Note 241 — Chapter V · FREETHOUGHT IN GREECE

Here again, as in the case of Æschylus, there arises the problem of contradiction; for Euripides, too, puts often in the mouths of his characters emphatic expressions of customary piety. The conclusion in the two cases must be broadly the same—that whereas an unbelieving dramatist may well make his characters talk in the ordinary way of deity and of religion, it is unintelligible that a believing one should either go beyond the artistic bounds of his task to make them utter an unbelief which must have struck the average listener as strange and noxious, or construct a drama of which the whole effect is to insist on the odiousness of the action of the Supreme God. And the real drift of Euripides is so plain that one modern and Christian scholar has denounced him as an obnoxious and unbelieving sophist who abused his opportunity as a producer of dramas under religious auspices to “shake the ground-works of religion”241 and at the same time of morals;242 while another and a greater scholar, less vehement in his orthodoxy, more restrainedly condemns the dramatist for employing myths in which he did not believe, instead of inventing fresh plots.243 Christian scholars are thus duly unready to give him credit for his many-sided humanity, nobly illustrated in his pleas for the slave and his sympathy with suffering barbarians.244 Latterly the recognition of Euripides’s freethinking has led to the description of him as “Euripides the Rationalist,” in a treatise which represents him as a systematic assailant of the religion of his day. Abating somewhat of that thesis, which imputes more of system to the Euripidean drama than it possesses, we may sum up that the last of the great tragedians of Athens, and the most human and lovable of the three, was assuredly a rationalist in matters of religion. It is noteworthy that he used more frequently than any other ancient dramatist the device of a deus ex machina to end a play.245 It was probably because for him the conception had no serious significance.246 In the Alkestis its [non-mechanical] use is one of the most striking instances of dramatic irony in all literature. The dead Alkestis, who has died to save the life of her husband, is brought back from the Shades by Herakles, who figures as a brawling bully. Only the thinkers of the time could realize the thought that underlay such a tragi-comedy.