ABSTRACT OF CONTENTS.
The legend, pp. 3–5. Analysis of the play, 5–6. Paley's criticism, 7. Altercation with Pheres and intoxication of Heracles, their aesthetic effect, 8–9. Defence of Admetus, not maintainable, 11–14. Defence of Heracles; Balaustion's Adventure; Browning changes the character, substituting that of the Madness of Heracles, 15–22, 39. The true Heracles, professional athlete and soldier, 22–25. Greek view of drunkenness, 26. The bargain of the Fates, how limited, 26–28. The 'hospitality' of Admetus to Heracles, properly condemned by Euripides, 30–42. The 'unity of time', a misleading fiction, 43. Funeral custom in Athens, 44–45. Funerals on the stage, 45–46. The funeral of Alcestis, 47–54. True bearing of the scene with Pheres, 54–60. Breaks in the action, absence of Chorus, 61–62. Final scene; disguise of Alcestis, its aesthetic effect, 64. Dialogue of Heracles and Admetus, 65–66. The finale, 66–67. προσειπεῖν, 66. συνέστιος, 67. The finale not conceivable as representing reality, 67–73. Explanation of this; the purpose of Euripides is to expose the legend as untrue; the finale is ironical, 73–77. This form of construction typical and regular in Euripides; the Euripidean 'tag', 77, 112, 196. Contrast of ancient and modern theatre, 78–79. Religion of Euripides, and his relation to the theatre, 79–84. Disguise practically necessary to him, 84–88. Its moral danger; censure of Aristophanes, 88. Its special attraction for the Athenians, a consequence of their national character, 89–92. Its usefulness to wit; examples from the Alcestis, 92–95. Consequent method of exhibiting the popular gods; generally detached from the action proper, as in the Alcestis, 95–96. Difficulty of realizing Euripides' point of view from our habituation to another manner (the Alexandrian) of treating the Greek legends, 97–99. The prologue to the Alcestis, Apollo and Death, 99–102. Effect of Euripides on readers, and specially under discussion; great importance