Just as modern theatre, film and costume drama can contain elements of anachronism, whereby storylines are adapted and/or jazzed up to produce a contemporary resonance (or provocation), so the same could be true of the very earliest theatrical productions in fifth century Athens. A good example of one such anachronism occurs in Euripides’ Suppliants, a play first performed in 423 BC.
The play itself tells a largely sorry story. The king of Thebes, Creon, has refused burial rites to warriors from another city, Argos, who have been slain outside his city gates. The families of the dead warriors (the ‘suppliants’ of the title are their mothers) are distraught. They regard a third party, Theseus – the king of Athens, as the only figure who might be able to prevail upon Creon to change his mind, so they approach him and ask him to do so. Theseus agrees to do so but is unsuccessful and, with Creon thoroughly stirred up, battle between Athens and Thebes ensues. Theseus’ Athenians successfully overpower Creon’s Theban army; we then learn that Theseus manages to recover the corpses of the slain warriors. Theseus receives the gratitude of the warriors’ relatives and the lasting respect of Argos: the Argives promise that, in recognition of Theseus’ accomplishments on their behalf, they will never attack the city of Athens.
The plot of the play plays out in mythical pre-history. The remote past of Athens seems to have been a topic of some fascination to the city’s fifth century inhabitants: this was a past in which they could find, among other things, their bearings in the present. What better way for a playwright to evoke this past for a fifth century audience, then, than to present it in ways which addressed matters of contemporary (fifth century) relevance?
Euripides self-consciously adopts just this approach in the Suppliants. The clearest case in point is an interaction between Theseus and a herald who has been dispatched by Creon from Thebes. The central matter at issue in this interaction is the topic of democratic governance – and herein lies the anachronism.
Democracy was a relatively recent development for the Athenians of the 420s BC. The central practices and institutions of what would only later come to be called ‘democracy’ had been a staple feature of Athenian politics only since the reforms of Cleisthenes in the late 6th century BC. Certainly the earlier figure of Solon also stands tall in what would turn out to be the Athenian move toward democracy. But Cleisthenes (depicted below) was the really decisive figure. All of which is to say that, in the context of the mythical pre-history that is depicted in the Suppliants, democracy is but a figment of the fictive world Euripides recreates for his audience.
In suggesting that Theseus, king of Athens, stands for democracy, Euripides is creating not just an anachronism but an additional awkwardness. For is not Theseus a king? And isn’t fifth century Athenian democracy characterised precisely by its lack of (autocratic) monarchy? This self-evident wrinkle is not something that Theseus’ Theban interlocutor aims to exploit, in spite of the fact that Theseus himself surprisingly argues along the following lines:
‘There’s no heavier burden for a city to bear than a monarch. To begin with, a city like that has no laws that are equal to all its citizens’.
And this from a monarch, no less! Clearly, in the Euripidean vision of early Athens, things are a bit complicated and can involve a degree of doublethink on the part of its democratic monarch.
In any case, inserting a debate about the pros and cons of democracy into the Suppliants allows Euripides both to rehearse arguments for democracy and to air scathing criticisms of it. To what extent the playwright himself sympathises with these criticisms, we are left to wonder.
For the Theban herald, one noteworthy danger of democracy is that it can slip into the control of the eloquent but self-serving trickster. A democracy may have
‘men who speak well but who then destroy everything…men who [then] lie to hide all the damage they’ve caused and with those lies escape justice’.
Democracies, he continues, should be criticised for three further reasons. First, they are ruled by ‘mindless herds’. Such herds rush to quick decisions, where it is self-evident that patience and wisdom are required.
Second, many citizens of democracies are far too occupied with mundane affairs and staying economically productive to take a serious interest in governing their city. It is inefficient and unnecessary that such citizens should have a serious political role.
And third (a most objectionable complaint by modern standards), there is the ‘problem’ that humbly born citizens may rise – on account of their capacity to make eloquent political speeches – and surpass even a city’s nobles in their political influence.
Theseus’ response to these arguments is to dismiss them as ‘irrelevant little words’, without in fact directly countering any of them. Instead he extols what he presents as democracy’s attractions.
These include the equal treatment of rich and poor alike before the law; the right of the poor man to speak up in his own defence; the right of any citizen to air ‘good ideas for the city’ to see if he can gain praise for them; and, finally, the opportunity for everyone to flourish and thrive in pursuit of excellence, without fear of offending the ego of an envious autocrat. Under an autocracy, he avers, will not a man’s daughters be always at risk of being involuntarily co-opted into a relationship with a ruling figure? Will not his sons always be at risk of being culled?
It bears repeating that these words are spoken not just anachronistically, but by a monarch. This was an awkwardness Euripides was clearly ready to put up with when writing the play. The debate between Theseus and the herald, with its contemporary fifth century political slant, would certainly have registered with his audience.
Speaking to the deep-seated ideas and thoughts of this audience mattered: for each play Euripides wrote was designed to impress a panel of fellow citizen-judges, with the fundamental aim of winning an annual competition. And ‘doing politics’ in an interesting way, as the devisers of many modern-day productions can surely attest, is one well-trodden route to attracting the plaudits you seek.
- the featured image is of a 6th century kylix (wine cup) which illustrates Theseus slaying the Minotaur.