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Alexander Sesonske

Athens a new divinity, but a most accommodating one who will make no real difference at all to the religious life of the com- munity. All that she demands is that they enjoy the spectacle. Is it not this which stirs Plato most profoundly? The festival from which the dis- cussion of justice and the ideal

Chapter Ten

Mythos, Katharsis, and the Paradox of Tragedy

John P. Anton

renewed effort they make to put the paradox of tragedy in perspective: Henry Alonzo Myers and D.D. Raphael. Myers refers to "the superficial paradox of tragedy," which he claims we can escape by maintaining that "tragedy is more than a spectacle of evil," and by considering "what the further element is

David B. George

παῖδα περιμεῖναί ἑ κελεῦσαι. (Having prayed and seen the spectacle we were leaving for town, when Polemarchus saw us beginning to move homeward and he commanded his slave to run and tell us to hold on … .)
 Where this scene is imagined to take place is difficult to localize even if we knew where the

Jean-Marc Narbonne

the Iliad , in which Hector is pursued by Achilles in front of the walls of the besieged Troy. All the soldiers, immobilized by a simple nod from Achilles, watch quietly the surrealist spectacle of that chase. Aristotle has already mentioned shortly beforehand in chapter 24 this same episode




-8, in the "spectacle of reality" (rils rou ovros 9Eas). Given the contemplative-sounding nature of its pleasures, it is very tempting to think that he is making a specific reference back to the central books.26 But we should not move too quickly. First, there are no references to the theory of

Alexander Nehamas

ever possibly be justified "to see someone behaving as one would not deem it right to behave oneself, indeed as one should be ashamed to behave, to enjoy and praise the spectacle and not be dis- gusted with it" (Rep. 10 605e). It is not easy, in my opinion, to argue that, in contrast to Greek drama or


overcome me for this man, not just now, but long since"; "Pity me, my child, by the gods," says Philoctetes, "and do not make a shameful spectacle of yourself before mankind by robbing me" (965-68). Here are joined the themes of pity and deceit: on the one hand, Philoctetes' points to Neoptolemus




necessary for tragedy's spectacle. The beautiful phenomenon of Oedipus, not some thing-in-itself, was all that mattered to these Greeks, who were profound enough to be superficial. Nietzsche portrayed Socrates as the original and type of the "theoretical man" who cannot be satisfied with such beautiful

Martin Andic

all and the private fantasy of the individual with waking and sleeping (D1f, 89), so Socrates compares the philosopher's knowledge of the beautiful with the spectacle-lover's as a waking vision to dream (Republic 5.476cd), and he raises the question, how can we ever know that we and our conversation

Ben Morison

feel as though you are being told what to think. But the normal scholarly one- upmanship is entirely absent. What we have instead is the spectacle of a philosopher mining these diffi cult texts in front of our eyes. Attention is therefore fi rmly on the ancient logicians themselves. Barnes is not afraid