[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:00.72,Default,,0000,0000,0000,,[booming music]
Dialogue: 0,0:00:00.72,0:00:05.68,Default,,0000,0000,0000,,Distraught woman: My bed! My bridal! All for misery!
Dialogue: 0,0:00:05.68,0:00:07.55,Default,,0000,0000,0000,,[Intense background music] And I cannot...
Dialogue: 0,0:00:07.58,0:00:08.58,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:00:08.62,0:00:13.71,Default,,0000,0000,0000,,I cannot...save my child from death!
Dialogue: 0,0:00:13.71,0:00:17.62,Default,,0000,0000,0000,,Dr. Scott: This is one of the most shocking\Nstories ever written.
Dialogue: 0,0:00:17.62,0:00:22.60,Default,,0000,0000,0000,,A mother, a princess, has lost\Nher city and her husband in war.
Dialogue: 0,0:00:22.60,0:00:26.88,Default,,0000,0000,0000,,Now, she has to face the news\Nthat she is to be sold into slavery
Dialogue: 0,0:00:26.88,0:00:29.50,Default,,0000,0000,0000,,and her only son –killed.
Dialogue: 0,0:00:30.22,0:00:34.12,Default,,0000,0000,0000,,This film version of an ancient\NGreek play called Trojan Women
Dialogue: 0,0:00:34.12,0:00:35.81,Default,,0000,0000,0000,,has become a classic.
Dialogue: 0,0:00:35.81,0:00:41.21,Default,,0000,0000,0000,,The first time I saw it, I was moved\Nto tears, and it still moves me now.
Dialogue: 0,0:00:41.22,0:00:42.58,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:00:42.58,0:00:46.51,Default,,0000,0000,0000,,It is a play about the most\Ncharged aspects of human life–
Dialogue: 0,0:00:46.51,0:00:51.05,Default,,0000,0000,0000,,love, war, sacrifice,\Nfear, and death.
Dialogue: 0,0:00:51.05,0:00:54.03,Default,,0000,0000,0000,,And although it is set\Namongst the gods, myths,
Dialogue: 0,0:00:54.03,0:00:58.67,Default,,0000,0000,0000,,and peoples of ancient Greece,\Nit is still utterly gripping today.
Dialogue: 0,0:00:58.67,0:01:01.90,Default,,0000,0000,0000,,It is one of the main reasons\NI study Classics.
Dialogue: 0,0:01:01.90,0:01:05.53,Default,,0000,0000,0000,,[intense music]
Dialogue: 0,0:01:05.55,0:01:09.69,Default,,0000,0000,0000,,An Athenian called Euripides\Nwrote this play
Dialogue: 0,0:01:09.69,0:01:12.63,Default,,0000,0000,0000,,a little under two and\Na half thousand years ago.
Dialogue: 0,0:01:12.63,0:01:16.33,Default,,0000,0000,0000,,Back then, he was often\Nridiculed as an angry young man.
Dialogue: 0,0:01:16.33,0:01:18.92,Default,,0000,0000,0000,,But, over time, his plays\Nhave come to symbolize
Dialogue: 0,0:01:18.92,0:01:23.50,Default,,0000,0000,0000,,the incredible sophistication of\Nancient Greek civilization.
Dialogue: 0,0:01:23.54,0:01:26.00,Default,,0000,0000,0000,,[ambiguous sound effect]
Dialogue: 0,0:01:26.00,0:01:30.84,Default,,0000,0000,0000,,That civilization has influenced\Nalmost every aspect of our lives.
Dialogue: 0,0:01:30.84,0:01:35.56,Default,,0000,0000,0000,,Not just drama, but politics,\Nlanguage, philosophy,
Dialogue: 0,0:01:35.56,0:01:37.54,Default,,0000,0000,0000,,art and architecture.
Dialogue: 0,0:01:37.55,0:01:40.15,Default,,0000,0000,0000,,[walking, sad music]
Dialogue: 0,0:01:40.15,0:01:43.16,Default,,0000,0000,0000,,To understand ourselves,\Nit turns out,
Dialogue: 0,0:01:43.16,0:01:45.82,Default,,0000,0000,0000,,we need to understand\Nthe ancient Greeks.
Dialogue: 0,0:01:45.82,0:01:49.82,Default,,0000,0000,0000,,And the best seat from which\Nto do that, for my money,
Dialogue: 0,0:01:49.82,0:01:51.32,Default,,0000,0000,0000,,is in the theater.
Dialogue: 0,0:01:51.34,0:01:53.25,Default,,0000,0000,0000,,[soaring music]
Dialogue: 0,0:01:53.26,0:01:57.85,Default,,0000,0000,0000,,This series is about how\Nancient drama changed our world.
Dialogue: 0,0:01:57.85,0:01:59.93,Default,,0000,0000,0000,,It's the story of dramatists
Dialogue: 0,0:01:59.93,0:02:02.75,Default,,0000,0000,0000,,like Aeschylus,\NSophocles and Euripides,
Dialogue: 0,0:02:02.75,0:02:05.62,Default,,0000,0000,0000,,who revolutionized\Nstorytelling through plays
Dialogue: 0,0:02:05.62,0:02:09.40,Default,,0000,0000,0000,,like Trojan Women, Antigone,\NOedipus, and The Oresteia.
Dialogue: 0,0:02:09.40,0:02:10.54,Default,,0000,0000,0000,,[instrumental music]
Dialogue: 0,0:02:10.56,0:02:12.78,Default,,0000,0000,0000,,It's the story of\Nhow the Ancient Greeks
Dialogue: 0,0:02:12.78,0:02:15.27,Default,,0000,0000,0000,,gave birth to tragedy and comedy.
Dialogue: 0,0:02:15.27,0:02:19.60,Default,,0000,0000,0000,,And it's the story of how theater\Nspread throughout Greece and beyond,
Dialogue: 0,0:02:19.60,0:02:22.00,Default,,0000,0000,0000,,becoming a benchmark\Nof civilization,
Dialogue: 0,0:02:22.00,0:02:24.83,Default,,0000,0000,0000,,not just for Greeks,\Nbut for the world—
Dialogue: 0,0:02:24.83,0:02:26.65,Default,,0000,0000,0000,,then and now.
Dialogue: 0,0:02:26.65,0:02:27.75,Default,,0000,0000,0000,,[music continues]
Dialogue: 0,0:02:27.75,0:02:30.94,Default,,0000,0000,0000,,In this episode,\NI want to journey to Athens
Dialogue: 0,0:02:30.94,0:02:33.89,Default,,0000,0000,0000,,to explore how drama first began.
Dialogue: 0,0:02:33.89,0:02:37.49,Default,,0000,0000,0000,,From the very start, it was\Nabout more than just entertainment–
Dialogue: 0,0:02:37.49,0:02:41.80,Default,,0000,0000,0000,,it was a reaction to real events,\Nit was a driving force in history,
Dialogue: 0,0:02:41.80,0:02:45.57,Default,,0000,0000,0000,,and it was deeply connected\Nto Athenian democracy.
Dialogue: 0,0:02:45.57,0:02:49.76,Default,,0000,0000,0000,,In fact, the story of theater\NIS the story of Athens–
Dialogue: 0,0:02:49.76,0:02:52.30,Default,,0000,0000,0000,,the cultural hub of ancient Greece
Dialogue: 0,0:02:52.30,0:02:55.69,Default,,0000,0000,0000,,and the stage for one\Nof the greatest shows on earth.
Dialogue: 0,0:02:55.70,0:03:09.52,Default,,0000,0000,0000,,[dramatic theme music]
Dialogue: 0,0:03:09.53,0:03:15.50,Default,,0000,0000,0000,,[instrumental music]
Dialogue: 0,0:03:15.53,0:03:19.89,Default,,0000,0000,0000,,The story of drama as we know it\Nbegins in a particular place,
Dialogue: 0,0:03:19.89,0:03:21.04,Default,,0000,0000,0000,,and a particular time–
Dialogue: 0,0:03:21.04,0:03:24.63,Default,,0000,0000,0000,,Athens in the 6th century\Nbefore Christ.
Dialogue: 0,0:03:24.70,0:03:27.40,Default,,0000,0000,0000,,At that time,\NGreece was not a single country,
Dialogue: 0,0:03:27.40,0:03:30.77,Default,,0000,0000,0000,,but a mass of competing\Ncity-states, or "polis"–
Dialogue: 0,0:03:30.77,0:03:33.86,Default,,0000,0000,0000,,the Greek term describing\Na body of citizens.
Dialogue: 0,0:03:33.86,0:03:34.82,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:03:34.82,0:03:38.15,Default,,0000,0000,0000,,But in the late 6th century,\Nthe polis of Athens
Dialogue: 0,0:03:38.15,0:03:39.62,Default,,0000,0000,0000,,pulled ahead of the others
Dialogue: 0,0:03:39.62,0:03:42.65,Default,,0000,0000,0000,,politically, economically\Nand culturally.
Dialogue: 0,0:03:42.67,0:03:44.11,Default,,0000,0000,0000,,[birds chirping, music]
Dialogue: 0,0:03:44.13,0:03:46.35,Default,,0000,0000,0000,,In the last part\Nof the 6th century BC,
Dialogue: 0,0:03:46.35,0:03:50.11,Default,,0000,0000,0000,,Athens was the breeding ground\Nfor two extraordinary inventions.
Dialogue: 0,0:03:50.11,0:03:51.93,Default,,0000,0000,0000,,The first was democracy.
Dialogue: 0,0:03:51.93,0:03:55.49,Default,,0000,0000,0000,,Athens was ruled, not by kings\Nor by cliques of aristocrats,
Dialogue: 0,0:03:55.49,0:03:57.67,Default,,0000,0000,0000,,but by the votes of\Nits own citizens.
Dialogue: 0,0:03:57.67,0:04:00.32,Default,,0000,0000,0000,,But the second was theater.
Dialogue: 0,0:04:00.32,0:04:04.64,Default,,0000,0000,0000,,Athens invented an entirely\Nnew art form: drama.
Dialogue: 0,0:04:04.64,0:04:08.25,Default,,0000,0000,0000,,And these two inventions\Nwere tightly intertwined
Dialogue: 0,0:04:08.25,0:04:10.85,Default,,0000,0000,0000,,at the beating heart\Nof Athenian society.
Dialogue: 0,0:04:10.85,0:04:12.86,Default,,0000,0000,0000,,And both of them were the result
Dialogue: 0,0:04:12.86,0:04:15.97,Default,,0000,0000,0000,,of an extraordinary\Ncultural revolution.
Dialogue: 0,0:04:15.99,0:04:19.35,Default,,0000,0000,0000,,[pause, instrumental\Nmusic]
Dialogue: 0,0:04:19.36,0:04:22.05,Default,,0000,0000,0000,,At this time, the whole of\Nancient Greek culture
Dialogue: 0,0:04:22.05,0:04:24.63,Default,,0000,0000,0000,,underwent a historic transformation.
Dialogue: 0,0:04:24.63,0:04:28.19,Default,,0000,0000,0000,,The revolution extended\Nfrom architecture to literature,
Dialogue: 0,0:04:28.19,0:04:30.35,Default,,0000,0000,0000,,from vase painting to philosophy.
Dialogue: 0,0:04:30.37,0:04:33.35,Default,,0000,0000,0000,,You can see the impact\Nof that revolution clearly
Dialogue: 0,0:04:33.35,0:04:35.15,Default,,0000,0000,0000,,in how Greek sculpture developed.
Dialogue: 0,0:04:35.15,0:04:38.98,Default,,0000,0000,0000,,In the middle 6th century\Nit was rigid, stylized,
Dialogue: 0,0:04:38.98,0:04:40.49,Default,,0000,0000,0000,,lacking movement and life.
Dialogue: 0,0:04:40.49,0:04:43.15,Default,,0000,0000,0000,,But then things began to change.
Dialogue: 0,0:04:43.15,0:04:45.68,Default,,0000,0000,0000,,By the 5th century,\NGreek artists began
Dialogue: 0,0:04:45.68,0:04:49.57,Default,,0000,0000,0000,,to produce some of the greatest\Nlife-like sculptures ever made.
Dialogue: 0,0:04:49.58,0:04:50.91,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:04:50.92,0:04:53.44,Default,,0000,0000,0000,,It all amounted, not\Njust to a new-looking world,
Dialogue: 0,0:04:53.44,0:04:55.97,Default,,0000,0000,0000,,but to a whole new\Nview of the world.
Dialogue: 0,0:04:55.97,0:04:58.91,Default,,0000,0000,0000,,We call it the Classical World.
Dialogue: 0,0:04:58.91,0:05:01.63,Default,,0000,0000,0000,,And in this ground-breaking epoch,
Dialogue: 0,0:05:01.63,0:05:05.25,Default,,0000,0000,0000,,drama was perhaps\Nthe biggest innovation of them all.
Dialogue: 0,0:05:05.27,0:05:07.82,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:05:07.83,0:05:12.27,Default,,0000,0000,0000,,Tales of love, death and war\Nhad always been passed on
Dialogue: 0,0:05:12.27,0:05:15.58,Default,,0000,0000,0000,,by storytellers and epic poems\Nlike Homer's Iliad
Dialogue: 0,0:05:15.58,0:05:19.96,Default,,0000,0000,0000,,and savage myths had been\Ncelebrated in choral dance and song.
Dialogue: 0,0:05:19.96,0:05:24.79,Default,,0000,0000,0000,,BUT the Athenians added actors and\Ninvented the idea of performance.
Dialogue: 0,0:05:24.79,0:05:29.48,Default,,0000,0000,0000,,These epic stories would now\Nplay out, not only in the mind,
Dialogue: 0,0:05:29.48,0:05:31.90,Default,,0000,0000,0000,,but live on stage.
Dialogue: 0,0:05:31.90,0:05:35.53,Default,,0000,0000,0000,,This was more than innovation,\Nthis was a revolution.
Dialogue: 0,0:05:35.54,0:05:37.14,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:05:37.16,0:05:39.31,Default,,0000,0000,0000,,Prof. Taplin: Never before in the Greek\Ntradition that we know of,
Dialogue: 0,0:05:39.31,0:05:40.86,Default,,0000,0000,0000,,in the Greek storytelling tradition,
Dialogue: 0,0:05:40.86,0:05:44.24,Default,,0000,0000,0000,,were things enacted\Nrather than narrated.
Dialogue: 0,0:05:44.24,0:05:48.22,Default,,0000,0000,0000,,So, instead of having, "And then\Nthe king drew his sword and said..."
Dialogue: 0,0:05:48.22,0:05:52.59,Default,,0000,0000,0000,,Instead, a person actually\Ndraws a sword and speaks.
Dialogue: 0,0:05:52.59,0:05:54.96,Default,,0000,0000,0000,,I know we sort of say,\N"Well, children do that"
Dialogue: 0,0:05:54.96,0:05:57.99,Default,,0000,0000,0000,,but to do it with\Nserious storytelling,
Dialogue: 0,0:05:57.99,0:06:01.23,Default,,0000,0000,0000,,with storytelling that\Nactually delves into
Dialogue: 0,0:06:01.23,0:06:03.54,Default,,0000,0000,0000,,important roots in human behavior,
Dialogue: 0,0:06:03.54,0:06:07.48,Default,,0000,0000,0000,,that is a very new step, and to\Nhave it done in front of you,
Dialogue: 0,0:06:07.48,0:06:11.51,Default,,0000,0000,0000,,I think that must have been\Na very, very startling innovation.
Dialogue: 0,0:06:11.51,0:06:13.76,Default,,0000,0000,0000,,Actor: The son of Thyestes...
Dialogue: 0,0:06:13.76,0:06:15.60,Default,,0000,0000,0000,,Dr. Scott: Ancient Greek drama looked
Dialogue: 0,0:06:15.60,0:06:18.58,Default,,0000,0000,0000,,and sounded very different\Nfrom drama as we know it today.
Dialogue: 0,0:06:18.58,0:06:20.63,Default,,0000,0000,0000,,There were no more\Nthan three or four actors.
Dialogue: 0,0:06:20.63,0:06:24.58,Default,,0000,0000,0000,,There was a chorus who interrupted\Nthe action with song and dance,
Dialogue: 0,0:06:24.58,0:06:26.62,Default,,0000,0000,0000,,and all the performers wore masks.
Dialogue: 0,0:06:26.62,0:06:29.18,Default,,0000,0000,0000,,[intense drum music, silence]
Dialogue: 0,0:06:29.19,0:06:32.96,Default,,0000,0000,0000,,Prof. Taplin: When an actor began to\Nenact rather than narrate,
Dialogue: 0,0:06:32.96,0:06:35.29,Default,,0000,0000,0000,,there's a kind of\Ndangerousness about that,
Dialogue: 0,0:06:35.29,0:06:38.49,Default,,0000,0000,0000,,that the actor has\Nto become a woman,
Dialogue: 0,0:06:38.49,0:06:40.96,Default,,0000,0000,0000,,the actor has\Nto become a slave,
Dialogue: 0,0:06:40.96,0:06:43.01,Default,,0000,0000,0000,,the actor, perhaps even\Nmore dangerously,
Dialogue: 0,0:06:43.01,0:06:46.55,Default,,0000,0000,0000,,has to become a god, and\Nit's almost as if the mask
Dialogue: 0,0:06:46.55,0:06:49.61,Default,,0000,0000,0000,,is a kind of signal\Nof the profession,
Dialogue: 0,0:06:49.61,0:06:54.02,Default,,0000,0000,0000,,that protects the actor against\Nthe danger of doing these things.
Dialogue: 0,0:06:54.02,0:06:55.06,Default,,0000,0000,0000,,[dark music]
Dialogue: 0,0:06:55.08,0:06:56.38,Default,,0000,0000,0000,,Actor: Blood shoot of Aetrius...
Dialogue: 0,0:06:56.38,0:06:57.38,Default,,0000,0000,0000,,[muffled speech]
Dialogue: 0,0:06:57.38,0:07:03.10,Default,,0000,0000,0000,,Prof. Taplin: The chorus are costumed\Nand masked in an identical
Dialogue: 0,0:07:03.10,0:07:06.44,Default,,0000,0000,0000,,or near identical way and they\Nmove and speak as a group.
Dialogue: 0,0:07:06.44,0:07:08.86,Default,,0000,0000,0000,,The chorus is not a bunch\Nof individuals.
Dialogue: 0,0:07:08.86,0:07:10.35,Default,,0000,0000,0000,,For the Greeks,\Nthe chorus was a group.
Dialogue: 0,0:07:10.35,0:07:13.20,Default,,0000,0000,0000,,In which, in a sense,\Nthey submerged their identity.
Dialogue: 0,0:07:13.20,0:07:17.71,Default,,0000,0000,0000,,AND what the chorus does is,\Nin its groupness,
Dialogue: 0,0:07:17.71,0:07:22.57,Default,,0000,0000,0000,,it tries to make sense of\Nwhat it's witnessing.
Dialogue: 0,0:07:22.57,0:07:27.84,Default,,0000,0000,0000,,They're deeply emotionally involved,\Nand the suffering becomes a song.
Dialogue: 0,0:07:27.84,0:07:31.60,Default,,0000,0000,0000,,And the chorus, as a group,\Nwith its group response,
Dialogue: 0,0:07:31.60,0:07:33.23,Default,,0000,0000,0000,,sings its choral lyrics.
Dialogue: 0,0:07:33.23,0:07:36.94,Default,,0000,0000,0000,,Different actors: You did it? Plotted it? You? \NSingle-handed? The people will stone him.
Dialogue: 0,0:07:36.94,0:07:38.43,Default,,0000,0000,0000,,Chorus: You don't stand a chance.
Dialogue: 0,0:07:38.44,0:07:42.17,Default,,0000,0000,0000,,[intense music]
Dialogue: 0,0:07:42.17,0:07:46.57,Default,,0000,0000,0000,,Prof. Taplin: It seems to me, that the crucial\Nthing is that it is simultaneously
Dialogue: 0,0:07:46.57,0:07:48.87,Default,,0000,0000,0000,,a very strong emotional experience,
Dialogue: 0,0:07:48.87,0:07:51.98,Default,,0000,0000,0000,,and a very strong\Nthought experience.
Dialogue: 0,0:07:51.98,0:07:57.96,Default,,0000,0000,0000,,[drum beat, fades to quiet]
Dialogue: 0,0:07:58.04,0:08:00.41,Default,,0000,0000,0000,,Dr. Scott: When the Greeks came to\Nanalyze their new art form,
Dialogue: 0,0:08:00.41,0:08:02.85,Default,,0000,0000,0000,,they discerned three\Ndifferent types of play.
Dialogue: 0,0:08:02.85,0:08:05.87,Default,,0000,0000,0000,,Two of which we still have with\Nus today - tragedy and comedy.
Dialogue: 0,0:08:05.87,0:08:09.90,Default,,0000,0000,0000,,But, in many ways,\Nmodern tragedy has actually changed
Dialogue: 0,0:08:09.90,0:08:11.70,Default,,0000,0000,0000,,from how ancient tragedy worked.
Dialogue: 0,0:08:11.70,0:08:14.98,Default,,0000,0000,0000,,For us, tragedy is a\Nplay with a sad ending,
Dialogue: 0,0:08:14.98,0:08:18.05,Default,,0000,0000,0000,,but for the ancient Greeks,\Ntragedy was a play
Dialogue: 0,0:08:18.05,0:08:21.63,Default,,0000,0000,0000,,in which the events offered\Nthe audience a tough decision.
Dialogue: 0,0:08:21.63,0:08:25.95,Default,,0000,0000,0000,,And because no real ancient\Ntragedy ends conclusively—
Dialogue: 0,0:08:25.95,0:08:28.33,Default,,0000,0000,0000,,siding with one\Ncourse of action or another—
Dialogue: 0,0:08:28.33,0:08:31.91,Default,,0000,0000,0000,,what it does is face\Nthe audience with a problem.
Dialogue: 0,0:08:31.91,0:08:35.30,Default,,0000,0000,0000,,What would THEY do if they\Nwere in the same situation?
Dialogue: 0,0:08:35.32,0:08:37.90,Default,,0000,0000,0000,,[instrumental music]
Dialogue: 0,0:08:37.93,0:08:40.62,Default,,0000,0000,0000,,Take one of the most\Nfamous plays ever written,
Dialogue: 0,0:08:40.62,0:08:43.15,Default,,0000,0000,0000,,Oedipus The King by Sophocles.
Dialogue: 0,0:08:43.15,0:08:45.14,Default,,0000,0000,0000,,It tells the story of Oedipus,
Dialogue: 0,0:08:45.14,0:08:49.05,Default,,0000,0000,0000,,a man who was destined to kill\Nhis father and marry his mother.
Dialogue: 0,0:08:49.05,0:08:52.07,Default,,0000,0000,0000,,Although this outcome\Nis predicted by an oracle,
Dialogue: 0,0:08:52.07,0:08:54.74,Default,,0000,0000,0000,,Oedipus himself makes\Na series of free choices
Dialogue: 0,0:08:54.74,0:08:56.34,Default,,0000,0000,0000,,that lead to its fulfillment–
Dialogue: 0,0:08:56.34,0:08:59.98,Default,,0000,0000,0000,,choices that would have posed\Nserious questions for the audience.
Dialogue: 0,0:08:59.98,0:09:04.21,Default,,0000,0000,0000,,The play ends with Oedipus\Nblinding himself in despair.
Dialogue: 0,0:09:04.21,0:09:06.38,Default,,0000,0000,0000,,[intense, then calm music]
Dialogue: 0,0:09:06.38,0:09:09.89,Default,,0000,0000,0000,,The issues dealt with in tragedy\Nwere often so disturbing
Dialogue: 0,0:09:09.89,0:09:12.70,Default,,0000,0000,0000,,that the plays were nearly always\Nset away from Athens,
Dialogue: 0,0:09:12.70,0:09:16.28,Default,,0000,0000,0000,,in the land of myth and legend,\Nor at very least a far away city.
Dialogue: 0,0:09:16.28,0:09:18.98,Default,,0000,0000,0000,,And after a series of tragedies,
Dialogue: 0,0:09:18.98,0:09:21.05,Default,,0000,0000,0000,,the Athenians were\Noffered a satyr play.
Dialogue: 0,0:09:21.05,0:09:22.72,Default,,0000,0000,0000,,Now, we don't have\Nthis any more today,
Dialogue: 0,0:09:22.72,0:09:24.70,Default,,0000,0000,0000,,but effectively the satyrs
Dialogue: 0,0:09:24.70,0:09:27.90,Default,,0000,0000,0000,,were the half-male, half-goat\Ncompanions of the god of revelry,
Dialogue: 0,0:09:27.90,0:09:29.60,Default,,0000,0000,0000,,who would be allowed\Nto run around the stage
Dialogue: 0,0:09:29.60,0:09:32.62,Default,,0000,0000,0000,,doing lots of lewd and bawdy things\Nas a bit of light relief.
Dialogue: 0,0:09:32.62,0:09:34.16,Default,,0000,0000,0000,,But what we do have today is comedy.
Dialogue: 0,0:09:34.16,0:09:37.16,Default,,0000,0000,0000,,And ancient comedy,\Njust like tragedy,
Dialogue: 0,0:09:37.16,0:09:39.80,Default,,0000,0000,0000,,spoke directly to\Ncontemporary Athenians.
Dialogue: 0,0:09:39.80,0:09:43.83,Default,,0000,0000,0000,,[playful music]
Dialogue: 0,0:09:43.83,0:09:47.02,Default,,0000,0000,0000,,Usually set in a topsy-turvy\Nversion of real life,
Dialogue: 0,0:09:47.02,0:09:51.31,Default,,0000,0000,0000,,or in a realm of fantasy, they\Npoked fun at contemporary Athens.
Dialogue: 0,0:09:51.31,0:09:55.34,Default,,0000,0000,0000,,The Birds is a play that mocks\Nthe Athenian obsession
Dialogue: 0,0:09:55.34,0:09:57.33,Default,,0000,0000,0000,,with litigation and politics.
Dialogue: 0,0:09:57.33,0:09:59.18,Default,,0000,0000,0000,,It tells the story of two men
Dialogue: 0,0:09:59.18,0:10:03.30,Default,,0000,0000,0000,,who are tired of a life of\Nlaw courts and civic duties.
Dialogue: 0,0:10:03.30,0:10:05.70,Default,,0000,0000,0000,,To escape, they turn\Nthemselves into birds
Dialogue: 0,0:10:05.70,0:10:09.32,Default,,0000,0000,0000,,and create a bird city-in-the-sky\Ncalled Cloud Cuckoo Land
Dialogue: 0,0:10:09.32,0:10:13.66,Default,,0000,0000,0000,,where they reject all attempts to\Nimpose Athenian-style law and order.
Dialogue: 0,0:10:13.66,0:10:18.18,Default,,0000,0000,0000,,Both comedy and tragedy\Nsought to have a direct bearing
Dialogue: 0,0:10:18.18,0:10:19.57,Default,,0000,0000,0000,,on life in Athens.
Dialogue: 0,0:10:19.57,0:10:23.98,Default,,0000,0000,0000,,And most fascinating of all, is how\Nthey seamlessly blended together
Dialogue: 0,0:10:23.98,0:10:26.51,Default,,0000,0000,0000,,religion and myth with\Ncontemporary politics.
Dialogue: 0,0:10:26.51,0:10:29.78,Default,,0000,0000,0000,,This means that a play\Nlike The Oresteia by Aeschylus
Dialogue: 0,0:10:29.78,0:10:32.78,Default,,0000,0000,0000,,can start with a mythic\Ntale from the Trojan wars
Dialogue: 0,0:10:32.78,0:10:36.62,Default,,0000,0000,0000,,where Agamemnon is murdered by his\Nwife and avenged by his son Orestes,
Dialogue: 0,0:10:36.62,0:10:39.94,Default,,0000,0000,0000,,but can end in a courtroom,\Nin democratic Athens,
Dialogue: 0,0:10:39.94,0:10:43.20,Default,,0000,0000,0000,,with Orestes on trial\Nfor the murder of his mother.
Dialogue: 0,0:10:43.21,0:10:46.40,Default,,0000,0000,0000,,[booming music]
Dialogue: 0,0:10:46.74,0:10:49.70,Default,,0000,0000,0000,,Dr. Wyles: The Oresteia is one of the\Nbiggest hits in antiquity,
Dialogue: 0,0:10:49.70,0:10:53.25,Default,,0000,0000,0000,,it's also one of the very\Nfew trilogies that we've got.
Dialogue: 0,0:10:53.25,0:10:55.47,Default,,0000,0000,0000,,So what you have is three tragedies
Dialogue: 0,0:10:55.47,0:10:59.24,Default,,0000,0000,0000,,and, in this case,\Nit's got a connected story.
Dialogue: 0,0:10:59.24,0:11:02.86,Default,,0000,0000,0000,,Dr. Scott: How does tragedy take this,\Nthis, this smorgasbord if you like,
Dialogue: 0,0:11:02.86,0:11:05.26,Default,,0000,0000,0000,,and make it into a story?
Dialogue: 0,0:11:05.26,0:11:08.02,Default,,0000,0000,0000,,Dr. Wyles: Well it's not the same problem\Nfor the ancient Greeks
Dialogue: 0,0:11:08.02,0:11:10.02,Default,,0000,0000,0000,,as it might be for us.
Dialogue: 0,0:11:10.02,0:11:12.98,Default,,0000,0000,0000,,You know there's not this\Nidea of anachronism.
Dialogue: 0,0:11:12.98,0:11:17.27,Default,,0000,0000,0000,,Your mythical world, with\Nthe gods, with the Trojan war—
Dialogue: 0,0:11:17.27,0:11:20.47,Default,,0000,0000,0000,,all of this that we've had in\Nthe first parts with the trilogy—
Dialogue: 0,0:11:20.47,0:11:26.70,Default,,0000,0000,0000,,can then end in that third part\Nwith a law court in Athens,
Dialogue: 0,0:11:26.70,0:11:28.59,Default,,0000,0000,0000,,which would have been familiar,\Nof course,
Dialogue: 0,0:11:28.59,0:11:30.88,Default,,0000,0000,0000,,from 1st century\Ncontemporary Athens.
Dialogue: 0,0:11:31.39,0:11:33.45,Default,,0000,0000,0000,,So you have this brilliant genre
Dialogue: 0,0:11:33.45,0:11:37.43,Default,,0000,0000,0000,,where you can zoom from your\Npresent day into the past
Dialogue: 0,0:11:37.43,0:11:39.89,Default,,0000,0000,0000,,and bring your past\Ninto your present day.
Dialogue: 0,0:11:39.89,0:11:41.64,Default,,0000,0000,0000,,And it's that relationship,
Dialogue: 0,0:11:41.64,0:11:45.43,Default,,0000,0000,0000,,that tragedy uses to be able to say things\Nabout its contemporary society.
Dialogue: 0,0:11:45.46,0:11:47.28,Default,,0000,0000,0000,,[transitional music]
Dialogue: 0,0:11:47.30,0:11:50.35,Default,,0000,0000,0000,,Dr. Scott: To find out more about how\Ndrama and democratic Athens
Dialogue: 0,0:11:50.35,0:11:52.28,Default,,0000,0000,0000,,became so intimately connected,
Dialogue: 0,0:11:52.28,0:11:55.21,Default,,0000,0000,0000,,I want to look at how\Ntheater first emerged.
Dialogue: 0,0:11:55.22,0:11:56.40,Default,,0000,0000,0000,,[quiet music]
Dialogue: 0,0:11:56.40,0:11:58.22,Default,,0000,0000,0000,,Everything in ancient Greece
Dialogue: 0,0:11:58.22,0:12:00.57,Default,,0000,0000,0000,,came under the auspices\Nof a particular god,
Dialogue: 0,0:12:00.57,0:12:03.94,Default,,0000,0000,0000,,and the god controlling theater\Nwas called Dionysus.
Dialogue: 0,0:12:03.94,0:12:06.57,Default,,0000,0000,0000,,He was also the god\Nof wine and revelry
Dialogue: 0,0:12:06.57,0:12:09.70,Default,,0000,0000,0000,,and many scholars think that\Ntheater evolved directly
Dialogue: 0,0:12:09.70,0:12:13.04,Default,,0000,0000,0000,,out of the choral songs\Nperformed in honor of Dionysus.
Dialogue: 0,0:12:13.77,0:12:16.20,Default,,0000,0000,0000,,But there's also something\Nelse going on here.
Dialogue: 0,0:12:16.20,0:12:18.59,Default,,0000,0000,0000,,Something that is\Nsuggested by the ruins
Dialogue: 0,0:12:18.59,0:12:20.88,Default,,0000,0000,0000,,at a place called Thorikos,\Nnear Athens.
Dialogue: 0,0:12:20.88,0:12:22.18,Default,,0000,0000,0000,,[quiet harp-sounding music]
Dialogue: 0,0:12:22.18,0:12:25.65,Default,,0000,0000,0000,,This region was once home to\Nthe ancient Athenian silver mines
Dialogue: 0,0:12:25.65,0:12:26.85,Default,,0000,0000,0000,,but is also the site
Dialogue: 0,0:12:26.85,0:12:30.07,Default,,0000,0000,0000,,of the oldest stone-built theater\Nin the Greek world.
Dialogue: 0,0:12:30.40,0:12:34.38,Default,,0000,0000,0000,,We're in an industrial heartland\Nof the ancient Athenian state,
Dialogue: 0,0:12:34.38,0:12:36.53,Default,,0000,0000,0000,,with the ore washeries\Nand the mine shafts
Dialogue: 0,0:12:36.53,0:12:38.03,Default,,0000,0000,0000,,just beyond the theater here.
Dialogue: 0,0:12:38.06,0:12:39.52,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:12:39.54,0:12:42.54,Default,,0000,0000,0000,,The first phase of this theatre\Nis late 6th century
Dialogue: 0,0:12:42.54,0:12:44.34,Default,,0000,0000,0000,,and that puts it in the same time
Dialogue: 0,0:12:44.34,0:12:46.71,Default,,0000,0000,0000,,as the invention of\NAthenian democracy itself.
Dialogue: 0,0:12:46.71,0:12:48.47,Default,,0000,0000,0000,,Which throws up another question–
Dialogue: 0,0:12:48.47,0:12:53.27,Default,,0000,0000,0000,,just what is the relationship\Nbetween theater and democracy?
Dialogue: 0,0:12:53.27,0:12:56.74,Default,,0000,0000,0000,,And how did the two\Nhelp each other into being?
Dialogue: 0,0:12:56.74,0:13:01.91,Default,,0000,0000,0000,,[contemplative music]
Dialogue: 0,0:13:01.92,0:13:05.58,Default,,0000,0000,0000,,It's a question that has been\Ndebated by scholars for centuries–
Dialogue: 0,0:13:05.58,0:13:09.16,Default,,0000,0000,0000,,were theater and democracy\Nconnected from the very start?
Dialogue: 0,0:13:09.16,0:13:13.85,Default,,0000,0000,0000,,Prof. Cartledge: Now I actually buy into \Nthe story that tragic drama
Dialogue: 0,0:13:13.85,0:13:16.62,Default,,0000,0000,0000,,IS a democratic invention.
Dialogue: 0,0:13:16.62,0:13:18.51,Default,,0000,0000,0000,,I have a particular take
Dialogue: 0,0:13:18.51,0:13:22.80,Default,,0000,0000,0000,,because I am one of those who\Nthink that Athenian tragic drama
Dialogue: 0,0:13:22.80,0:13:25.52,Default,,0000,0000,0000,,was deeply, strongly politicized.
Dialogue: 0,0:13:25.52,0:13:29.20,Default,,0000,0000,0000,,Not just, it happened in a polis,\Nbut it happened in a polis
Dialogue: 0,0:13:29.20,0:13:33.64,Default,,0000,0000,0000,,of a particular sort and could\Nnot have happened before Athens
Dialogue: 0,0:13:33.64,0:13:37.67,Default,,0000,0000,0000,,became a polis of that\Nparticular sort, a democratic one.
Dialogue: 0,0:13:37.67,0:13:41.33,Default,,0000,0000,0000,,Prof. Osborne: The theatrical side\Nseems to coincide
Dialogue: 0,0:13:41.33,0:13:44.62,Default,,0000,0000,0000,,fairly closely with\Nthe political identity.
Dialogue: 0,0:13:44.62,0:13:47.18,Default,,0000,0000,0000,,Theatrical activities of\Nsome sort or another
Dialogue: 0,0:13:47.18,0:13:49.93,Default,,0000,0000,0000,,were one of the ways in which\Nthey expressed the fact
Dialogue: 0,0:13:49.93,0:13:51.76,Default,,0000,0000,0000,,that now they all belonged together,
Dialogue: 0,0:13:51.76,0:13:54.57,Default,,0000,0000,0000,,this was the place to which they\Ncame and in which they acted.
Dialogue: 0,0:13:54.57,0:13:56.01,Default,,0000,0000,0000,,It's about, you know,
Dialogue: 0,0:13:56.01,0:13:59.16,Default,,0000,0000,0000,,the local community feeling\Nitself to be a local community.
Dialogue: 0,0:13:59.16,0:14:01.16,Default,,0000,0000,0000,,[string music]
Dialogue: 0,0:14:01.18,0:14:04.69,Default,,0000,0000,0000,,Dr. Scott: I'm on my way to visit one of the\Nsmaller Athenian communities
Dialogue: 0,0:14:04.69,0:14:06.61,Default,,0000,0000,0000,,to try and find some more proof
Dialogue: 0,0:14:06.61,0:14:09.58,Default,,0000,0000,0000,,about the connection\Nbetween drama and politics.
Dialogue: 0,0:14:09.58,0:14:13.20,Default,,0000,0000,0000,,I want to see what the archaeology\Nitself has to say.
Dialogue: 0,0:14:13.26,0:14:14.26,Default,,0000,0000,0000,,[music]
Dialogue: 0,0:14:14.32,0:14:15.95,Default,,0000,0000,0000,,Now, neither for theater\Nnor democracy,
Dialogue: 0,0:14:15.95,0:14:18.16,Default,,0000,0000,0000,,was there any kind of\Nimmaculate conception.
Dialogue: 0,0:14:18.16,0:14:21.42,Default,,0000,0000,0000,,Nor were either born\Ninto the fully-developed form
Dialogue: 0,0:14:21.42,0:14:22.82,Default,,0000,0000,0000,,that we recognize them today.
Dialogue: 0,0:14:22.82,0:14:25.73,Default,,0000,0000,0000,,Both developed,\Narm-in-arm, over time.
Dialogue: 0,0:14:25.73,0:14:27.96,Default,,0000,0000,0000,,And all around us\Nas we drive in Attica,
Dialogue: 0,0:14:27.96,0:14:29.69,Default,,0000,0000,0000,,we can see the building blocks,
Dialogue: 0,0:14:29.69,0:14:32.54,Default,,0000,0000,0000,,the basis of the Athenian\Ndemocratic system.
Dialogue: 0,0:14:32.55,0:14:37.12,Default,,0000,0000,0000,,[dramatic music]
Dialogue: 0,0:14:37.14,0:14:40.06,Default,,0000,0000,0000,,People tend to think of\NAthenians as city dwellers,
Dialogue: 0,0:14:40.06,0:14:41.61,Default,,0000,0000,0000,,but much of the population
Dialogue: 0,0:14:41.61,0:14:45.02,Default,,0000,0000,0000,,actually lived in village\Ncommunities called demes.
Dialogue: 0,0:14:45.02,0:14:49.93,Default,,0000,0000,0000,,There were 139 demes making up\Nthe Athenian democracy
Dialogue: 0,0:14:49.93,0:14:51.92,Default,,0000,0000,0000,,and each deme governed itself.
Dialogue: 0,0:14:51.92,0:14:54.74,Default,,0000,0000,0000,,The deme I'm looking for\Nis one of the remotest–
Dialogue: 0,0:14:54.74,0:14:56.57,Default,,0000,0000,0000,,it's called Rhamnous.
Dialogue: 0,0:14:56.68,0:14:59.58,Default,,0000,0000,0000,,The people who lived here\Nwere mostly farmers,
Dialogue: 0,0:14:59.58,0:15:02.23,Default,,0000,0000,0000,,but all the male citizens\Nvoted for the council,
Dialogue: 0,0:15:02.23,0:15:04.97,Default,,0000,0000,0000,,and on local regulations\Nand on by-laws.
Dialogue: 0,0:15:04.97,0:15:07.28,Default,,0000,0000,0000,,And right at the heart\Nof the community,
Dialogue: 0,0:15:07.28,0:15:10.18,Default,,0000,0000,0000,,are the remains of what\Nwas once a theater.
Dialogue: 0,0:15:10.19,0:15:12.25,Default,,0000,0000,0000,,[pause, dramatic music]
Dialogue: 0,0:15:12.25,0:15:15.26,Default,,0000,0000,0000,,This is what I've come looking\Nfor on this very hot afternoon–
Dialogue: 0,0:15:15.26,0:15:17.83,Default,,0000,0000,0000,,an inscription that\Nshows us democracy
Dialogue: 0,0:15:17.83,0:15:19.87,Default,,0000,0000,0000,,at its most local\Nlevel in operation.
Dialogue: 0,0:15:19.88,0:15:21.42,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:15:21.46,0:15:24.74,Default,,0000,0000,0000,,"Dionisoi": to Dionysus...
Dialogue: 0,0:15:24.75,0:15:29.96,Default,,0000,0000,0000,,"Hypo tes boules": from the Boule,
Dialogue: 0,0:15:29.96,0:15:34.64,Default,,0000,0000,0000,,the local council controlling\Nthis deme, here in Attica.
Dialogue: 0,0:15:34.64,0:15:38.61,Default,,0000,0000,0000,,And it's to Dionysus because,\Nyes, you've guessed it,
Dialogue: 0,0:15:38.61,0:15:42.33,Default,,0000,0000,0000,,we're in a theater –a theater,\Nthe space of Dionysus.
Dialogue: 0,0:15:42.33,0:15:45.35,Default,,0000,0000,0000,,The privileged seats for the\Ndistinguished local clientele,
Dialogue: 0,0:15:45.35,0:15:47.81,Default,,0000,0000,0000,,and the stage set out before us.
Dialogue: 0,0:15:47.81,0:15:51.14,Default,,0000,0000,0000,,Religion, politics, theater...
Dialogue: 0,0:15:51.14,0:15:53.84,Default,,0000,0000,0000,,at democracy's most local level.
Dialogue: 0,0:15:53.84,0:15:57.74,Default,,0000,0000,0000,,[dramatic piano music]
Dialogue: 0,0:15:57.74,0:16:02.21,Default,,0000,0000,0000,,These theaters really were far more\Nthan just places of entertainment,
Dialogue: 0,0:16:02.21,0:16:05.50,Default,,0000,0000,0000,,they were places where the whole\Ndeme would gather together.
Dialogue: 0,0:16:05.51,0:16:07.26,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:16:07.26,0:16:09.50,Default,,0000,0000,0000,,No-one's going to bother\Nto build a theater
Dialogue: 0,0:16:09.50,0:16:11.80,Default,,0000,0000,0000,,just for a couple of days\Nof drama a year.
Dialogue: 0,0:16:11.80,0:16:13.66,Default,,0000,0000,0000,,But the theaters here,
Dialogue: 0,0:16:13.66,0:16:16.66,Default,,0000,0000,0000,,at the lowest, most basic level\Nof the Athenian democracy,
Dialogue: 0,0:16:16.66,0:16:20.58,Default,,0000,0000,0000,,seem to have also been used\Nas multi-purpose civic spaces,
Dialogue: 0,0:16:20.58,0:16:24.93,Default,,0000,0000,0000,,giving them all-year-round\Npotential, not just for drama,
Dialogue: 0,0:16:24.93,0:16:28.96,Default,,0000,0000,0000,,but also for democracy\Nand democratic action itself.
Dialogue: 0,0:16:28.96,0:16:33.12,Default,,0000,0000,0000,,And THAT is what the archaeology\Nis really beginning to uncover–
Dialogue: 0,0:16:33.12,0:16:36.79,Default,,0000,0000,0000,,not only the demes,\Nbut the deme theaters,
Dialogue: 0,0:16:36.79,0:16:39.02,Default,,0000,0000,0000,,spreading across all of Attica.
Dialogue: 0,0:16:39.02,0:16:41.43,Default,,0000,0000,0000,,[upbeat dramatic music]
Dialogue: 0,0:16:41.43,0:16:44.04,Default,,0000,0000,0000,,The use of theaters\Nfor democratic activity
Dialogue: 0,0:16:44.04,0:16:46.36,Default,,0000,0000,0000,,seems to have been the case,\Nnot just in the demes,
Dialogue: 0,0:16:46.36,0:16:48.27,Default,,0000,0000,0000,,but in the city of Athens itself.
Dialogue: 0,0:16:48.27,0:16:52.43,Default,,0000,0000,0000,,Every year, the democratic\Nauthorities spent a fortune
Dialogue: 0,0:16:52.43,0:16:56.03,Default,,0000,0000,0000,,on the Great Dionysia Festival:\Na drama competition
Dialogue: 0,0:16:56.03,0:16:58.07,Default,,0000,0000,0000,,that took place in\Nthe Theater of Dionysus
Dialogue: 0,0:16:58.07,0:17:00.03,Default,,0000,0000,0000,,in honor of the god of theater.
Dialogue: 0,0:17:00.03,0:17:03.97,Default,,0000,0000,0000,,It's through understanding the\Ndifferent stages of this festival
Dialogue: 0,0:17:03.97,0:17:07.45,Default,,0000,0000,0000,,that we can get closer to\Nunderstanding what ancient Athenians
Dialogue: 0,0:17:07.45,0:17:10.57,Default,,0000,0000,0000,,experienced when they\Nwatched and created drama.
Dialogue: 0,0:17:10.57,0:17:12.92,Default,,0000,0000,0000,,The festival began\Nwith a procession–
Dialogue: 0,0:17:12.92,0:17:15.58,Default,,0000,0000,0000,,a rowdy affair with\Nfeasting, drinking,
Dialogue: 0,0:17:15.58,0:17:18.54,Default,,0000,0000,0000,,and a great crowd of people\Nparading through the streets
Dialogue: 0,0:17:18.54,0:17:22.73,Default,,0000,0000,0000,,with a statue of the god and a\Nsmall herd of sacrificial animals.
Dialogue: 0,0:17:22.73,0:17:26.93,Default,,0000,0000,0000,,When it reached the altar of the\N12 Olympian Gods in the marketplace,
Dialogue: 0,0:17:26.93,0:17:29.55,Default,,0000,0000,0000,,the first thing that happened\Nwas a holy dance.
Dialogue: 0,0:17:30.40,0:17:34.57,Default,,0000,0000,0000,,Dr. Agelidis: The cult of Dionysus\Nis very much
Dialogue: 0,0:17:34.57,0:17:36.34,Default,,0000,0000,0000,,a psychological thing.
Dialogue: 0,0:17:36.34,0:17:40.50,Default,,0000,0000,0000,,You know wine was, of course, \Nvery important, for Dionysus,
Dialogue: 0,0:17:40.50,0:17:41.52,Default,,0000,0000,0000,,everyone knows that,
Dialogue: 0,0:17:41.52,0:17:45.10,Default,,0000,0000,0000,,but the thing was that by\Ndrinking wine,
Dialogue: 0,0:17:45.10,0:17:47.98,Default,,0000,0000,0000,,you were getting closer to the god
Dialogue: 0,0:17:47.98,0:17:52.51,Default,,0000,0000,0000,,and the more wine you drink,\Nthe more you step out of yourself
Dialogue: 0,0:17:52.51,0:17:54.26,Default,,0000,0000,0000,,and get closer to the god.
Dialogue: 0,0:17:54.93,0:17:58.69,Default,,0000,0000,0000,,And that is also what happens\Nwhen you're dancing,
Dialogue: 0,0:17:58.69,0:18:03.06,Default,,0000,0000,0000,,you're getting outside yourself,\Nso to say, but also by, for example,
Dialogue: 0,0:18:03.06,0:18:04.26,Default,,0000,0000,0000,,wearing a mask...
Dialogue: 0,0:18:04.87,0:18:08.74,Default,,0000,0000,0000,,The ancient people thought\Nthat when you were wearing a mask,
Dialogue: 0,0:18:08.74,0:18:11.30,Default,,0000,0000,0000,,you really become someone else.
Dialogue: 0,0:18:11.30,0:18:12.55,Default,,0000,0000,0000,,Dr: Scott: And the Greek word is...\N
Dialogue: 0,0:18:12.55,0:18:14.08,Default,,0000,0000,0000,,Dr Agelidis: It's ecstasies.
Dialogue: 0,0:18:14.08,0:18:18.62,Default,,0000,0000,0000,,Dr Scott: So "ec" - out, "stasis" -\Nof one's self, of one's stance.
Dialogue: 0,0:18:18.62,0:18:19.61,Default,,0000,0000,0000,,Dr Agelidis: Yes.
Dialogue: 0,0:18:19.61,0:18:21.02,Default,,0000,0000,0000,,Dr. Scott: And that's our ecstasy.
Dialogue: 0,0:18:21.02,0:18:23.29,Default,,0000,0000,0000,,Dr. Agelidis: It is the ecstasy as we know it.
Dialogue: 0,0:18:23.29,0:18:24.77,Default,,0000,0000,0000,,Dr. Scott: The ecstasy of the god.
Dialogue: 0,0:18:24.77,0:18:25.27,Default,,0000,0000,0000,,Dr. Agelidis: Yeah.
Dialogue: 0,0:18:25.27,0:18:29.39,Default,,0000,0000,0000,,[celebratory music]
Dialogue: 0,0:18:29.39,0:18:32.00,Default,,0000,0000,0000,,Dr. Scott: The procession then\Nsurged through the streets
Dialogue: 0,0:18:32.00,0:18:34.17,Default,,0000,0000,0000,,along a route lined with tripods—
Dialogue: 0,0:18:34.17,0:18:38.15,Default,,0000,0000,0000,,monuments put up by the proud\Nsponsors of the winning plays.
Dialogue: 0,0:18:38.15,0:18:39.86,Default,,0000,0000,0000,,Often politicians,
Dialogue: 0,0:18:39.86,0:18:43.13,Default,,0000,0000,0000,,they spent fortunes\Nfunding dramatic productions,
Dialogue: 0,0:18:43.13,0:18:46.30,Default,,0000,0000,0000,,and marked their victories\Nwith monuments like this one:
Dialogue: 0,0:18:46.30,0:18:49.11,Default,,0000,0000,0000,,put up by a winner\Nfrom the 4th century BC.
Dialogue: 0,0:18:49.11,0:18:51.25,Default,,0000,0000,0000,,[triumphant music]
Dialogue: 0,0:18:51.25,0:18:55.45,Default,,0000,0000,0000,,So, the drama festival was more than\Nan opportunity for staging plays,
Dialogue: 0,0:18:55.45,0:18:58.03,Default,,0000,0000,0000,,it was a chance for the\Nleading figures of Athens
Dialogue: 0,0:18:58.03,0:19:02.37,Default,,0000,0000,0000,,to stage their generosity, and\Ntheir success to the whole city.
Dialogue: 0,0:19:02.37,0:19:06.75,Default,,0000,0000,0000,,Finally, having wound its way\Nright around the Acropolis,
Dialogue: 0,0:19:06.75,0:19:10.55,Default,,0000,0000,0000,,the procession emerged noisily\Ninto the precinct of Dionysus.
Dialogue: 0,0:19:10.55,0:19:14.25,Default,,0000,0000,0000,,By now, the participants\Nwere becoming a single entity.
Dialogue: 0,0:19:14.25,0:19:20.03,Default,,0000,0000,0000,,Dr. Agelidis: It was a religious but also\Na political incident, actually.
Dialogue: 0,0:19:20.69,0:19:23.40,Default,,0000,0000,0000,,You know, the whole city, so to say,
Dialogue: 0,0:19:23.40,0:19:25.96,Default,,0000,0000,0000,,steps towards the god
Dialogue: 0,0:19:25.96,0:19:29.45,Default,,0000,0000,0000,,so in order to worship the god.
Dialogue: 0,0:19:29.45,0:19:33.55,Default,,0000,0000,0000,,And they show not only their piety
Dialogue: 0,0:19:33.55,0:19:36.28,Default,,0000,0000,0000,,but also that they belong together.
Dialogue: 0,0:19:36.28,0:19:38.96,Default,,0000,0000,0000,,Dr. Scott: So... It's an extraordinary\Nidea, isn't it?
Dialogue: 0,0:19:38.96,0:19:42.11,Default,,0000,0000,0000,,That when they take their seats\Nin theater, it's no longer,
Dialogue: 0,0:19:42.11,0:19:45.14,Default,,0000,0000,0000,,we would say in English, "It's no\Nlonger Joe Bloggs and somebody"—
Dialogue: 0,0:19:45.14,0:19:46.78,Default,,0000,0000,0000,,it's no longer the farmer\Nand the individuals,
Dialogue: 0,0:19:46.78,0:19:51.08,Default,,0000,0000,0000,,it is a collective of people\Nwith a new identity—
Dialogue: 0,0:19:51.08,0:19:54.31,Default,,0000,0000,0000,,which is that of worshipers\Nof the god Dionysus.
Dialogue: 0,0:19:54.31,0:19:55.42,Default,,0000,0000,0000,,Dr. Agelidis: Yes, correct.
Dialogue: 0,0:19:55.42,0:19:57.65,Default,,0000,0000,0000,,Dr. Scott: It's a bit different to going to the\Ntheater today, right?
Dialogue: 0,0:19:57.65,0:19:59.42,Default,,0000,0000,0000,,Dr. Agelidis: It is indeed.\N[both laugh]
Dialogue: 0,0:19:59.42,0:20:01.02,Default,,0000,0000,0000,,[calm music]
Dialogue: 0,0:20:01.02,0:20:04.61,Default,,0000,0000,0000,,Dr. Scott: All of this put the audience\Ninto a receptive state
Dialogue: 0,0:20:04.61,0:20:06.93,Default,,0000,0000,0000,,for the drama competition\Nthat was to follow.
Dialogue: 0,0:20:06.93,0:20:09.86,Default,,0000,0000,0000,,But first, as they took their seats\Nin the theater,
Dialogue: 0,0:20:09.86,0:20:12.75,Default,,0000,0000,0000,,there was one more important\Nset of rituals to come.
Dialogue: 0,0:20:12.75,0:20:14.63,Default,,0000,0000,0000,,[brief music]
Dialogue: 0,0:20:14.63,0:20:16.12,Default,,0000,0000,0000,,The audience were seated here,
Dialogue: 0,0:20:16.12,0:20:19.71,Default,,0000,0000,0000,,perhaps in the same groupings\Nas when they went to war.
Dialogue: 0,0:20:19.71,0:20:22.58,Default,,0000,0000,0000,,The citizens of Athens\Nwho were acting on the stage,
Dialogue: 0,0:20:22.58,0:20:25.99,Default,,0000,0000,0000,,were acting in the same groups\Nas when they went to war.
Dialogue: 0,0:20:25.99,0:20:29.00,Default,,0000,0000,0000,,And in the front seats of the\Ntheater were the reserved seats
Dialogue: 0,0:20:29.00,0:20:33.10,Default,,0000,0000,0000,,for various priests of the city, and\Nfor the important civic officials.
Dialogue: 0,0:20:33.61,0:20:37.63,Default,,0000,0000,0000,,And then, before the plays began,\Nthere were a series of events.
Dialogue: 0,0:20:37.63,0:20:41.78,Default,,0000,0000,0000,,First, a libation\N(an offering to the gods) were poured
Dialogue: 0,0:20:41.78,0:20:43.55,Default,,0000,0000,0000,,in the center of the\Nstage by the generals,
Dialogue: 0,0:20:43.55,0:20:45.54,Default,,0000,0000,0000,,the military generals of the city.
Dialogue: 0,0:20:45.54,0:20:48.93,Default,,0000,0000,0000,,Then, a parade of tribute,
Dialogue: 0,0:20:48.93,0:20:52.67,Default,,0000,0000,0000,,of all the money paid by the cities\Nand states of the Athenian empire
Dialogue: 0,0:20:52.67,0:20:56.24,Default,,0000,0000,0000,,to Athens, was literally\Ntaken across the stage,
Dialogue: 0,0:20:56.24,0:20:59.66,Default,,0000,0000,0000,,paraded in front of an audience\Nthat contained members
Dialogue: 0,0:20:59.66,0:21:02.63,Default,,0000,0000,0000,,from those same city and states\Nwho'd had to pay all that money.
Dialogue: 0,0:21:02.63,0:21:06.55,Default,,0000,0000,0000,,Then a list of all those who had\Nbenefited the city in some way
Dialogue: 0,0:21:06.55,0:21:07.46,Default,,0000,0000,0000,,was read out.
Dialogue: 0,0:21:07.46,0:21:12.04,Default,,0000,0000,0000,,And finally, onto the stage\Nwere brought the orphans,
Dialogue: 0,0:21:12.04,0:21:16.20,Default,,0000,0000,0000,,those whose parents had died\Nfighting for the city in battle,
Dialogue: 0,0:21:16.20,0:21:18.21,Default,,0000,0000,0000,,and whom the city would now
Dialogue: 0,0:21:18.21,0:21:21.19,Default,,0000,0000,0000,,take on the expenses of\Nbringing up and educating.
Dialogue: 0,0:21:21.19,0:21:26.02,Default,,0000,0000,0000,,They came on, dressed themselves\Nin the armor of war
Dialogue: 0,0:21:26.02,0:21:29.36,Default,,0000,0000,0000,,and took their seats, their\Nspecial seats here in the theater.
Dialogue: 0,0:21:29.36,0:21:32.37,Default,,0000,0000,0000,,Only then did the plays begin.
Dialogue: 0,0:21:32.37,0:21:35.06,Default,,0000,0000,0000,,[intense music]
Dialogue: 0,0:21:35.06,0:21:37.91,Default,,0000,0000,0000,,From dawn until dusk, for five days,
Dialogue: 0,0:21:37.91,0:21:40.53,Default,,0000,0000,0000,,the citizen audience watched\Nthree playwrights
Dialogue: 0,0:21:40.53,0:21:44.64,Default,,0000,0000,0000,,each put on three tragedies\Nas well as a farcical satyr play,
Dialogue: 0,0:21:44.64,0:21:45.82,Default,,0000,0000,0000,,and some comedies.
Dialogue: 0,0:21:45.82,0:21:49.42,Default,,0000,0000,0000,,At their heart were issues\Nof justice and loyalty,
Dialogue: 0,0:21:49.42,0:21:52.80,Default,,0000,0000,0000,,war and peace,\Nvengeance and compassion,
Dialogue: 0,0:21:52.80,0:21:56.00,Default,,0000,0000,0000,,which sent powerful\Nmessages to the citizen audience.
Dialogue: 0,0:21:56.01,0:21:58.90,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:21:58.90,0:22:01.13,Default,,0000,0000,0000,,In the centuries\Nof Athens' greatness,
Dialogue: 0,0:22:01.13,0:22:03.98,Default,,0000,0000,0000,,over 1,000 plays were written\Nfor the Dionysia.
Dialogue: 0,0:22:03.98,0:22:09.09,Default,,0000,0000,0000,,But today, just 32 of them\Nsurvive in full.
Dialogue: 0,0:22:09.09,0:22:11.58,Default,,0000,0000,0000,,And those 32 have survived, in part,
Dialogue: 0,0:22:11.58,0:22:13.32,Default,,0000,0000,0000,,because they were considered\Nto be the greatest.
Dialogue: 0,0:22:13.32,0:22:16.56,Default,,0000,0000,0000,,And they were all written\Nby just three people—
Dialogue: 0,0:22:16.56,0:22:19.94,Default,,0000,0000,0000,,Aeschylus, Sophocles, Euripides—
Dialogue: 0,0:22:19.94,0:22:23.10,Default,,0000,0000,0000,,the great tragedians\Nof the 5th century BC.
Dialogue: 0,0:22:23.10,0:22:25.58,Default,,0000,0000,0000,,[dramatic music]
Dialogue: 0,0:22:25.58,0:22:27.33,Default,,0000,0000,0000,,Aeschylus was the first.
Dialogue: 0,0:22:27.36,0:22:29.32,Default,,0000,0000,0000,,He was the author of the Oresteia,
Dialogue: 0,0:22:29.32,0:22:31.47,Default,,0000,0000,0000,,the only whole trilogy\Nto have survived.
Dialogue: 0,0:22:31.47,0:22:35.08,Default,,0000,0000,0000,,Sophocles wrote\Ntwo of the most enduring plays,
Dialogue: 0,0:22:35.08,0:22:37.44,Default,,0000,0000,0000,,Oedipus The King and Antigone,
Dialogue: 0,0:22:37.44,0:22:40.26,Default,,0000,0000,0000,,which tells the tragic story\Nof Oedipus' daughter
Dialogue: 0,0:22:40.26,0:22:41.71,Default,,0000,0000,0000,,who is sentenced to death
Dialogue: 0,0:22:41.71,0:22:44.38,Default,,0000,0000,0000,,for breaking the law and\Nburying her rebel brother.
Dialogue: 0,0:22:44.38,0:22:47.92,Default,,0000,0000,0000,,But, of all the playwrights,\NEuripides is now considered
Dialogue: 0,0:22:47.92,0:22:49.59,Default,,0000,0000,0000,,in many ways to have been the best.
Dialogue: 0,0:22:49.59,0:22:52.79,Default,,0000,0000,0000,,He wrote the play Medea,\Nwith its shocking tale
Dialogue: 0,0:22:52.79,0:22:54.78,Default,,0000,0000,0000,,of a woman betrayed by her husband
Dialogue: 0,0:22:54.78,0:22:57.40,Default,,0000,0000,0000,,who takes revenge\Nby killing her own children.
Dialogue: 0,0:22:58.10,0:23:03.58,Default,,0000,0000,0000,,The playwrights of ancient Athens\Nwere all gurus of the city
Dialogue: 0,0:23:03.58,0:23:07.24,Default,,0000,0000,0000,,in one form or another:\NAeschylus the war hero,
Dialogue: 0,0:23:07.24,0:23:09.14,Default,,0000,0000,0000,,Sophocles the civic official,
Dialogue: 0,0:23:09.14,0:23:13.08,Default,,0000,0000,0000,,and Euripides, the sort of "enfant\Nterrible" of Athenian society.
Dialogue: 0,0:23:13.09,0:23:14.27,Default,,0000,0000,0000,,[inhales]
Dialogue: 0,0:23:14.28,0:23:18.46,Default,,0000,0000,0000,,The Greek word for playwright\Nis "didaskalos",
Dialogue: 0,0:23:18.46,0:23:20.57,Default,,0000,0000,0000,,which means "trainer", or "teacher".
Dialogue: 0,0:23:20.57,0:23:23.65,Default,,0000,0000,0000,,Now, in part, that refers\Nto the playwright's role
Dialogue: 0,0:23:23.65,0:23:25.40,Default,,0000,0000,0000,,in training the chorus\Nfor their play,
Dialogue: 0,0:23:25.40,0:23:29.63,Default,,0000,0000,0000,,but many believe it also refers\Nto the role of the playwright
Dialogue: 0,0:23:29.63,0:23:35.08,Default,,0000,0000,0000,,in training the audience for\Nparticipation in democracy itself.
Dialogue: 0,0:23:35.08,0:23:39.19,Default,,0000,0000,0000,,If we take Sophocles' Ajax,\Nas an example,
Dialogue: 0,0:23:39.19,0:23:42.14,Default,,0000,0000,0000,,it's a retelling of a classic myth
Dialogue: 0,0:23:42.14,0:23:45.70,Default,,0000,0000,0000,,set in the time of the legendary war\Nbetween the Greeks and the Trojans.
Dialogue: 0,0:23:45.70,0:23:47.55,Default,,0000,0000,0000,,And, on the one hand, it's just that,
Dialogue: 0,0:23:47.55,0:23:49.58,Default,,0000,0000,0000,,but on the other it's also a lesson,
Dialogue: 0,0:23:49.58,0:23:55.34,Default,,0000,0000,0000,,a lesson in the sacrifices that have\Nto be made for democracy to work.
Dialogue: 0,0:23:55.34,0:23:59.45,Default,,0000,0000,0000,,[foreboding music]
Dialogue: 0,0:23:59.45,0:24:03.71,Default,,0000,0000,0000,,Ajax was one of the warriors who\Nfought with the Greeks at Troy.
Dialogue: 0,0:24:03.71,0:24:08.03,Default,,0000,0000,0000,,After the death of Achilles,\Nthe greatest hero of them all,
Dialogue: 0,0:24:08.03,0:24:11.48,Default,,0000,0000,0000,,the Greeks take a vote on\Nwho should get his weapons.
Dialogue: 0,0:24:11.48,0:24:16.20,Default,,0000,0000,0000,,They choose Odysseus, not Ajax,\Nand Ajax is furious.
Dialogue: 0,0:24:16.20,0:24:17.64,Default,,0000,0000,0000,,[thunder]
Dialogue: 0,0:24:17.65,0:24:22.67,Default,,0000,0000,0000,,Unable to accept the result of the\Nvote, he goes on a killing spree.
Dialogue: 0,0:24:22.67,0:24:26.39,Default,,0000,0000,0000,,And ultimately, consumed\Nby the shame of his actions...
Dialogue: 0,0:24:26.39,0:24:28.69,Default,,0000,0000,0000,,he is driven to suicide.
Dialogue: 0,0:24:28.69,0:24:32.51,Default,,0000,0000,0000,,[music continues,\Nstops]
Dialogue: 0,0:24:32.51,0:24:34.23,Default,,0000,0000,0000,,The motor of this play is a vote:
Dialogue: 0,0:24:34.23,0:24:36.48,Default,,0000,0000,0000,,a process that would\Nhave been very familiar
Dialogue: 0,0:24:36.48,0:24:38.61,Default,,0000,0000,0000,,to the democratic citizens\Nof ancient Athens.
Dialogue: 0,0:24:38.61,0:24:42.59,Default,,0000,0000,0000,,But it's a vote that\NAjax refuses to accept.
Dialogue: 0,0:24:42.59,0:24:47.11,Default,,0000,0000,0000,,Ajax is the antithesis of\Nthe good democratic citizen.
Dialogue: 0,0:24:47.11,0:24:47.65,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:24:47.65,0:24:49.58,Default,,0000,0000,0000,,But the play also goes further.
Dialogue: 0,0:24:49.58,0:24:51.57,Default,,0000,0000,0000,,Because, for me, the key moment
Dialogue: 0,0:24:51.57,0:24:54.53,Default,,0000,0000,0000,,is actually what happens\Nafter Ajax's death.
Dialogue: 0,0:24:54.53,0:24:57.05,Default,,0000,0000,0000,,What Sophocles has\Nthe other Greeks do
Dialogue: 0,0:24:57.05,0:24:59.38,Default,,0000,0000,0000,,is debate about how\Nthey should proceed.
Dialogue: 0,0:24:59.38,0:25:02.55,Default,,0000,0000,0000,,And some argue that Ajax should not\Nbe buried because of his actions
Dialogue: 0,0:25:02.55,0:25:05.73,Default,,0000,0000,0000,,but Odysseus steps in to\Nargue that he should be buried.
Dialogue: 0,0:25:05.74,0:25:07.10,Default,,0000,0000,0000,,[sweeping music]
Dialogue: 0,0:25:07.10,0:25:12.31,Default,,0000,0000,0000,,"Do not fling his body out unburied,\Ntreated so unfeelingly.
Dialogue: 0,0:25:12.31,0:25:16.14,Default,,0000,0000,0000,,And don't let force have such\Ncontrol of you that you allow
Dialogue: 0,0:25:16.14,0:25:18.58,Default,,0000,0000,0000,,your hate to trample justice down."
Dialogue: 0,0:25:18.58,0:25:22.51,Default,,0000,0000,0000,,For scholars, this is the\Ncritical point in the play.
Dialogue: 0,0:25:22.51,0:25:23.51,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:25:23.51,0:25:25.43,Default,,0000,0000,0000,,Prof Osborne: There's a real danger in Ajax
Dialogue: 0,0:25:25.43,0:25:29.29,Default,,0000,0000,0000,,that because you've\Ngot these two extraordinary episodes
Dialogue: 0,0:25:29.29,0:25:30.65,Default,,0000,0000,0000,,that are bloody and shocking,
Dialogue: 0,0:25:30.65,0:25:33.13,Default,,0000,0000,0000,,you think the play\Nis about those two episodes
Dialogue: 0,0:25:33.13,0:25:34.28,Default,,0000,0000,0000,,that are bloody and shocking.
Dialogue: 0,0:25:34.28,0:25:38.37,Default,,0000,0000,0000,,But I think the play is about\Nthe process of debate
Dialogue: 0,0:25:38.37,0:25:40.86,Default,,0000,0000,0000,,that leads to decisions
Dialogue: 0,0:25:40.86,0:25:45.88,Default,,0000,0000,0000,,in the wake of actions that really\Nyou haven't been able to cope with.
Dialogue: 0,0:25:45.88,0:25:51.05,Default,,0000,0000,0000,,And so, this is a play\Nthat stages debate
Dialogue: 0,0:25:51.05,0:25:54.19,Default,,0000,0000,0000,,and it stages it in all its forms.
Dialogue: 0,0:25:54.19,0:25:58.58,Default,,0000,0000,0000,,Prof. Hall: One way of thinking about Ajax\Nis as a Homerical Bronze Age
Dialogue: 0,0:25:58.58,0:26:02.08,Default,,0000,0000,0000,,or archaic warrior stuck in a much\Nmore modern political system.
Dialogue: 0,0:26:02.08,0:26:06.50,Default,,0000,0000,0000,,He has values about being\Nan individual and being a hero,
Dialogue: 0,0:26:06.50,0:26:08.34,Default,,0000,0000,0000,,not being a co-operative person...
Dialogue: 0,0:26:08.34,0:26:10.60,Default,,0000,0000,0000,,that make him very, very difficult,
Dialogue: 0,0:26:10.60,0:26:15.31,Default,,0000,0000,0000,,as if individuals can no longer\Nbe powerful figures in the democracy.
Dialogue: 0,0:26:15.31,0:26:16.87,Default,,0000,0000,0000,,Dr. Scott: A man out of time, \Nout of place?
Dialogue: 0,0:26:16.87,0:26:17.67,Default,,0000,0000,0000,,Dr. Hall: Yes.
Dialogue: 0,0:26:17.67,0:26:21.21,Default,,0000,0000,0000,,Dr. Osborne: So, this may be someone who\Nis hardly a role model citizen,
Dialogue: 0,0:26:21.21,0:26:23.00,Default,,0000,0000,0000,,but there are going to\Nbe lots of people in Athens
Dialogue: 0,0:26:23.00,0:26:24.44,Default,,0000,0000,0000,,who are hardly role model citizens.
Dialogue: 0,0:26:24.44,0:26:31.57,Default,,0000,0000,0000,,[sweeping instrumental music]
Dialogue: 0,0:26:31.57,0:26:35.33,Default,,0000,0000,0000,,Dr. Scott: Athens, no doubt, would have\Nhad its own fair share of bigheads
Dialogue: 0,0:26:35.33,0:26:39.31,Default,,0000,0000,0000,,and glory seekers - people who just\Nwouldn't work within the democracy.
Dialogue: 0,0:26:39.31,0:26:41.33,Default,,0000,0000,0000,,And this play plays out the dilemma
Dialogue: 0,0:26:41.33,0:26:43.50,Default,,0000,0000,0000,,of what do you do with\Nthose kinds of people?
Dialogue: 0,0:26:43.50,0:26:45.86,Default,,0000,0000,0000,,How do you keep\Nthe democracy on track?
Dialogue: 0,0:26:45.86,0:26:50.04,Default,,0000,0000,0000,,And that, for me, is why Odysseus'\Nintervention is so crucial,
Dialogue: 0,0:26:50.04,0:26:52.57,Default,,0000,0000,0000,,because he shows that you need\Nto have empathy with these people
Dialogue: 0,0:26:52.57,0:26:55.35,Default,,0000,0000,0000,,and you need to let\Njustice run its course.
Dialogue: 0,0:26:55.35,0:26:58.07,Default,,0000,0000,0000,,Odysseus offers a way\Nfor the community
Dialogue: 0,0:26:58.07,0:27:01.47,Default,,0000,0000,0000,,to come back together, make a\Njoint decision and move forward.
Dialogue: 0,0:27:01.47,0:27:02.47,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:27:02.47,0:27:05.77,Default,,0000,0000,0000,,And that's why this play\Nis such a great example
Dialogue: 0,0:27:05.77,0:27:09.94,Default,,0000,0000,0000,,of what theater did in\Nancient Athenian society—
Dialogue: 0,0:27:09.94,0:27:12.99,Default,,0000,0000,0000,,it told a story, it posed problems,
Dialogue: 0,0:27:12.99,0:27:15.35,Default,,0000,0000,0000,,it asked questions,\Nquestions of the audience
Dialogue: 0,0:27:15.35,0:27:17.85,Default,,0000,0000,0000,,about what would you do\Nin this kind of situation,
Dialogue: 0,0:27:17.85,0:27:21.50,Default,,0000,0000,0000,,a situation which they would\Nundoubtedly have to face up to
Dialogue: 0,0:27:21.50,0:27:22.98,Default,,0000,0000,0000,,at some point in their lives.
Dialogue: 0,0:27:22.98,0:27:25.38,Default,,0000,0000,0000,,[dramatic music]
Dialogue: 0,0:27:25.38,0:27:28.75,Default,,0000,0000,0000,,Theater was vital to the\Nprocesses that played out
Dialogue: 0,0:27:28.75,0:27:31.72,Default,,0000,0000,0000,,here on the Pnyx,\Nhome of the Athenian assembly.
Dialogue: 0,0:27:31.72,0:27:35.00,Default,,0000,0000,0000,,It was the oil that allowed\Ndemocracy to function.
Dialogue: 0,0:27:35.00,0:27:38.73,Default,,0000,0000,0000,,A contained space which allowed\Nfor a continual process
Dialogue: 0,0:27:38.73,0:27:41.89,Default,,0000,0000,0000,,of risky reflection,\Nself-doubt, and debate.
Dialogue: 0,0:27:42.61,0:27:45.13,Default,,0000,0000,0000,,It's no accident that\Nthe most important words
Dialogue: 0,0:27:45.13,0:27:47.55,Default,,0000,0000,0000,,in any Greek tragedy are\N"Ti draso?" -
Dialogue: 0,0:27:47.55,0:27:49.47,Default,,0000,0000,0000,,"What shall I do?"
Dialogue: 0,0:27:49.47,0:27:53.61,Default,,0000,0000,0000,,Theater and democracy\Nhad grown up together
Dialogue: 0,0:27:53.61,0:27:56.75,Default,,0000,0000,0000,,and were now inextricably\Nlinked in Athenian minds
Dialogue: 0,0:27:56.75,0:27:59.82,Default,,0000,0000,0000,,and every year, for almost\Nthe next two centuries,
Dialogue: 0,0:27:59.82,0:28:02.00,Default,,0000,0000,0000,,the Athenians came to the theater
Dialogue: 0,0:28:02.00,0:28:05.89,Default,,0000,0000,0000,,to rework the old myths\Ninto tragic dramas
Dialogue: 0,0:28:05.89,0:28:08.50,Default,,0000,0000,0000,,that spoke to the problems\Nthat had beset
Dialogue: 0,0:28:08.50,0:28:10.81,Default,,0000,0000,0000,,and were fundamental
Dialogue: 0,0:28:10.81,0:28:13.50,Default,,0000,0000,0000,,to one of the most important and\Ninteresting stories in history–
Dialogue: 0,0:28:13.50,0:28:16.08,Default,,0000,0000,0000,,The Rise and Fall of Athens.
Dialogue: 0,0:28:16.73,0:28:20.14,Default,,0000,0000,0000,,And, at the same time, those\Nvery same people were here,
Dialogue: 0,0:28:20.14,0:28:22.92,Default,,0000,0000,0000,,in the assembly,\Nmaking the decisions
Dialogue: 0,0:28:22.92,0:28:25.20,Default,,0000,0000,0000,,that affected those events.
Dialogue: 0,0:28:25.20,0:28:27.27,Default,,0000,0000,0000,,[dramatic music]
Dialogue: 0,0:28:27.28,0:28:29.33,Default,,0000,0000,0000,,It's therefore no surprise
Dialogue: 0,0:28:29.33,0:28:32.06,Default,,0000,0000,0000,,that a common subject matter\Nin Athenian drama
Dialogue: 0,0:28:32.06,0:28:36.46,Default,,0000,0000,0000,,was a problem that constantly\Ndogged the Athenian assembly: war.
Dialogue: 0,0:28:36.46,0:28:39.82,Default,,0000,0000,0000,,And one war in particular\Nfired the imagination
Dialogue: 0,0:28:39.82,0:28:41.19,Default,,0000,0000,0000,,of the playwright Aeschylus,
Dialogue: 0,0:28:41.19,0:28:43.30,Default,,0000,0000,0000,,who lived through\Nthe real life drama
Dialogue: 0,0:28:43.30,0:28:45.61,Default,,0000,0000,0000,,and was inspired\Nto write what is now
Dialogue: 0,0:28:45.61,0:28:48.70,Default,,0000,0000,0000,,the first ancient Greek play\Nto survive in full.
Dialogue: 0,0:28:48.70,0:28:53.99,Default,,0000,0000,0000,,In 490 BC, less than 20 years\Nafter the democracy was established,
Dialogue: 0,0:28:53.99,0:28:58.70,Default,,0000,0000,0000,,Athens was attacked by the greatest\Npower on earth - the Persian empire.
Dialogue: 0,0:28:58.70,0:29:01.68,Default,,0000,0000,0000,,[men screaming]
Dialogue: 0,0:29:01.68,0:29:06.24,Default,,0000,0000,0000,,The first crisis came at Marathon,\N26 miles from the city of Athens.
Dialogue: 0,0:29:06.24,0:29:07.70,Default,,0000,0000,0000,,[intense music]
Dialogue: 0,0:29:07.71,0:29:11.04,Default,,0000,0000,0000,,A Persian fleet arrived\Nwith an enormous army.
Dialogue: 0,0:29:11.04,0:29:13.87,Default,,0000,0000,0000,,Although outnumbered,\Nthe Athenians attacked,
Dialogue: 0,0:29:13.87,0:29:16.59,Default,,0000,0000,0000,,and against all the odds,\Nthey triumph.
Dialogue: 0,0:29:16.59,0:29:18.27,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:29:18.29,0:29:22.11,Default,,0000,0000,0000,,The Athenian dead were commemorated\Nby a memorial barrow
Dialogue: 0,0:29:22.11,0:29:23.19,Default,,0000,0000,0000,,near the battlefield,
Dialogue: 0,0:29:23.19,0:29:25.52,Default,,0000,0000,0000,,which is impressive even today.
Dialogue: 0,0:29:25.52,0:29:27.09,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:29:27.11,0:29:30.27,Default,,0000,0000,0000,,But ten years later,\Nthe Persians were back with an army
Dialogue: 0,0:29:30.27,0:29:32.26,Default,,0000,0000,0000,,said to have been\Nmore than a million strong.
Dialogue: 0,0:29:32.26,0:29:36.30,Default,,0000,0000,0000,,As it bore down on Athens,\Nthe assembly passed a heroic decree
Dialogue: 0,0:29:36.30,0:29:39.57,Default,,0000,0000,0000,,at the urging of a leading\Ngeneral called Themistocles.
Dialogue: 0,0:29:39.65,0:29:42.29,Default,,0000,0000,0000,,Amazingly, a later copy\Nof the decree
Dialogue: 0,0:29:42.29,0:29:44.84,Default,,0000,0000,0000,,actually survives\Nin an Athens museum.
Dialogue: 0,0:29:44.84,0:29:49.84,Default,,0000,0000,0000,,This is one of the most evocative\Ninscriptions surviving to us today.
Dialogue: 0,0:29:49.84,0:29:53.64,Default,,0000,0000,0000,,It's a decree of the people\Nof Athens and here's the key word:
Dialogue: 0,0:29:53.64,0:29:56.53,Default,,0000,0000,0000,,"Salamina" - Salamis.
Dialogue: 0,0:29:56.53,0:29:59.97,Default,,0000,0000,0000,,This is the decree\Nrecording the decision
Dialogue: 0,0:29:59.97,0:30:03.67,Default,,0000,0000,0000,,by the Athenian people\Nto evacuate their home city
Dialogue: 0,0:30:03.67,0:30:05.62,Default,,0000,0000,0000,,and go to the island of Salamis
Dialogue: 0,0:30:05.62,0:30:09.45,Default,,0000,0000,0000,,to save themselves from the\Ninvading hordes of Persians.
Dialogue: 0,0:30:09.45,0:30:13.73,Default,,0000,0000,0000,,This is the record of\None of the most key moments
Dialogue: 0,0:30:13.73,0:30:15.37,Default,,0000,0000,0000,,in the whole of ancient history.
Dialogue: 0,0:30:15.38,0:30:18.68,Default,,0000,0000,0000,,[pause, music]
Dialogue: 0,0:30:18.68,0:30:22.37,Default,,0000,0000,0000,,The Athenians abandoned their city\Nand took to their ships,
Dialogue: 0,0:30:22.37,0:30:25.52,Default,,0000,0000,0000,,leaving only a few men\Nbarricaded on the Acropolis.
Dialogue: 0,0:30:25.52,0:30:26.84,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:30:26.85,0:30:30.66,Default,,0000,0000,0000,,The Persians ransacked the city,\Ndestroying the temples.
Dialogue: 0,0:30:30.66,0:30:33.46,Default,,0000,0000,0000,,But the Athenian gamble paid off –
Dialogue: 0,0:30:33.46,0:30:36.16,Default,,0000,0000,0000,,the Athenian fleet\Ndefeated the Persians
Dialogue: 0,0:30:36.16,0:30:37.63,Default,,0000,0000,0000,,in the narrows off Salamis.
Dialogue: 0,0:30:37.63,0:30:39.76,Default,,0000,0000,0000,,Greece was saved.
Dialogue: 0,0:30:39.77,0:30:40.72,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:30:40.72,0:30:45.01,Default,,0000,0000,0000,,And witnessing it all, not from afar\Nbut at close range, was Aeschylus.
Dialogue: 0,0:30:45.02,0:30:46.84,Default,,0000,0000,0000,,[music, pause]
Dialogue: 0,0:30:46.84,0:30:51.64,Default,,0000,0000,0000,,Aeschylus wasn't just a playwright -\Nhe was also a soldier.
Dialogue: 0,0:30:51.64,0:30:55.81,Default,,0000,0000,0000,,He stood in the Athenian\Nranks on the plane at Marathon,
Dialogue: 0,0:30:55.81,0:30:58.98,Default,,0000,0000,0000,,on that fateful day when\Nthe Persians first arrived.
Dialogue: 0,0:30:58.98,0:31:02.21,Default,,0000,0000,0000,,He was part of the\Nvictorious Athenian army,
Dialogue: 0,0:31:02.21,0:31:04.94,Default,,0000,0000,0000,,but he also lost his brother\Non the battlefield.
Dialogue: 0,0:31:04.95,0:31:06.14,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:31:06.16,0:31:08.28,Default,,0000,0000,0000,,Aeschylus, in his own epitaph,
Dialogue: 0,0:31:08.28,0:31:11.56,Default,,0000,0000,0000,,preferred to be remembered for\Nhis role here at Marathon,
Dialogue: 0,0:31:11.56,0:31:13.12,Default,,0000,0000,0000,,rather than for his plays.
Dialogue: 0,0:31:13.12,0:31:16.80,Default,,0000,0000,0000,,Without doubt, it was his\Nextraordinary experiences
Dialogue: 0,0:31:16.80,0:31:20.12,Default,,0000,0000,0000,,here on the battlefield that\Ngave him a unique perspective
Dialogue: 0,0:31:20.12,0:31:23.75,Default,,0000,0000,0000,,and allowed him\Nto represent war on stage
Dialogue: 0,0:31:23.75,0:31:26.91,Default,,0000,0000,0000,,in a way that has echoed ever since.
Dialogue: 0,0:31:26.92,0:31:28.70,Default,,0000,0000,0000,,[scattered drums]
Dialogue: 0,0:31:28.72,0:31:32.42,Default,,0000,0000,0000,,Aeschylus composed over\N90 plays in his lifetime
Dialogue: 0,0:31:32.42,0:31:33.92,Default,,0000,0000,0000,,and of the few that survive,
Dialogue: 0,0:31:33.92,0:31:36.75,Default,,0000,0000,0000,,the play that he composed\Nabout these great events
Dialogue: 0,0:31:36.75,0:31:40.10,Default,,0000,0000,0000,,is one of the most moving,\Nand one of the most fascinating.
Dialogue: 0,0:31:40.10,0:31:45.21,Default,,0000,0000,0000,,In 472 BC, Aeschylus produced\Na play called The Persians,
Dialogue: 0,0:31:45.21,0:31:49.01,Default,,0000,0000,0000,,and it's the first ancient tragedy\Nto survive to us in full today.\N
Dialogue: 0,0:31:49.01,0:31:53.36,Default,,0000,0000,0000,,Its sponsor was no-one less than\Nthe future democratic hero Pericles.
Dialogue: 0,0:31:53.36,0:31:57.90,Default,,0000,0000,0000,,But what's really surprising\Nabout it is its subject matter,
Dialogue: 0,0:31:57.90,0:32:01.21,Default,,0000,0000,0000,,because it tells the story\Nof how the Persians
Dialogue: 0,0:32:01.21,0:32:05.20,Default,,0000,0000,0000,,reacted to the news of their defeat\Nat the battle of Salamis,
Dialogue: 0,0:32:05.20,0:32:09.38,Default,,0000,0000,0000,,a battle that those in the\Naudience had fought and won
Dialogue: 0,0:32:09.38,0:32:11.27,Default,,0000,0000,0000,,just eight years before.
Dialogue: 0,0:32:11.28,0:32:14.48,Default,,0000,0000,0000,,[drum music]
Dialogue: 0,0:32:14.50,0:32:17.29,Default,,0000,0000,0000,,The play is set in\Nthe Persian capital.
Dialogue: 0,0:32:17.29,0:32:19.67,Default,,0000,0000,0000,,A messenger arrives\Nat the Persian court
Dialogue: 0,0:32:19.67,0:32:21.32,Default,,0000,0000,0000,,with the news of the Greek victory.
Dialogue: 0,0:32:21.32,0:32:24.49,Default,,0000,0000,0000,,The Persians cannot believe\Nthat they have been defeated,
Dialogue: 0,0:32:24.49,0:32:26.18,Default,,0000,0000,0000,,and they fall to pieces.
Dialogue: 0,0:32:26.18,0:32:27.73,Default,,0000,0000,0000,,In their misery,
Dialogue: 0,0:32:27.73,0:32:31.40,Default,,0000,0000,0000,,they summon the ghost of the\Nprevious King Darius for advice.
Dialogue: 0,0:32:31.40,0:32:35.05,Default,,0000,0000,0000,,The ghost of Darius\Ntells the Persians
Dialogue: 0,0:32:35.05,0:32:37.62,Default,,0000,0000,0000,,that they themselves\Nare to blame for their defeat,
Dialogue: 0,0:32:37.62,0:32:40.10,Default,,0000,0000,0000,,because their pride\Nand their ambition
Dialogue: 0,0:32:40.10,0:32:42.38,Default,,0000,0000,0000,,has led them to disregard the gods.
Dialogue: 0,0:32:42.38,0:32:44.42,Default,,0000,0000,0000,,[foreboding music]
Dialogue: 0,0:32:44.43,0:32:49.13,Default,,0000,0000,0000,,"The voiceless heaps of slaughtered\Ncorpses shall eloquently show
Dialogue: 0,0:32:49.13,0:32:52.43,Default,,0000,0000,0000,,that no one human should\Npuff up inflated thoughts.
Dialogue: 0,0:32:52.43,0:32:56.07,Default,,0000,0000,0000,,You see how insolence,\Nonce opened into flower,
Dialogue: 0,0:32:56.07,0:32:58.66,Default,,0000,0000,0000,,produces fields ripe with calamity
Dialogue: 0,0:32:58.66,0:33:01.56,Default,,0000,0000,0000,,and reaps a harvest-home\Nof sorrow."
Dialogue: 0,0:33:01.56,0:33:04.62,Default,,0000,0000,0000,,This is the crucial\Ntheme of the play.
Dialogue: 0,0:33:04.62,0:33:10.15,Default,,0000,0000,0000,,Dr Wyles: Well, I think, really, at its heart,\Nreally it's almost a tragedy about hubris.
Dialogue: 0,0:33:10.15,0:33:14.64,Default,,0000,0000,0000,,[Scott hmms] This idea of, sometimes\Ntranslated as "arrogance",
Dialogue: 0,0:33:14.64,0:33:18.27,Default,,0000,0000,0000,,something like that - going too far,\Ncrossing a line, transgressing.
Dialogue: 0,0:33:18.27,0:33:21.16,Default,,0000,0000,0000,,And the Persians had done that.
Dialogue: 0,0:33:21.16,0:33:24.24,Default,,0000,0000,0000,,They thought big, they thought\Nthey could go and take Greece.
Dialogue: 0,0:33:24.24,0:33:26.72,Default,,0000,0000,0000,,They didn't win and, actually,
Dialogue: 0,0:33:26.72,0:33:28.15,Default,,0000,0000,0000,,part of what the play is exploring
Dialogue: 0,0:33:28.15,0:33:30.88,Default,,0000,0000,0000,,is the idea that\Nbig empires can fall.
Dialogue: 0,0:33:30.88,0:33:32.38,Default,,0000,0000,0000,,Dr. Scott: What kind of resonance
Dialogue: 0,0:33:32.38,0:33:36.92,Default,,0000,0000,0000,,and implications does a play\Nlike The Persians have for us today?
Dialogue: 0,0:33:36.92,0:33:40.88,Default,,0000,0000,0000,,Dr. Wyles: It deals with one of these eternal\Nthemes - it looks at war.
Dialogue: 0,0:33:40.88,0:33:44.08,Default,,0000,0000,0000,,And it looks at the destruction,\Nthe loss,
Dialogue: 0,0:33:44.08,0:33:46.50,Default,,0000,0000,0000,,the risks you run if you go to war.
Dialogue: 0,0:33:46.50,0:33:50.29,Default,,0000,0000,0000,,They became really popular\Nwith the Gulf War
Dialogue: 0,0:33:50.29,0:33:54.20,Default,,0000,0000,0000,,and then with the Iraq War as well and\Nthis is a really interesting one.
Dialogue: 0,0:33:54.20,0:33:56.07,Default,,0000,0000,0000,,In some modern productions,
Dialogue: 0,0:33:56.07,0:33:59.04,Default,,0000,0000,0000,,what you get is costume\Nthat really tells you
Dialogue: 0,0:33:59.04,0:34:03.69,Default,,0000,0000,0000,,that the audience should be making\Na link with contemporary war.
Dialogue: 0,0:34:03.69,0:34:07.50,Default,,0000,0000,0000,,Dr. Scott: What point is Aeschylus making,\Ndo you think, with that?
Dialogue: 0,0:34:07.50,0:34:10.74,Default,,0000,0000,0000,,Dr. Wyles: I mean this is an amazingly\Ndifficult question to answer,
Dialogue: 0,0:34:10.74,0:34:14.89,Default,,0000,0000,0000,,you can't even imagine how this\Nmust have felt for the audience
Dialogue: 0,0:34:14.89,0:34:19.42,Default,,0000,0000,0000,,when they'd had their city sacked,\Nthey'd really come close
Dialogue: 0,0:34:19.42,0:34:22.40,Default,,0000,0000,0000,,to being completely\Noccupied by Persia.
Dialogue: 0,0:34:22.40,0:34:26.91,Default,,0000,0000,0000,,This play is, on one level\Nreally celebratory... [Scott: Yeah].
Dialogue: 0,0:34:26.91,0:34:30.60,Default,,0000,0000,0000,,But you have to imagine it\Noperating on another level as well
Dialogue: 0,0:34:30.60,0:34:34.54,Default,,0000,0000,0000,,because there are incredibly\Nmoving speeches in this —
Dialogue: 0,0:34:34.54,0:34:38.62,Default,,0000,0000,0000,,the language isn't just\Nvictorious, if you like.
Dialogue: 0,0:34:38.62,0:34:41.85,Default,,0000,0000,0000,,I think it tells us a lot\Nabout what tragedy is doing,
Dialogue: 0,0:34:41.85,0:34:44.94,Default,,0000,0000,0000,,it is complex and it doesn't\Nmake it easy on the audience
Dialogue: 0,0:34:44.94,0:34:48.14,Default,,0000,0000,0000,,and it's really asking\Nthe society to reflect.
Dialogue: 0,0:34:48.15,0:34:53.53,Default,,0000,0000,0000,,[somber, eerie music]
Dialogue: 0,0:34:53.53,0:34:57.66,Default,,0000,0000,0000,,Dr. Scott: This play, for me, is both an\Nexception to normal tragedy
Dialogue: 0,0:34:57.66,0:34:59.98,Default,,0000,0000,0000,,AND a fantastic example of it.
Dialogue: 0,0:34:59.98,0:35:04.58,Default,,0000,0000,0000,,It's an exception because unlike\Nmost that focus on mythical stories,
Dialogue: 0,0:35:04.58,0:35:07.86,Default,,0000,0000,0000,,this focuses on real\Nand recent history.
Dialogue: 0,0:35:07.86,0:35:11.90,Default,,0000,0000,0000,,But it's a fantastic example\Nof what tragedy does
Dialogue: 0,0:35:11.90,0:35:14.09,Default,,0000,0000,0000,,because it doesn't\Njust allow the Athenians
Dialogue: 0,0:35:14.09,0:35:16.24,Default,,0000,0000,0000,,to gloat over their victory.
Dialogue: 0,0:35:16.24,0:35:18.43,Default,,0000,0000,0000,,Instead, it offers a warning.
Dialogue: 0,0:35:18.43,0:35:21.17,Default,,0000,0000,0000,,For the Persians,\Npride came before a fall,
Dialogue: 0,0:35:21.17,0:35:24.41,Default,,0000,0000,0000,,and at a time when Athens\Nand the Athenians
Dialogue: 0,0:35:24.41,0:35:27.81,Default,,0000,0000,0000,,were beginning to grow in their\Nown power within the Greek world,
Dialogue: 0,0:35:27.81,0:35:29.77,Default,,0000,0000,0000,,the play offers that same message—
Dialogue: 0,0:35:29.77,0:35:34.30,Default,,0000,0000,0000,,"be careful or you too could end up\Njust like the Persians."
Dialogue: 0,0:35:34.33,0:35:35.52,Default,,0000,0000,0000,,[birds]
Dialogue: 0,0:35:35.52,0:35:36.82,Default,,0000,0000,0000,,[intense music]
Dialogue: 0,0:35:36.85,0:35:41.45,Default,,0000,0000,0000,,This warning had a direct bearing\Non the current situation in Athens.
Dialogue: 0,0:35:41.45,0:35:42.45,Default,,0000,0000,0000,,[music continues]
Dialogue: 0,0:35:42.45,0:35:44.48,Default,,0000,0000,0000,,In the aftermath\Nof the Persian wars,
Dialogue: 0,0:35:44.48,0:35:47.35,Default,,0000,0000,0000,,Athens reached the peak\Nof her power and influence
Dialogue: 0,0:35:47.35,0:35:51.01,Default,,0000,0000,0000,,and the fleet that had\Nsecured victory at Salamis
Dialogue: 0,0:35:51.01,0:35:53.34,Default,,0000,0000,0000,,now reached out across the Aegean.
Dialogue: 0,0:35:53.36,0:35:54.52,Default,,0000,0000,0000,,[eerie music]
Dialogue: 0,0:35:54.53,0:35:58.78,Default,,0000,0000,0000,,Athens became the leading city-state\Nin a new anti-Persian alliance.
Dialogue: 0,0:35:58.78,0:36:03.76,Default,,0000,0000,0000,,But what began as a free coalition,\Nwas soon under Athenian control.
Dialogue: 0,0:36:03.77,0:36:06.78,Default,,0000,0000,0000,,[music continues]
Dialogue: 0,0:36:06.78,0:36:10.90,Default,,0000,0000,0000,,The financial muscle at Athens'\Ncommand allowed it eventually
Dialogue: 0,0:36:10.90,0:36:13.69,Default,,0000,0000,0000,,to turn the free alliance\Nof Greek cities and states,
Dialogue: 0,0:36:13.69,0:36:17.37,Default,,0000,0000,0000,,that had been brought together\Nto wreak revenge on the Persians,
Dialogue: 0,0:36:17.37,0:36:21.15,Default,,0000,0000,0000,,into an empire solely to\Nsupport the glory of Athens.
Dialogue: 0,0:36:21.15,0:36:23.55,Default,,0000,0000,0000,,And it was policed by the mighty
Dialogue: 0,0:36:23.55,0:36:27.30,Default,,0000,0000,0000,,and yet brutal majesty\Nof the supreme Athenian fleet.
Dialogue: 0,0:36:27.30,0:36:29.62,Default,,0000,0000,0000,,The war-chest of\Nthat free alliance,
Dialogue: 0,0:36:29.62,0:36:32.00,Default,,0000,0000,0000,,which had been kept on\Nthe sacred island of Delos,
Dialogue: 0,0:36:32.00,0:36:34.73,Default,,0000,0000,0000,,was moved to Athens,\Nplaced on the Acropolis
Dialogue: 0,0:36:34.73,0:36:37.83,Default,,0000,0000,0000,,and eventually into\Na building –the Parthenon–
Dialogue: 0,0:36:37.83,0:36:41.27,Default,,0000,0000,0000,,which has today become synonymous\Nwith democracy and freedom.
Dialogue: 0,0:36:41.27,0:36:43.89,Default,,0000,0000,0000,,And yet which was originally built
Dialogue: 0,0:36:43.89,0:36:46.61,Default,,0000,0000,0000,,with the blood-money of\NAthenian empire.
Dialogue: 0,0:36:46.61,0:36:49.18,Default,,0000,0000,0000,,[more dramatic music]
Dialogue: 0,0:36:49.19,0:36:52.80,Default,,0000,0000,0000,,Every year, each city\Nin the alliance or empire,
Dialogue: 0,0:36:52.80,0:36:55.35,Default,,0000,0000,0000,,contributed money\Nin silver as tribute,
Dialogue: 0,0:36:55.35,0:36:58.86,Default,,0000,0000,0000,,and this money was displayed\Nin the theatre, in Athens,
Dialogue: 0,0:36:58.86,0:37:00.93,Default,,0000,0000,0000,,at the Great Dionysia Festival.
Dialogue: 0,0:37:00.93,0:37:04.78,Default,,0000,0000,0000,,But when any members of the\Nempire refused these payments,
Dialogue: 0,0:37:04.78,0:37:07.00,Default,,0000,0000,0000,,Athens sent a fleet to attack them.
Dialogue: 0,0:37:07.00,0:37:10.14,Default,,0000,0000,0000,,Having an empire meant\Nthat the Athenian assembly
Dialogue: 0,0:37:10.14,0:37:12.38,Default,,0000,0000,0000,,was now making\Nlife-or-death decisions,
Dialogue: 0,0:37:12.38,0:37:16.77,Default,,0000,0000,0000,,not just about themselves, but about\Ncities and peoples far away
Dialogue: 0,0:37:16.77,0:37:18.83,Default,,0000,0000,0000,,who had no real say in the matter.
Dialogue: 0,0:37:18.83,0:37:20.40,Default,,0000,0000,0000,,[intense music]
Dialogue: 0,0:37:20.47,0:37:24.63,Default,,0000,0000,0000,,These decisions were far from\Neasy, as the Athenians discovered
Dialogue: 0,0:37:24.63,0:37:28.01,Default,,0000,0000,0000,,when they had to decide how\Nto deal with the city of Mytilene.
Dialogue: 0,0:37:28.02,0:37:32.59,Default,,0000,0000,0000,,[music continues]
Dialogue: 0,0:37:32.59,0:37:35.19,Default,,0000,0000,0000,,In 428 BC, the city of Mytilene
Dialogue: 0,0:37:35.19,0:37:37.16,Default,,0000,0000,0000,,rebelled against\Nthe Athenian empire.
Dialogue: 0,0:37:37.16,0:37:40.22,Default,,0000,0000,0000,,The Athenian assembly met\Nto decide how to respond.
Dialogue: 0,0:37:40.22,0:37:43.08,Default,,0000,0000,0000,,The hardliners\Nwanted to execute every man
Dialogue: 0,0:37:43.08,0:37:45.39,Default,,0000,0000,0000,,and enslave every woman\Nin the city–
Dialogue: 0,0:37:45.39,0:37:48.24,Default,,0000,0000,0000,,the moderates just to execute\Nthe ringleaders.
Dialogue: 0,0:37:48.24,0:37:49.78,Default,,0000,0000,0000,,And on the first day of debate,
Dialogue: 0,0:37:49.78,0:37:52.11,Default,,0000,0000,0000,,the Athenian assembly\Nsided with the hardliners.
Dialogue: 0,0:37:52.11,0:37:55.93,Default,,0000,0000,0000,,They even dispatched a trireme to\NMytilene to carry out those orders.
Dialogue: 0,0:37:55.93,0:37:58.33,Default,,0000,0000,0000,,And yet when they met\Non the second day,
Dialogue: 0,0:37:58.33,0:38:02.19,Default,,0000,0000,0000,,the Athenian assembly started\Nto doubt its own decision.
Dialogue: 0,0:38:02.19,0:38:05.50,Default,,0000,0000,0000,,And indeed they went on to reverse\Nit, sending a second trireme
Dialogue: 0,0:38:05.50,0:38:06.98,Default,,0000,0000,0000,,which got there just in time.
Dialogue: 0,0:38:06.98,0:38:11.16,Default,,0000,0000,0000,,Now these events not only brought\Ngreat relief to the Mytileneans
Dialogue: 0,0:38:11.16,0:38:14.61,Default,,0000,0000,0000,,but it also brought home to the\NAthenians the critical importance
Dialogue: 0,0:38:14.61,0:38:20.07,Default,,0000,0000,0000,,of thinking through properly their\Ndecisions before taking action.
Dialogue: 0,0:38:20.07,0:38:22.63,Default,,0000,0000,0000,,[drum heavy music]
Dialogue: 0,0:38:22.63,0:38:25.79,Default,,0000,0000,0000,,Dealing with life and death\Ndecisions like this
Dialogue: 0,0:38:25.79,0:38:28.68,Default,,0000,0000,0000,,had always lain at the heart\Nof Athenian drama.
Dialogue: 0,0:38:28.68,0:38:32.87,Default,,0000,0000,0000,,And authors like the prize-winning\NSophocles forced the audience
Dialogue: 0,0:38:32.87,0:38:37.15,Default,,0000,0000,0000,,to experience vicariously\Nthe consequences of sloppy thinking.
Dialogue: 0,0:38:37.76,0:38:42.23,Default,,0000,0000,0000,,In 442 BC, Sophocles won yet\Nanother victory at the City Dionysia
Dialogue: 0,0:38:42.23,0:38:44.09,Default,,0000,0000,0000,,with his play Antigone.
Dialogue: 0,0:38:44.09,0:38:46.67,Default,,0000,0000,0000,,Now, Sophocles was a man\Nintensely involved
Dialogue: 0,0:38:46.67,0:38:48.50,Default,,0000,0000,0000,,with the affairs\Nof the Athenian state.
Dialogue: 0,0:38:48.50,0:38:50.11,Default,,0000,0000,0000,,He had been a general\Nand he would go on
Dialogue: 0,0:38:50.11,0:38:52.28,Default,,0000,0000,0000,,to become one of\Nits closest advisors
Dialogue: 0,0:38:52.28,0:38:54.36,Default,,0000,0000,0000,,during its darkest hours\Nin future years.
Dialogue: 0,0:38:54.36,0:38:57.52,Default,,0000,0000,0000,,And his play Antigone deals\Nwith exactly this kind of thing:
Dialogue: 0,0:38:57.52,0:39:00.86,Default,,0000,0000,0000,,how to debate and argue\Nthrough the difficult
Dialogue: 0,0:39:00.86,0:39:03.99,Default,,0000,0000,0000,,and yet critical issues\Nthat face a city.
Dialogue: 0,0:39:04.02,0:39:05.02,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:39:05.06,0:39:08.19,Default,,0000,0000,0000,,And what can happen\Nwhen it all goes terribly wrong.
Dialogue: 0,0:39:08.20,0:39:13.12,Default,,0000,0000,0000,,[sad music]
Dialogue: 0,0:39:13.12,0:39:17.98,Default,,0000,0000,0000,,The play tells the sad story of\NOedipus' daughter Princess Antigone.
Dialogue: 0,0:39:17.98,0:39:19.38,Default,,0000,0000,0000,,[thunder and lightning]
Dialogue: 0,0:39:19.38,0:39:22.06,Default,,0000,0000,0000,,When Antigone buries\Nthe body of her rebel brother,
Dialogue: 0,0:39:22.06,0:39:24.16,Default,,0000,0000,0000,,she is following\Nthe law of the gods.
Dialogue: 0,0:39:24.16,0:39:28.51,Default,,0000,0000,0000,,But the city's law and her uncle,\NKing Creon have forbidden it.
Dialogue: 0,0:39:28.52,0:39:30.08,Default,,0000,0000,0000,,[quiet piano music]
Dialogue: 0,0:39:30.09,0:39:32.54,Default,,0000,0000,0000,,Creon is furious,\Nand condemns her to death.
Dialogue: 0,0:39:32.54,0:39:35.83,Default,,0000,0000,0000,,[music continues]
Dialogue: 0,0:39:35.83,0:39:39.48,Default,,0000,0000,0000,,Creon's son Haemon,\Nwho is in love with Antigone,
Dialogue: 0,0:39:39.48,0:39:42.28,Default,,0000,0000,0000,,urges his father to reconsider.
Dialogue: 0,0:39:42.28,0:39:43.50,Default,,0000,0000,0000,,[same music]
Dialogue: 0,0:39:43.52,0:39:48.74,Default,,0000,0000,0000,,He argues that "A city is not a city\Nif it is the holding of one man."
Dialogue: 0,0:39:48.74,0:39:51.74,Default,,0000,0000,0000,,But Creon is stubborn\Nand uncompromising.
Dialogue: 0,0:39:51.74,0:39:55.22,Default,,0000,0000,0000,,He refuses to listen,\Nand refuses to back down.
Dialogue: 0,0:39:55.22,0:39:59.52,Default,,0000,0000,0000,,The play ends with Antigone and\NHaemon both committing suicide
Dialogue: 0,0:39:59.52,0:40:02.53,Default,,0000,0000,0000,,and with Creon facing the\Ndispleasure of his people
Dialogue: 0,0:40:02.53,0:40:03.47,Default,,0000,0000,0000,,and of the gods.
Dialogue: 0,0:40:03.47,0:40:06.21,Default,,0000,0000,0000,,Creon has to face the fact\Nthat his actions,
Dialogue: 0,0:40:06.21,0:40:08.68,Default,,0000,0000,0000,,and his alone,\Nhave caused this disaster.
Dialogue: 0,0:40:08.68,0:40:10.22,Default,,0000,0000,0000,,[sad music]
Dialogue: 0,0:40:10.22,0:40:15.30,Default,,0000,0000,0000,,Prof. Hall: All of Greek tragedy stages \Ndilemmas that cities under leaders have,
Dialogue: 0,0:40:15.30,0:40:18.76,Default,,0000,0000,0000,,where they're faced\Nwith either very bad luck,
Dialogue: 0,0:40:18.76,0:40:22.23,Default,,0000,0000,0000,,or very bad management, or both.
Dialogue: 0,0:40:22.23,0:40:25.14,Default,,0000,0000,0000,,Now, at one end of that\Nspectrum you've got Oedipus,
Dialogue: 0,0:40:25.14,0:40:29.20,Default,,0000,0000,0000,,who has very, very, very bad luck [laughter]\Nright? He's doomed before he's even born.
Dialogue: 0,0:40:29.20,0:40:30.88,Default,,0000,0000,0000,,How do you react to that?
Dialogue: 0,0:40:30.88,0:40:33.98,Default,,0000,0000,0000,,How do you conduct yourself\Nin a situation with very bad luck?
Dialogue: 0,0:40:33.98,0:40:38.46,Default,,0000,0000,0000,,Right at the other end is the story\Nof Oedipus' daughter Antigone,
Dialogue: 0,0:40:38.46,0:40:43.30,Default,,0000,0000,0000,,faced with THE most incompetent\Nleader in all of Greek literature
Dialogue: 0,0:40:43.30,0:40:44.70,Default,,0000,0000,0000,,and that is saying something.
Dialogue: 0,0:40:44.70,0:40:49.65,Default,,0000,0000,0000,,Creon simply cannot put a foot\Nright, so Sophocles is asking people
Dialogue: 0,0:40:49.65,0:40:51.96,Default,,0000,0000,0000,,to think about what\Na good leader might be
Dialogue: 0,0:40:51.96,0:40:54.07,Default,,0000,0000,0000,,through showing them\Nthe worst possible leader
Dialogue: 0,0:40:54.07,0:40:56.10,Default,,0000,0000,0000,,and the Athenians loved that
Dialogue: 0,0:40:56.10,0:41:00.05,Default,,0000,0000,0000,,so much that Antiquity said\Nthey made him general in response.
Dialogue: 0,0:41:00.05,0:41:03.00,Default,,0000,0000,0000,,Prof. Osborne: Creon is getting pretty\Na bad stick from Edith
Dialogue: 0,0:41:03.00,0:41:07.63,Default,,0000,0000,0000,,but there is a real sense in which\Nthe issue at the center of the play
Dialogue: 0,0:41:07.63,0:41:11.07,Default,,0000,0000,0000,,is an issue that arises\Neven in Athenian law.
Dialogue: 0,0:41:11.07,0:41:14.16,Default,,0000,0000,0000,,In Athenian law,\Nif someone is a traitor
Dialogue: 0,0:41:14.16,0:41:15.66,Default,,0000,0000,0000,,they are not to be buried.
Dialogue: 0,0:41:15.66,0:41:18.45,Default,,0000,0000,0000,,You have to take\Nthem beyond the borders
Dialogue: 0,0:41:18.45,0:41:20.10,Default,,0000,0000,0000,,and you can then bury them outside.
Dialogue: 0,0:41:20.10,0:41:22.63,Default,,0000,0000,0000,,If you're a dimark in Athens
Dialogue: 0,0:41:22.63,0:41:26.52,Default,,0000,0000,0000,,and there is a dead body in your\Ndeign you are obliged to bury it.
Dialogue: 0,0:41:26.52,0:41:30.74,Default,,0000,0000,0000,,So, immediately that clash of,
Dialogue: 0,0:41:30.74,0:41:32.57,Default,,0000,0000,0000,,"Yes, you must bury it\Nbut no, you can't"
Dialogue: 0,0:41:32.57,0:41:34.88,Default,,0000,0000,0000,,arises if the dead body\Nhappens to be a traitor.
Dialogue: 0,0:41:34.88,0:41:38.39,Default,,0000,0000,0000,,So this isn't a non issue,\Nthis is a real issue
Dialogue: 0,0:41:38.39,0:41:42.57,Default,,0000,0000,0000,,and Creon may make a\Ncomplete fist of resolving it
Dialogue: 0,0:41:42.57,0:41:45.82,Default,,0000,0000,0000,,but he makes a fist because
Dialogue: 0,0:41:45.82,0:41:49.92,Default,,0000,0000,0000,,there are two diametrically\Nopposed, justifiable views
Dialogue: 0,0:41:49.92,0:41:52.77,Default,,0000,0000,0000,,and you then have to pick\Nyour way through these.
Dialogue: 0,0:41:52.77,0:41:59.84,Default,,0000,0000,0000,,[quiet music]
Dialogue: 0,0:41:59.84,0:42:03.32,Default,,0000,0000,0000,,Dr. Scott: Due to his dogged determination\Nfor others to do
Dialogue: 0,0:42:03.32,0:42:07.81,Default,,0000,0000,0000,,exactly what he wants, his inability\Nto listen, to compromise,
Dialogue: 0,0:42:07.81,0:42:10.47,Default,,0000,0000,0000,,Creon ends up paying\Nthe ultimate price–
Dialogue: 0,0:42:10.47,0:42:13.34,Default,,0000,0000,0000,,the loss of his family\Nand his authority.
Dialogue: 0,0:42:13.39,0:42:18.26,Default,,0000,0000,0000,,It's a play about listening,\Ndebate, compromise,
Dialogue: 0,0:42:18.26,0:42:20.07,Default,,0000,0000,0000,,what it takes to be a leader.
Dialogue: 0,0:42:20.07,0:42:22.90,Default,,0000,0000,0000,,Those are issues which,\Nof course, had relevance
Dialogue: 0,0:42:22.90,0:42:24.80,Default,,0000,0000,0000,,to the ancient Athenians\Nwatching the play,
Dialogue: 0,0:42:24.80,0:42:29.49,Default,,0000,0000,0000,,but they're also issues that are\Nrelevant to any society at any time.
Dialogue: 0,0:42:29.49,0:42:33.92,Default,,0000,0000,0000,,That's what makes\NAntigone so timeless.
Dialogue: 0,0:42:33.92,0:42:36.75,Default,,0000,0000,0000,,[quiet string music]
Dialogue: 0,0:42:36.75,0:42:40.85,Default,,0000,0000,0000,,Dr. Wyles: It's got universal appeal\Nbecause it's about someone
Dialogue: 0,0:42:40.85,0:42:44.42,Default,,0000,0000,0000,,fighting against the system\Nand a system that's wrong.
Dialogue: 0,0:42:44.42,0:42:46.64,Default,,0000,0000,0000,,I mean, that's how\Nit gets picked up now
Dialogue: 0,0:42:46.64,0:42:50.89,Default,,0000,0000,0000,,and that's, that's what really appeals to\Nmodern audiences, I think, about it.
Dialogue: 0,0:42:50.89,0:42:52.45,Default,,0000,0000,0000,,Dr. Scott: A play like Antigone,
Dialogue: 0,0:42:52.45,0:42:55.09,Default,,0000,0000,0000,,what kind of resonance\Ndoes that have for us today?
Dialogue: 0,0:42:55.09,0:42:58.64,Default,,0000,0000,0000,,Dr. Wyles: Thinking about this\Nadaptation that Jean Anouilh
Dialogue: 0,0:42:58.64,0:43:05.14,Default,,0000,0000,0000,,produced in 1944 in France while it\Nwas being occupied by Nazis.
Dialogue: 0,0:43:05.14,0:43:08.08,Default,,0000,0000,0000,,That's a real example of\Nwhere you've got this play
Dialogue: 0,0:43:08.08,0:43:13.70,Default,,0000,0000,0000,,which is really taken on and\Nchampioned by the Resistance.
Dialogue: 0,0:43:14.24,0:43:17.50,Default,,0000,0000,0000,,Dr. Scott: How did it ever get\Npermission to be performed
Dialogue: 0,0:43:17.50,0:43:19.41,Default,,0000,0000,0000,,if it's such a play of resistance?
Dialogue: 0,0:43:19.41,0:43:23.06,Default,,0000,0000,0000,,Dr. Wyles: Well, I think that's\Nthe ambiguity of the play.
Dialogue: 0,0:43:23.06,0:43:28.00,Default,,0000,0000,0000,,So, you know, for the occupying force,\Nfor the Vichy government,
Dialogue: 0,0:43:28.00,0:43:30.11,Default,,0000,0000,0000,,actually, you can look\Nat this play and think,
Dialogue: 0,0:43:30.11,0:43:33.58,Default,,0000,0000,0000,,"This is a play about\Nlaw and imposing law
Dialogue: 0,0:43:33.58,0:43:36.11,Default,,0000,0000,0000,,and actually this\Nis a silly little girl
Dialogue: 0,0:43:36.11,0:43:39.64,Default,,0000,0000,0000,,who breaks that law and, you know,\Nshe gets what's coming to her."
Dialogue: 0,0:43:39.64,0:43:43.69,Default,,0000,0000,0000,,So, it's that ambiguity that allows,\Neven in those circumstances,
Dialogue: 0,0:43:43.69,0:43:46.98,Default,,0000,0000,0000,,this great play of resistance,\Nfor some people, to be put on.
Dialogue: 0,0:43:46.98,0:43:50.97,Default,,0000,0000,0000,,[transitional music]
Dialogue: 0,0:43:50.97,0:43:56.46,Default,,0000,0000,0000,,Dr. Scott: Tragedy was an effective way of\Nengaging with the issues
Dialogue: 0,0:43:56.46,0:44:00.20,Default,,0000,0000,0000,,that beset the democracy,\Nbut it was not the only way.
Dialogue: 0,0:44:00.20,0:44:01.84,Default,,0000,0000,0000,,There was also comedy.
Dialogue: 0,0:44:01.84,0:44:06.29,Default,,0000,0000,0000,,Comedy was irreverent,\Nrude and bawdy,
Dialogue: 0,0:44:06.29,0:44:09.86,Default,,0000,0000,0000,,and it was also personal,\Ntargeting real individuals.
Dialogue: 0,0:44:09.86,0:44:13.98,Default,,0000,0000,0000,,And just like today, ordinary\NAthenians in the marketplace
Dialogue: 0,0:44:13.98,0:44:17.10,Default,,0000,0000,0000,,were deeply suspicious\Nof their elected political leaders.
Dialogue: 0,0:44:17.10,0:44:18.10,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:44:18.10,0:44:21.15,Default,,0000,0000,0000,,Some people, it seems,\Nwere just naturally born
Dialogue: 0,0:44:21.15,0:44:22.75,Default,,0000,0000,0000,,to successfully navigate
Dialogue: 0,0:44:22.75,0:44:25.15,Default,,0000,0000,0000,,the slippery waters\Nof Athenian politics.
Dialogue: 0,0:44:25.15,0:44:29.26,Default,,0000,0000,0000,,And one of those guys\Nwas a man called Cleon.
Dialogue: 0,0:44:29.26,0:44:31.72,Default,,0000,0000,0000,,[speaking Greek]
Dialogue: 0,0:44:31.72,0:44:35.44,Default,,0000,0000,0000,,Now, Cleon was what we would call\Ntoday an opportunistic politician.
Dialogue: 0,0:44:35.44,0:44:38.62,Default,,0000,0000,0000,,He would be with the aristocrats\Nor he would be spurring
Dialogue: 0,0:44:38.62,0:44:40.90,Default,,0000,0000,0000,,on the lowest of the low\Nof the Athenian citizenry.
Dialogue: 0,0:44:40.90,0:44:45.83,Default,,0000,0000,0000,,And the ancient commentators\Nare fairly hard on Cleon.
Dialogue: 0,0:44:45.83,0:44:48.08,Default,,0000,0000,0000,,And today we'd probably\Nbe a bit more balanced,
Dialogue: 0,0:44:48.08,0:44:49.88,Default,,0000,0000,0000,,but without a shadow of a doubt
Dialogue: 0,0:44:49.88,0:44:52.73,Default,,0000,0000,0000,,he would do whatever it took to\Nget whatever he wanted.
Dialogue: 0,0:44:52.73,0:44:55.64,Default,,0000,0000,0000,,Naturally, he had his enemies.
Dialogue: 0,0:44:55.64,0:44:59.43,Default,,0000,0000,0000,,They accused him of being\Ngreedy, not just for power,
Dialogue: 0,0:44:59.43,0:45:01.29,Default,,0000,0000,0000,,but for fresh-caught tuna,
Dialogue: 0,0:45:01.29,0:45:06.30,Default,,0000,0000,0000,,seen back then as a luxury desired\Nby the rich and anti-democratic.
Dialogue: 0,0:45:06.30,0:45:08.30,Default,,0000,0000,0000,,[city noises]
Dialogue: 0,0:45:08.30,0:45:11.93,Default,,0000,0000,0000,,How could the democracy\Nkeep people like this in check
Dialogue: 0,0:45:11.93,0:45:14.76,Default,,0000,0000,0000,,while not killing off\Ntheir energy and enthusiasm
Dialogue: 0,0:45:14.76,0:45:16.96,Default,,0000,0000,0000,,that at the end of the day\Nbenefited the city?
Dialogue: 0,0:45:16.96,0:45:20.27,Default,,0000,0000,0000,,Well, one of the ways\Nthey did it was in the theater,
Dialogue: 0,0:45:20.27,0:45:24.78,Default,,0000,0000,0000,,by taking the piss out of them,\Nright in their very face.
Dialogue: 0,0:45:24.79,0:45:29.53,Default,,0000,0000,0000,,[upbeat, quirky music]
Dialogue: 0,0:45:29.53,0:45:32.88,Default,,0000,0000,0000,,Comedies, while performed\Nat the Dionysia Festival,
Dialogue: 0,0:45:32.88,0:45:35.22,Default,,0000,0000,0000,,also had their own, smaller festival.
Dialogue: 0,0:45:35.22,0:45:37.44,Default,,0000,0000,0000,,It was called the Lenaia.
Dialogue: 0,0:45:37.44,0:45:39.26,Default,,0000,0000,0000,,It took place early in January,
Dialogue: 0,0:45:39.26,0:45:41.62,Default,,0000,0000,0000,,long before the season\Nfor sailing started,
Dialogue: 0,0:45:41.62,0:45:43.70,Default,,0000,0000,0000,,so there were no foreigners present.
Dialogue: 0,0:45:43.70,0:45:46.83,Default,,0000,0000,0000,,This meant that comic writers\Ncould really let rip
Dialogue: 0,0:45:46.83,0:45:48.40,Default,,0000,0000,0000,,without letting the city down.
Dialogue: 0,0:45:48.40,0:45:49.40,Default,,0000,0000,0000,,[music continues]
Dialogue: 0,0:45:49.40,0:45:52.15,Default,,0000,0000,0000,,Dr. Wyles: What you have is\Nreally lively plays,
Dialogue: 0,0:45:52.15,0:45:55.36,Default,,0000,0000,0000,,very outrageous plays, actually, sometimes,
Dialogue: 0,0:45:55.36,0:45:57.83,Default,,0000,0000,0000,,but they are politically involved.
Dialogue: 0,0:45:57.83,0:46:02.78,Default,,0000,0000,0000,,The settings can be, you know, amazing in\Nthe real sense, [Scott: Yep] incredible.
Dialogue: 0,0:46:02.78,0:46:05.63,Default,,0000,0000,0000,,You have comedies that\Ngo to the underworld,
Dialogue: 0,0:46:05.63,0:46:06.51,Default,,0000,0000,0000,,they go to hell,
Dialogue: 0,0:46:06.51,0:46:10.41,Default,,0000,0000,0000,,and that's where you get\Nthese animal choruses like frogs.
Dialogue: 0,0:46:10.50,0:46:14.22,Default,,0000,0000,0000,,This is a frog that was used
Dialogue: 0,0:46:14.22,0:46:17.84,Default,,0000,0000,0000,,in the King's College Greek play.
Dialogue: 0,0:46:17.84,0:46:21.19,Default,,0000,0000,0000,,I mean animal choruses are\Nquite common in comedy.
Dialogue: 0,0:46:21.19,0:46:23.27,Default,,0000,0000,0000,,You've got, for example,\Nthe chorus here...
Dialogue: 0,0:46:23.28,0:46:24.28,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:46:24.28,0:46:28.49,Default,,0000,0000,0000,,These guys performing and the\Nsongs that they get to sing,
Dialogue: 0,0:46:28.49,0:46:31.35,Default,,0000,0000,0000,,I mean, this is a\Ngreat source of comedy.
Dialogue: 0,0:46:31.35,0:46:35.59,Default,,0000,0000,0000,,Dr. Scott: What kind of level of biting\Nsatire are we talking about here
Dialogue: 0,0:46:35.59,0:46:36.62,Default,,0000,0000,0000,,in ancient comedy?
Dialogue: 0,0:46:36.62,0:46:38.00,Default,,0000,0000,0000,,Dr. Wyles: It's extremely personal,
Dialogue: 0,0:46:38.00,0:46:41.47,Default,,0000,0000,0000,,there's insults really\Nof quite an infantile nature.
Dialogue: 0,0:46:41.47,0:46:45.67,Default,,0000,0000,0000,,You have plays which actually put\Npoliticians as one of the characters,
Dialogue: 0,0:46:45.67,0:46:47.50,Default,,0000,0000,0000,,very thinly disguised,
Dialogue: 0,0:46:47.50,0:46:51.04,Default,,0000,0000,0000,,but the-they'll be the\Nleading politicians of the day.
Dialogue: 0,0:46:51.04,0:46:54.94,Default,,0000,0000,0000,,Their policies will be clear, the\Nway they speak might be parodied,
Dialogue: 0,0:46:54.94,0:46:59.84,Default,,0000,0000,0000,,even the mask can reflect\Ncharacters from Athenian society.
Dialogue: 0,0:46:59.86,0:47:00.86,Default,,0000,0000,0000,,[fun music]
Dialogue: 0,0:47:00.88,0:47:03.44,Default,,0000,0000,0000,,Dr. Scott: This was the sort of thing\Nthat lay in store
Dialogue: 0,0:47:03.44,0:47:05.87,Default,,0000,0000,0000,,for ambitious politicians\Nlike Cleon.
Dialogue: 0,0:47:05.87,0:47:07.11,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:47:07.11,0:47:10.15,Default,,0000,0000,0000,,And the man who was\Nthe real expert at this
Dialogue: 0,0:47:10.15,0:47:13.06,Default,,0000,0000,0000,,was a comic playwright\Ncalled Aristophanes.
Dialogue: 0,0:47:13.06,0:47:16.81,Default,,0000,0000,0000,,And for Aristophanes and Cleon,\Nit was a grudge match –
Dialogue: 0,0:47:16.81,0:47:19.56,Default,,0000,0000,0000,,they even came\Nfrom the same village.
Dialogue: 0,0:47:19.58,0:47:23.22,Default,,0000,0000,0000,,[playful music]
Dialogue: 0,0:47:23.22,0:47:27.74,Default,,0000,0000,0000,,In 425 BC, Aristophanes\Nwrote a play called The Knights.
Dialogue: 0,0:47:27.74,0:47:30.71,Default,,0000,0000,0000,,It portrays Cleon\Nas a cunning servant
Dialogue: 0,0:47:30.71,0:47:33.63,Default,,0000,0000,0000,,working for an old man called Demos.
Dialogue: 0,0:47:33.63,0:47:38.57,Default,,0000,0000,0000,,Demos represents the people,\Nand as his crafty servant,
Dialogue: 0,0:47:38.57,0:47:40.72,Default,,0000,0000,0000,,Cleon misuses his position
Dialogue: 0,0:47:40.72,0:47:43.90,Default,,0000,0000,0000,,for the purposes of\Nextortion and corruption.
Dialogue: 0,0:47:43.90,0:47:47.48,Default,,0000,0000,0000,,Yet, in the end, it is Demos\Nwho has the last laugh.
Dialogue: 0,0:47:47.48,0:47:51.96,Default,,0000,0000,0000,,Cleon's corrupt ways are\Nexposed, he loses his position
Dialogue: 0,0:47:51.96,0:47:54.13,Default,,0000,0000,0000,,and he is reduced\Nto selling sausages
Dialogue: 0,0:47:54.13,0:47:56.62,Default,,0000,0000,0000,,outside the Athens city gates.
Dialogue: 0,0:47:56.62,0:47:58.83,Default,,0000,0000,0000,,Aristophanes didn't\Npull any punches–
Dialogue: 0,0:47:58.83,0:48:01.85,Default,,0000,0000,0000,,this play brings Cleon\Nright back down to earth.
Dialogue: 0,0:48:02.75,0:48:04.28,Default,,0000,0000,0000,,And, of course, the politicians,
Dialogue: 0,0:48:04.28,0:48:05.69,Default,,0000,0000,0000,,about whom the jokes\Nwere being made,
Dialogue: 0,0:48:05.69,0:48:08.54,Default,,0000,0000,0000,,were right here, visible\Nto all in the audience.
Dialogue: 0,0:48:08.54,0:48:11.28,Default,,0000,0000,0000,,So it's like having\None of our shows,
Dialogue: 0,0:48:11.28,0:48:13.98,Default,,0000,0000,0000,,The Daily Show in the States\Nor Have I Got News For You here,
Dialogue: 0,0:48:13.98,0:48:16.55,Default,,0000,0000,0000,,being played out in\Nan important civic space
Dialogue: 0,0:48:16.55,0:48:18.41,Default,,0000,0000,0000,,–the Capitol or\Nthe House of Commons–
Dialogue: 0,0:48:18.41,0:48:20.69,Default,,0000,0000,0000,,with the people they're\Ntaking the piss out of
Dialogue: 0,0:48:20.69,0:48:22.54,Default,,0000,0000,0000,,sitting right here in the audience,
Dialogue: 0,0:48:22.54,0:48:23.94,Default,,0000,0000,0000,,having to take it\Nin front of everyone.
Dialogue: 0,0:48:23.94,0:48:25.88,Default,,0000,0000,0000,,The Greeks even had a word\Nfor this,
Dialogue: 0,0:48:25.88,0:48:28.64,Default,,0000,0000,0000,,they called these people,\Nthe "komedoumenoi",
Dialogue: 0,0:48:28.64,0:48:31.07,Default,,0000,0000,0000,,those made fun of in comedy.
Dialogue: 0,0:48:31.07,0:48:34.27,Default,,0000,0000,0000,,And this isn't just\Nsome sort of sideshow.
Dialogue: 0,0:48:34.27,0:48:36.67,Default,,0000,0000,0000,,This, many ancient commentators saw,
Dialogue: 0,0:48:36.67,0:48:40.22,Default,,0000,0000,0000,,as the hallmark of\Nancient Athenian democracy
Dialogue: 0,0:48:40.22,0:48:42.43,Default,,0000,0000,0000,,and of freedom and free speech.
Dialogue: 0,0:48:42.44,0:48:44.22,Default,,0000,0000,0000,,[mysterious music]
Dialogue: 0,0:48:44.22,0:48:47.03,Default,,0000,0000,0000,,The laughter didn't\Nstop Cleon's career.
Dialogue: 0,0:48:47.03,0:48:51.47,Default,,0000,0000,0000,,Despite his slippery reputation,\Nhe was elected again and again.
Dialogue: 0,0:48:51.47,0:48:55.28,Default,,0000,0000,0000,,But the effect of comedy\Nwas more subtle than that.
Dialogue: 0,0:48:55.28,0:48:58.60,Default,,0000,0000,0000,,What it did do, was police\Nthe boundaries of behavior,
Dialogue: 0,0:48:58.60,0:49:02.44,Default,,0000,0000,0000,,skewer pretensions and remind\Nthose in positions of power
Dialogue: 0,0:49:02.44,0:49:06.44,Default,,0000,0000,0000,,of their responsibilities and of\Nthe limits of their ambitions.
Dialogue: 0,0:49:06.44,0:49:09.32,Default,,0000,0000,0000,,It's a kind of satire\Nthat we can still see at work
Dialogue: 0,0:49:09.32,0:49:10.99,Default,,0000,0000,0000,,in our own democracy today.
Dialogue: 0,0:49:10.99,0:49:15.66,Default,,0000,0000,0000,,By the time of Cleon, this\Nexperiment in Athenian democracy
Dialogue: 0,0:49:15.66,0:49:17.52,Default,,0000,0000,0000,,was heading towards its centenary.
Dialogue: 0,0:49:17.52,0:49:21.40,Default,,0000,0000,0000,,And in that time it had seen it\Nall, from fighting for survival,
Dialogue: 0,0:49:21.40,0:49:24.71,Default,,0000,0000,0000,,to cultural supremacy,\Nto empire, to wealth.
Dialogue: 0,0:49:24.71,0:49:29.20,Default,,0000,0000,0000,,And it was, still, at war,\Nnot now with Persia
Dialogue: 0,0:49:29.20,0:49:33.98,Default,,0000,0000,0000,,but with Greece's greatest\Nfighting force: the Spartans.
Dialogue: 0,0:49:33.98,0:49:35.19,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:49:35.19,0:49:38.42,Default,,0000,0000,0000,,And desperate times called\Nfor desperate measures.
Dialogue: 0,0:49:38.42,0:49:41.74,Default,,0000,0000,0000,,[ominous music]
Dialogue: 0,0:49:41.74,0:49:46.04,Default,,0000,0000,0000,,The war between Sparta\Nand Athens started in 431 BC
Dialogue: 0,0:49:46.04,0:49:47.81,Default,,0000,0000,0000,,and lasted for decades.
Dialogue: 0,0:49:47.81,0:49:49.87,Default,,0000,0000,0000,,It was a fight to the death.
Dialogue: 0,0:49:49.87,0:49:53.21,Default,,0000,0000,0000,,Sparta ruled by land,\NAthens ruled at sea.
Dialogue: 0,0:49:53.76,0:49:55.12,Default,,0000,0000,0000,,But there was one island
Dialogue: 0,0:49:55.12,0:49:57.85,Default,,0000,0000,0000,,that had never submitted\Nto Athenian domination
Dialogue: 0,0:49:57.85,0:50:00.84,Default,,0000,0000,0000,,and tried instead\Nto remain neutral:
Dialogue: 0,0:50:01.41,0:50:03.57,Default,,0000,0000,0000,,the small island of Melos.
Dialogue: 0,0:50:03.57,0:50:04.98,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:50:04.98,0:50:09.34,Default,,0000,0000,0000,,In 416 BC, the Athenian\Ndemocrats had had enough;
Dialogue: 0,0:50:09.34,0:50:12.19,Default,,0000,0000,0000,,it was time for\Nthe Melians to submit.
Dialogue: 0,0:50:12.63,0:50:16.58,Default,,0000,0000,0000,,So the Athenians sent their\Nfleet to enforce their demands.
Dialogue: 0,0:50:16.58,0:50:17.94,Default,,0000,0000,0000,,[pause, waves]
Dialogue: 0,0:50:17.94,0:50:21.19,Default,,0000,0000,0000,,Now, according to Thucydides,\Nthe contemporary Athenian historian,
Dialogue: 0,0:50:21.19,0:50:23.15,Default,,0000,0000,0000,,the Athenians sent in\Nnot just their fleet
Dialogue: 0,0:50:23.15,0:50:26.04,Default,,0000,0000,0000,,but also some diplomats\Nto put the case.
Dialogue: 0,0:50:26.04,0:50:30.16,Default,,0000,0000,0000,,The case was very simple,\Nit was this– join us or die.
Dialogue: 0,0:50:30.16,0:50:31.24,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:50:31.26,0:50:34.30,Default,,0000,0000,0000,,But what happened next,\Naccording to Thucydides,
Dialogue: 0,0:50:34.30,0:50:37.21,Default,,0000,0000,0000,,was an extraordinary debate\Nbetween the two sides.
Dialogue: 0,0:50:37.21,0:50:41.09,Default,,0000,0000,0000,,"These envoys the Melians did not\Nbring before the popular assembly,
Dialogue: 0,0:50:41.09,0:50:43.34,Default,,0000,0000,0000,,but bade them tell in\Nthe presence of the magistrates
Dialogue: 0,0:50:43.34,0:50:44.92,Default,,0000,0000,0000,,and the few what\Nthey had come for."
Dialogue: 0,0:50:44.92,0:50:48.35,Default,,0000,0000,0000,,The envoys gave the Melians\Nan ultimatum:
Dialogue: 0,0:50:48.35,0:50:52.18,Default,,0000,0000,0000,,surrender and pay tribute\Nto Athens, or be destroyed.
Dialogue: 0,0:50:52.18,0:50:56.42,Default,,0000,0000,0000,,The Melians argued that they were\Na neutral city, not an enemy.
Dialogue: 0,0:50:56.42,0:50:59.93,Default,,0000,0000,0000,,And that it would be shameful and\Ncowardly to submit without a fight.
Dialogue: 0,0:50:59.93,0:51:02.49,Default,,0000,0000,0000,,But the Athenians were unmoved.
Dialogue: 0,0:51:02.49,0:51:06.21,Default,,0000,0000,0000,,They countered that if they didn't\Nextract surrender from Melos,
Dialogue: 0,0:51:06.21,0:51:07.89,Default,,0000,0000,0000,,the empire would look weak.
Dialogue: 0,0:51:07.89,0:51:12.27,Default,,0000,0000,0000,,They argued that the strong have\Nthe right to exert their authority.
Dialogue: 0,0:51:12.28,0:51:13.47,Default,,0000,0000,0000,,[distant string music]
Dialogue: 0,0:51:13.47,0:51:14.62,Default,,0000,0000,0000,,This is a classic example
Dialogue: 0,0:51:14.62,0:51:17.16,Default,,0000,0000,0000,,of what we call in Greek\Nan "agon" –a debate.
Dialogue: 0,0:51:17.16,0:51:19.72,Default,,0000,0000,0000,,You could have seen it in\Nthe philosophical lecture hall,
Dialogue: 0,0:51:19.72,0:51:22.12,Default,,0000,0000,0000,,or in the political assembly,\Nor in the law courts,
Dialogue: 0,0:51:22.12,0:51:24.00,Default,,0000,0000,0000,,or indeed on the stage\Nin the theater.
Dialogue: 0,0:51:24.00,0:51:27.18,Default,,0000,0000,0000,,And it's summed up... Well, it's\Nsummed up rather well, actually,
Dialogue: 0,0:51:27.18,0:51:30.14,Default,,0000,0000,0000,,by an enthusiastic student who seems\Nto have had this copy before me.
Dialogue: 0,0:51:30.14,0:51:33.44,Default,,0000,0000,0000,,And who has written rather pithily\Nin the margin, "Might is right".
Dialogue: 0,0:51:33.44,0:51:36.08,Default,,0000,0000,0000,,And that was the Athenian argument.
Dialogue: 0,0:51:36.08,0:51:38.29,Default,,0000,0000,0000,,The strong do as they can.
Dialogue: 0,0:51:38.29,0:51:40.72,Default,,0000,0000,0000,,The weak suffer what they must.
Dialogue: 0,0:51:40.72,0:51:42.65,Default,,0000,0000,0000,,And that's exactly what happened.
Dialogue: 0,0:51:42.65,0:51:45.09,Default,,0000,0000,0000,,The Athenians invaded\Nthe island of Melos,
Dialogue: 0,0:51:45.09,0:51:46.61,Default,,0000,0000,0000,,they executed all the men,
Dialogue: 0,0:51:46.61,0:51:48.61,Default,,0000,0000,0000,,they enslaved all the women\Nand the children,
Dialogue: 0,0:51:48.61,0:51:50.81,Default,,0000,0000,0000,,and they established\Nan Athenian colony there.
Dialogue: 0,0:51:50.81,0:51:51.81,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:51:51.81,0:51:56.87,Default,,0000,0000,0000,,And yet, just the very next year,\Nin the Theatre of Dionysus,
Dialogue: 0,0:51:56.87,0:51:58.66,Default,,0000,0000,0000,,in the centre of Athens,
Dialogue: 0,0:51:58.66,0:52:01.88,Default,,0000,0000,0000,,Euripides, the "enfant\Nterrible" of Athenian drama,
Dialogue: 0,0:52:01.88,0:52:04.81,Default,,0000,0000,0000,,staged a play called Trojan Women.
Dialogue: 0,0:52:04.81,0:52:08.50,Default,,0000,0000,0000,,Its subject matter was what\Nhappened to the women at Troy
Dialogue: 0,0:52:08.50,0:52:12.97,Default,,0000,0000,0000,,after the Greeks had besieged,\Ninvaded, and destroyed the city.
Dialogue: 0,0:52:12.97,0:52:13.97,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:52:13.97,0:52:17.53,Default,,0000,0000,0000,,So the Athenians\Nsat down to watch a play
Dialogue: 0,0:52:18.00,0:52:20.25,Default,,0000,0000,0000,,which laid before them on the stage
Dialogue: 0,0:52:20.25,0:52:23.82,Default,,0000,0000,0000,,the tragic reality\Nof what they had done,
Dialogue: 0,0:52:23.82,0:52:27.10,Default,,0000,0000,0000,,just the year before,\Nto the island of Melos.
Dialogue: 0,0:52:27.10,0:52:30.50,Default,,0000,0000,0000,,[booming]
Dialogue: 0,0:52:30.50,0:52:34.97,Default,,0000,0000,0000,,The play is set in the aftermath\Nof the legendary siege of Troy.
Dialogue: 0,0:52:34.97,0:52:36.59,Default,,0000,0000,0000,,[pause, booming]
Dialogue: 0,0:52:36.60,0:52:39.31,Default,,0000,0000,0000,,The city has fallen,\Nall the Trojan men are dead,
Dialogue: 0,0:52:39.31,0:52:41.00,Default,,0000,0000,0000,,and the surviving Trojan women,
Dialogue: 0,0:52:41.00,0:52:44.98,Default,,0000,0000,0000,,who make up the chorus in the play,\Nare to be sold into slavery.
Dialogue: 0,0:52:45.17,0:52:47.86,Default,,0000,0000,0000,,But for Princess Andromache,\Nthere's worse–
Dialogue: 0,0:52:47.86,0:52:50.63,Default,,0000,0000,0000,,her son is to be taken\Nfrom her and slaughtered.
Dialogue: 0,0:52:50.64,0:52:51.86,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:52:51.89,0:52:56.93,Default,,0000,0000,0000,,When she argues, the messenger tells\Nher to be brave –"might is right".
Dialogue: 0,0:52:56.93,0:53:00.90,Default,,0000,0000,0000,,[Princess Andromache wails]
Dialogue: 0,0:53:00.90,0:53:05.14,Default,,0000,0000,0000,,[all women scream]
Dialogue: 0,0:53:05.14,0:53:06.60,Default,,0000,0000,0000,,Man: Hush!
Dialogue: 0,0:53:06.60,0:53:08.34,Default,,0000,0000,0000,,[the women quiet]
Dialogue: 0,0:53:08.34,0:53:12.92,Default,,0000,0000,0000,,[Princess Andromache pants]
Dialogue: 0,0:53:12.92,0:53:16.22,Default,,0000,0000,0000,,Messenger: If you say words that\Nmake the army angry...
Dialogue: 0,0:53:16.22,0:53:17.33,Default,,0000,0000,0000,,[she shudders]
Dialogue: 0,0:53:17.33,0:53:19.25,Default,,0000,0000,0000,,the child will have no burial...
Dialogue: 0,0:53:19.26,0:53:20.61,Default,,0000,0000,0000,,[breathing heavily]
Dialogue: 0,0:53:20.64,0:53:22.43,Default,,0000,0000,0000,,and without pity...
Dialogue: 0,0:53:22.44,0:53:23.88,Default,,0000,0000,0000,,[shuddering]
Dialogue: 0,0:53:23.88,0:53:26.99,Default,,0000,0000,0000,,so bear your fate as best you can.
Dialogue: 0,0:53:26.99,0:53:28.47,Default,,0000,0000,0000,,[still breathing heavily]
Dialogue: 0,0:53:28.48,0:53:32.02,Default,,0000,0000,0000,,Then you need not leave him\Ndead without a grave...
Dialogue: 0,0:53:32.02,0:53:33.96,Default,,0000,0000,0000,,[shallow breathing]
Dialogue: 0,0:53:33.96,0:53:35.45,Default,,0000,0000,0000,,and you will find\Nthe Greeks...
Dialogue: 0,0:53:35.48,0:53:36.60,Default,,0000,0000,0000,,[shuddering]
Dialogue: 0,0:53:36.60,0:53:37.51,Default,,0000,0000,0000,,more kind.
Dialogue: 0,0:53:37.52,0:53:39.67,Default,,0000,0000,0000,,[gravel crunching as he stands]
Dialogue: 0,0:53:39.67,0:53:42.15,Default,,0000,0000,0000,,[shuffling]
Dialogue: 0,0:53:42.15,0:53:46.60,Default,,0000,0000,0000,,Dr. Scott: Trojan Women may well have spoken\Nto Athenian actions on Melos,
Dialogue: 0,0:53:46.60,0:53:49.13,Default,,0000,0000,0000,,but Euripides was also crucially
Dialogue: 0,0:53:49.13,0:53:51.95,Default,,0000,0000,0000,,sending a broader message\Nabout the disillusionment
Dialogue: 0,0:53:51.95,0:53:53.62,Default,,0000,0000,0000,,that was taking hold in Greece
Dialogue: 0,0:53:53.62,0:53:56.23,Default,,0000,0000,0000,,after years of\Nrelentless, savage war
Dialogue: 0,0:53:56.42,0:53:58.25,Default,,0000,0000,0000,,and the terrible impact
Dialogue: 0,0:53:58.25,0:54:01.26,Default,,0000,0000,0000,,that such conflict has on\Nall members of society.
Dialogue: 0,0:54:01.26,0:54:04.09,Default,,0000,0000,0000,,[boom, fades]
Dialogue: 0,0:54:04.11,0:54:08.63,Default,,0000,0000,0000,,Prof. Cartledge: Why should WE think that\Nwhat the Athenians did to the Melians
Dialogue: 0,0:54:08.63,0:54:12.18,Default,,0000,0000,0000,,would have generated\Nsuch terrific outrage
Dialogue: 0,0:54:12.18,0:54:14.22,Default,,0000,0000,0000,,when the Spartans had done something
Dialogue: 0,0:54:14.22,0:54:19.61,Default,,0000,0000,0000,,very similar to the people of Hisiai just a few \Nyears earlier? [overlapping: Exactly. Exactly.]
Dialogue: 0,0:54:19.61,0:54:21.49,Default,,0000,0000,0000,,I mean that's purely historically.
Dialogue: 0,0:54:21.49,0:54:23.94,Default,,0000,0000,0000,,On the other hand,\Nthe coincidence of date means,
Dialogue: 0,0:54:23.94,0:54:27.37,Default,,0000,0000,0000,,it seems to me, that as\NEuripides is writing this,
Dialogue: 0,0:54:27.37,0:54:30.63,Default,,0000,0000,0000,,what is the big campaign that\Nthe Athenians are involved in
Dialogue: 0,0:54:30.63,0:54:35.06,Default,,0000,0000,0000,,that is going to involve\Nwomen as slaves of war?
Dialogue: 0,0:54:35.06,0:54:38.29,Default,,0000,0000,0000,,Well, it is the Mel- there is\Nno other campaign going on
Dialogue: 0,0:54:38.29,0:54:43.34,Default,,0000,0000,0000,,as Euripides is writing\Nit in the winter of 416-5,
Dialogue: 0,0:54:43.34,0:54:47.69,Default,,0000,0000,0000,,but he could have thought it\Nat any time, that's the thing.
Dialogue: 0,0:54:47.69,0:54:53.70,Default,,0000,0000,0000,,Prof. Hall: By 416/415, I think Euripides\Nreally has seen that war
Dialogue: 0,0:54:53.70,0:54:55.71,Default,,0000,0000,0000,,as a way of life brings\Nnothing but misery
Dialogue: 0,0:54:55.71,0:54:58.18,Default,,0000,0000,0000,,to both victors and vanquished.
Dialogue: 0,0:54:58.18,0:55:00.10,Default,,0000,0000,0000,,Prof. Osborne: And from that point of\Nview, if you focus on Melos,
Dialogue: 0,0:55:00.10,0:55:01.47,Default,,0000,0000,0000,,you actually miss that point.
Dialogue: 0,0:55:01.47,0:55:02.66,Default,,0000,0000,0000,,Prof Hall: Exactly.
Dialogue: 0,0:55:02.66,0:55:04.42,Default,,0000,0000,0000,,Prof. Osborne: The more you think\Nthis is just a sort of,
Dialogue: 0,0:55:04.42,0:55:06.14,Default,,0000,0000,0000,,"Oh, there's been a terrible\Natrocity..."
Dialogue: 0,0:55:06.14,0:55:07.22,Default,,0000,0000,0000,,[other professors agree]
Dialogue: 0,0:55:07.22,0:55:08.96,Default,,0000,0000,0000,,Prof. Osborne: ...the more you miss
Dialogue: 0,0:55:08.96,0:55:12.60,Default,,0000,0000,0000,,that this is about the fact that\Nwar is irrational and terrible.
Dialogue: 0,0:55:12.60,0:55:16.73,Default,,0000,0000,0000,,Prof. Hall: Euripides is presenting\Na very –a, a, view of all the Greeks
Dialogue: 0,0:55:16.73,0:55:19.06,Default,,0000,0000,0000,,as having barbarized themselves
Dialogue: 0,0:55:19.06,0:55:21.16,Default,,0000,0000,0000,,during the course of\Nthe Peloponnesian War.
Dialogue: 0,0:55:21.16,0:55:22.81,Default,,0000,0000,0000,,[dramatic music]
Dialogue: 0,0:55:22.81,0:55:25.24,Default,,0000,0000,0000,,Dr. Scott: Euripides was not the only one
Dialogue: 0,0:55:25.24,0:55:27.85,Default,,0000,0000,0000,,to despair at the state\Nof affairs in Greece,
Dialogue: 0,0:55:27.85,0:55:30.04,Default,,0000,0000,0000,,or criticize Athenian behavior.
Dialogue: 0,0:55:30.04,0:55:34.10,Default,,0000,0000,0000,,Many in Greece now felt that\NAthens was guilty of hubris,
Dialogue: 0,0:55:34.10,0:55:35.83,Default,,0000,0000,0000,,of over-reaching pride.
Dialogue: 0,0:55:35.83,0:55:39.01,Default,,0000,0000,0000,,And anyone who had ever\Nseen a Greek tragedy
Dialogue: 0,0:55:39.01,0:55:41.53,Default,,0000,0000,0000,,would have been aware\Nof what could happen next.
Dialogue: 0,0:55:41.53,0:55:42.53,Default,,0000,0000,0000,,[quiet music]
Dialogue: 0,0:55:42.53,0:55:44.94,Default,,0000,0000,0000,,Here at Rhamnous in the 6th century,
Dialogue: 0,0:55:44.94,0:55:46.78,Default,,0000,0000,0000,,the people had built a temple
Dialogue: 0,0:55:46.78,0:55:51.09,Default,,0000,0000,0000,,to the Greek goddess responsible for\Npunishing those guilty of hubris.
Dialogue: 0,0:55:51.09,0:55:56.14,Default,,0000,0000,0000,,She was called Nemesis, a name that\Ncomes from the Greek verb "nemein",
Dialogue: 0,0:55:56.14,0:55:58.17,Default,,0000,0000,0000,,meaning to give what is due.
Dialogue: 0,0:55:58.17,0:56:00.24,Default,,0000,0000,0000,,[ominous music]
Dialogue: 0,0:56:00.24,0:56:02.73,Default,,0000,0000,0000,,Now, after the Melian atrocity,
Dialogue: 0,0:56:02.73,0:56:05.78,Default,,0000,0000,0000,,it seemed like Athenian\Nambition and pride
Dialogue: 0,0:56:05.78,0:56:08.06,Default,,0000,0000,0000,,was beginning to over-reach itself.
Dialogue: 0,0:56:08.06,0:56:10.28,Default,,0000,0000,0000,,They not only had enemies abroad,
Dialogue: 0,0:56:10.28,0:56:13.08,Default,,0000,0000,0000,,they had an increasing number\Nof enemies in Greece,
Dialogue: 0,0:56:13.53,0:56:16.28,Default,,0000,0000,0000,,and indeed an increasing number\Nof enemies at home as well,
Dialogue: 0,0:56:16.28,0:56:18.03,Default,,0000,0000,0000,,who were beginning\Nto think of democracy
Dialogue: 0,0:56:18.03,0:56:21.62,Default,,0000,0000,0000,,as perhaps the immoral\Ninversion of the righteous order.
Dialogue: 0,0:56:21.62,0:56:23.50,Default,,0000,0000,0000,,The question was,
Dialogue: 0,0:56:23.50,0:56:27.97,Default,,0000,0000,0000,,as the glorious Golden Age of\Nthe 5th century drew to a close,
Dialogue: 0,0:56:27.97,0:56:30.53,Default,,0000,0000,0000,,how would theater and democracy,
Dialogue: 0,0:56:30.53,0:56:33.74,Default,,0000,0000,0000,,which had so spectacularly\Ngrown up together,
Dialogue: 0,0:56:33.74,0:56:38.84,Default,,0000,0000,0000,,survive in a much harsher\Nand more difficult world?
Dialogue: 0,0:56:38.86,0:56:45.02,Default,,0000,0000,0000,,[nature, dramatic music]
Dialogue: 0,0:56:45.02,0:56:48.68,Default,,0000,0000,0000,,Although the future of Athens\Nnow looked uncertain,
Dialogue: 0,0:56:48.68,0:56:52.27,Default,,0000,0000,0000,,the past century had\Nbeen a spectacular era,
Dialogue: 0,0:56:52.27,0:56:57.21,Default,,0000,0000,0000,,Athens had invented and pioneered\Nan array of things
Dialogue: 0,0:56:57.21,0:57:00.15,Default,,0000,0000,0000,,which underpin our own civilization.
Dialogue: 0,0:57:00.15,0:57:03.36,Default,,0000,0000,0000,,From classical sculpture\Nand architecture
Dialogue: 0,0:57:03.36,0:57:06.47,Default,,0000,0000,0000,,to new directions\Nin philosophy and history.
Dialogue: 0,0:57:06.47,0:57:07.47,Default,,0000,0000,0000,,[music swells]
Dialogue: 0,0:57:07.47,0:57:10.33,Default,,0000,0000,0000,,But for me,\Nout of all those legacies,
Dialogue: 0,0:57:10.33,0:57:13.49,Default,,0000,0000,0000,,two stand out as the most\Nextraordinary...
Dialogue: 0,0:57:13.49,0:57:15.84,Default,,0000,0000,0000,,First, democracy:
Dialogue: 0,0:57:15.84,0:57:20.01,Default,,0000,0000,0000,,Athens created the first\Ndemocratic constitution in history,
Dialogue: 0,0:57:20.01,0:57:22.64,Default,,0000,0000,0000,,which has become a beacon\Nacross the centuries.
Dialogue: 0,0:57:22.64,0:57:23.64,Default,,0000,0000,0000,,[music]
Dialogue: 0,0:57:23.64,0:57:27.02,Default,,0000,0000,0000,,And second: at the very same time,
Dialogue: 0,0:57:27.02,0:57:30.77,Default,,0000,0000,0000,,Athens invented a powerful\Nand incisive new art form
Dialogue: 0,0:57:30.77,0:57:34.62,Default,,0000,0000,0000,,–theater– an innovation\Nwithout which, perhaps,
Dialogue: 0,0:57:34.62,0:57:37.11,Default,,0000,0000,0000,,that democracy might\Nnever have survived.
Dialogue: 0,0:57:37.12,0:57:38.50,Default,,0000,0000,0000,,[pause]
Dialogue: 0,0:57:38.50,0:57:43.97,Default,,0000,0000,0000,,Drama comes from the Greek word,\N"dram": to do, to act, to perform.
Dialogue: 0,0:57:43.97,0:57:47.35,Default,,0000,0000,0000,,And if there is one thing\Nthat has become abundantly clear
Dialogue: 0,0:57:47.35,0:57:49.93,Default,,0000,0000,0000,,it's that theater was\Nnever just mere entertainment,
Dialogue: 0,0:57:49.93,0:57:51.34,Default,,0000,0000,0000,,never a passive spectator.
Dialogue: 0,0:57:51.34,0:57:55.29,Default,,0000,0000,0000,,It was a performer in Athens'\Nstory in the ancient world.
Dialogue: 0,0:57:55.29,0:58:01.61,Default,,0000,0000,0000,,From tragedy making our most\Nimportant beliefs uncomfortable,
Dialogue: 0,0:58:01.61,0:58:04.90,Default,,0000,0000,0000,,to comedy questioning\Nand policing citizenship,
Dialogue: 0,0:58:04.90,0:58:06.06,Default,,0000,0000,0000,,and keeping people in check.
Dialogue: 0,0:58:06.06,0:58:11.79,Default,,0000,0000,0000,,Theatre was an institution that\Nplugged into religious, civic,
Dialogue: 0,0:58:11.79,0:58:15.31,Default,,0000,0000,0000,,political, and military aspects\Nof ancient Athenian society.
Dialogue: 0,0:58:15.31,0:58:19.77,Default,,0000,0000,0000,,It was an extraordinary,\Nand an extraordinarily uncomfortable,
Dialogue: 0,0:58:19.77,0:58:24.21,Default,,0000,0000,0000,,risky, and yet essential\Npart of Athenian life.
Dialogue: 0,0:58:24.21,0:58:26.44,Default,,0000,0000,0000,,Join the Open University\Nas we explore
Dialogue: 0,0:58:26.44,0:58:29.59,Default,,0000,0000,0000,,the connections between Greek\Ntheatre and modern-day democracy.
Dialogue: 0,0:58:29.60,0:58:32.46,Default,,0000,0000,0000,,Go to bbc.co.uk/ancientgreece
Dialogue: 0,0:58:32.46,0:58:35.98,Default,,0000,0000,0000,,and follow the links to the Open\NUniversity's free-learning website.
Dialogue: 0,0:58:35.98,0:58:39.22,Default,,0000,0000,0000,,[dramatic end music]
Dialogue: 0,0:58:39.22,0:58:43.15,Default,,0000,0000,0000,,Female voice over: Peter and Dan Snow\Nexplore another 20th century battlefield
Dialogue: 0,0:58:43.15,0:58:47.47,Default,,0000,0000,0000,,in just a moment's time here on BBC Four\Nthis evening, and then a chance to re-meet
Dialogue: 0,0:58:47.47,0:58:53.64,Default,,0000,0000,0000,,the ancestors: families of the Stone Age\Nin stories from the dark earth at eleven.
Dialogue: 0,0:58:53.64,0:58:54.30,Default,,0000,0000,0000,,Stay with us.
Dialogue: 0,0:58:54.30,0:58:57.26,Default,,0000,0000,0000,,[dramatic end music resumes,\Ncontinues to end]
Dialogue: 0,0:58:57.26,0:58:59.96,Default,,0000,0000,0000,,Subtitles by Red Bee Media Ltd, edited\Nfor Hope College