Tag Archives: aeschylus

Honor Thy Gods

Honor Thy Gods: Popular Religion in Greek Tragedy by Jon D Mikalson, a 1991 paperpack from University of North Carolina Press, is part of the collection at the Reading Room.

Jon D Mikalson Honor Thy Gods from University of North Carolina Press

“In Honor Thy Gods Jon Mikalson uses the tragedies of Aeschylus, Sophocles, and Euripides to explore popular religious beliefs and practices of Athenians in the fifth and fourth centuries B.C. and examines how these playwrights portrayed, manipulated, and otherwise represented popular religion in their plays. He discusses the central role of honor in ancient Athenian piety and shows that the values of popular piety are not only reflected but also reaffirmed in tragedies.

Mikalson begins by examining what tragic characters and choruses have to say about the nature of the gods and their intervention in human affairs. Then, by tracing the fortunes of diverse characters—among them Creon and Antigone, Ajax and Odysseus, Hippolytus, Pentheus, and even Athens and Troy—he shows that in tragedy those who violate or challenge contemporary popular religious beliefs suffer, while those who support these beliefs are rewarded. Mikalson concludes by describing the different relationships of the three tragedians to the religion of their audience, arguing that the tragedies of Euripides most consistently support the values of popular religion.” — back cover

The Shortest Shadow

Hermetic Library fellow T Polyphilus reviews The Shortest Shadow: Nietzsche’s Philosophy of the Two by Alenka Zupančič, part of the Short Circuits series from The MIT Press:

Alenka Zupančič's The Shortest Shadow

This book is a Lacanian psychoanalytic study of certain issues and themes in Nietzsche’s work. Author Zupančič is primarily concerned to offer a reading in which Nietzsche’s writing upholds and advances a Lacanian idea (I think? I have not read Lacan) of “the Real as the minimal difference of the same,” which is her interpretation of the figure of “the shortest shadow” among Nietzsche’s important “noon” tropes. According to Zupančič, this notion is the crux of a “philosophy of the two” to escape the sort of complementarity which reduces itself to unity.

I came to this book with a very different reading of “the shortest shadow,” and while Zupančič did not persuade me that hers was better, I did enjoy the book. The general gist is antimetaphysical without becoming a rationalist empiricism or materialist positivism — a feature of Nietzsche’s own work, to be sure. It is demanding, though; I found that even the least fatigue on my part could reduce the writing here to gobbledygook. There was more of value for me in the first half of the book than the second, although that was perhaps a function of my limits as a reader.

Zupančič appends an essay “On Love as Comedy,” which treats some of the same issues, without any direct references to Nietzsche. It had been written as a separate project. Somewhat disorientingly in the context of a volume on Nietzsche, its definition of the comedic genre does not relate to classical or even Shakespearean sources. Instead, the exemplars are the Marx Brothers and Charlie Chaplin. And yet references to tragedy are still to Aeschylus, following Lacan.

I might read other volumes in this series edited by Slavoj Zizek — of which The Shortest Shadow is the second. But the experience of this one suggests that I could benefit from a little “remedial” reading in Lacan before I do. [via]

 

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