PrepTest 30, Section 4, Question 7

Tragic dramas written in Greece during the fifth century B.C. engender considerable scholarly debate over the relative influence of individual autonomy and the power of the gods on the drama's action. One early scholar, B. Snell, argues that Aeschylus, for example, develops in his tragedies a concept of the autonomy of the individual. In these dramas, the protagonists invariably confront a situation that paralyzes them, so that their prior notions about how to behave or think are dissolved. Faced with a decision on which their fate depends, they must reexamine their deepest motives, and then act with determination. They are given only two alternatives, each with grave consequences, and they make their decision only after a tortured internal debate. According to Snell, this decision is "free" and "personal" and such personal autonomy constitutes the central theme in Aeschylean drama, as if the plays were devised to isolate an abstract model of human action. Drawing psychological conclusions from this interpretation, another scholar, Z. Barbu, suggests that "[Aeschylean] drama is proof of the emergence within ancient Greek civilization of the individual as a free agent."

To A. Rivier, Snell's emphasis on the decision made by the protagonist, with its implicit notions of autonomy and responsibility, misrepresents the role of the superhuman forces at work, forces that give the dramas their truly tragic dimension. These forces are not only external to the protagonist; they are also experienced by the protagonist as an internal compulsion, subjecting him or her to constraint even in what are claimed to be his or her "choices." Hence all that the deliberation does is to make the protagonist aware of the impasse, rather than motivating one choice over another. It is finally a necessity imposed by the deities that generates the decision, so that at a particular moment in the drama necessity dictates a path. Thus, the protagonist does not so much "choose" between two possibilities as "recognize" that there is only one real option.

A. Lesky, in his discussion of Aeschylus' play Agamemnon, disputes both views. Agamemnon, ruler of Argos, must decide whether to brutally sacrifice his own daughter. A message from the deity Artemis has told him that only the sacrifice will bring a wind to blow his ships to an important battle. Agamemnon is indeed constrained by a divine necessity. But he also deeply desires a victorious battle: "If this sacrifice will loose the winds, it is permitted to desire it fervently," he says. The violence of his passion suggests that Agamemnon chooses a path—chosen by the gods for their own reasons—on the basis of desires that must be condemned by us, because they are his own. In Lesky's view, tragic action is bound by the constant tension between a self and superhuman forces.

Tragic dramas written in Greece during the fifth century B.C. engender considerable scholarly debate over the relative influence of individual autonomy and the power of the gods on the drama's action. One early scholar, B. Snell, argues that Aeschylus, for example, develops in his tragedies a concept of the autonomy of the individual. In these dramas, the protagonists invariably confront a situation that paralyzes them, so that their prior notions about how to behave or think are dissolved. Faced with a decision on which their fate depends, they must reexamine their deepest motives, and then act with determination. They are given only two alternatives, each with grave consequences, and they make their decision only after a tortured internal debate. According to Snell, this decision is "free" and "personal" and such personal autonomy constitutes the central theme in Aeschylean drama, as if the plays were devised to isolate an abstract model of human action. Drawing psychological conclusions from this interpretation, another scholar, Z. Barbu, suggests that "[Aeschylean] drama is proof of the emergence within ancient Greek civilization of the individual as a free agent."

To A. Rivier, Snell's emphasis on the decision made by the protagonist, with its implicit notions of autonomy and responsibility, misrepresents the role of the superhuman forces at work, forces that give the dramas their truly tragic dimension. These forces are not only external to the protagonist; they are also experienced by the protagonist as an internal compulsion, subjecting him or her to constraint even in what are claimed to be his or her "choices." Hence all that the deliberation does is to make the protagonist aware of the impasse, rather than motivating one choice over another. It is finally a necessity imposed by the deities that generates the decision, so that at a particular moment in the drama necessity dictates a path. Thus, the protagonist does not so much "choose" between two possibilities as "recognize" that there is only one real option.

A. Lesky, in his discussion of Aeschylus' play Agamemnon, disputes both views. Agamemnon, ruler of Argos, must decide whether to brutally sacrifice his own daughter. A message from the deity Artemis has told him that only the sacrifice will bring a wind to blow his ships to an important battle. Agamemnon is indeed constrained by a divine necessity. But he also deeply desires a victorious battle: "If this sacrifice will loose the winds, it is permitted to desire it fervently," he says. The violence of his passion suggests that Agamemnon chooses a path—chosen by the gods for their own reasons—on the basis of desires that must be condemned by us, because they are his own. In Lesky's view, tragic action is bound by the constant tension between a self and superhuman forces.