old men in family and tribe, and he decided that these
were not necessarily wise and permanent arrangements. He set himself up
as a propagandist of things that we call “modern,” and that the Greeks
called blasphemy and infidelity. His name was Euripides, and he took the
heroes and heroines of the old legends and turned them into plain human
beings, suffering the cruelties of fate, but fighting back, voicing
protests and doubts. So came a string of plays, jeering at militarism
and false patriotism, denouncing slavery and the subjection of women in
the home, rebuking religious bigotry, undermining the noble and wealthy
classes. A play in which the women get together to rebel against war! A
play in which a devoted wife gives her life to an angry god in order to
save her husband’s life--but the husband is shown as an egotistical cad,
not worthy of this dutiful and pious Greek sacrifice! Read a passage of
the dramatic propaganda of Euripides, and realize how this must have
sounded to hundred per cent Athenian patriots--and right in the midst of
a war to the death with Sparta:
Doth some one say that there be gods above?
There are not; no, there are not. Let no fool,
Led by the old false fable, thus deceive you.
Look at the facts themselves, yielding my words
No undue credence; for I say that kings
Kill, rob, break oaths, lay cities waste by fraud,
And doing thus are happier than those
Who live calm pious lives day after day.
How many little states that serve the gods
Are subject to the godless but more strong,
Made slaves by might of a superior army!
CHAPTER XX
THE FUNNY MAN OF REACTION
Needless to say, the Bolshevik sentiments of Euripides were not
proclaimed before the altar of Dionysus without protest on the part of
the orthodox. There rose up another dramatist, this time a comedian, to
champion the ancient and honorable traditions of Athens. Aristophanes
was his name, and he was one of the world’s great masters of the comic
line. He had infinite verve and wit and imagination; you can read him
today and laugh out loud--even while his reactionary ideas make you
cross.
Public-domain text, read in full here on John Shaqi.
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