Читать книгу Greek Tragedy in the Light of Vase Paintings онлайн

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There is no need of going into detail. It will be enough to hint at the most important monuments of this class that stand under the influence of Greek tragedy. Whether they are a direct product of the Greek plays or are founded on the Latin translations, or whether they represent copies of Greek paintings based on Greek tragedy—this is for the present purpose all one and the same. It is not necessary to determine whence the incentive came. The important fact for one to grasp first is, that a surprisingly large number of the reliefs owe their existence to the tragic drama, and that these sculptures should be brought into one’s study of the tragic poets^[48].

The series of reliefs illustrating Euripides’ Alkestis is of prime importance for one who wishes to see in art a scene worthy of the poet^[49]. The touching farewell of Alkestis as she reclines upon her death-bed is in each instance the centre of the groups on the long side. Around her gathers the whole family. The children draw up close to their mother’s side. Her parents are also present, and this lends more interest to the sight, for they could scarcely be absent although the poet does not mention them in this connexion. The last words of Alkestis, and Admetos’ reply, form the real charm of the play. All else falls far behind these speeches, and following one of the gems in Greek literature the artist could afford to assign his illustration the first place on the reliefs. Arranged on either side are the other incidents of the drama, following the poet with considerable faithfulness. In this connexion should be mentioned the relief in Florence, also based upon the same source^[50].