: The semantic fields and root metaphors of "fate" in Classical Greece and pre-Buddhist China are surveyed here. The Chinese material focuses on the Warring States, the Han, and the reinvention of the earlier lexicon in contemporary Chinese terms for such concepts as risk, randomness, and (statistical) chance. The Greek study focuses on Homer, Parmenides, the problem of fate and necessity, Platonic daimons, and the "On Fate" topos in Hellenistic Greece. The study ends with a brief comparative metaphorology of metaphors (...) for the action of fate including command, division or allotment, and wheel or cycles of change. (shrink)

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which Orestes (...) recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied. (shrink)

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which Orestes (...) recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied. (shrink)

This article explores the neglected idea of fate in Simmel’s thought. It examines the specific definition of fate present in Simmel’s writings and the relation of this definition to tragic drama. The argument operates under the assumption that tragic drama represents the ‘natural habitat’ for the exploration and expression of the fate problematic. In this context, it is argued that Simmel’s rediscovery of the relevance of fate emphasizes the modernity of tragedy. The article explores Simmel’s translation of fate from drama (...) and philosophy into sociology, but into a sociology replete with a distinctly existential and metaphysical consciousness. It is argued that Simmel’s application of fate to modern social life constitutes a sociologization of fate, but that rather than involving a reduction of fate to society, this sociologization actually involves a form of re-enchantment of the social through life. In relation to this sociologization and building on the argument of Peter Baehr, it is argued that the concept of fate is uniquely endowed with a capacity to encourage a sense of pathos conducive to the development of a reflexive and critical sense of collective social responsibility and of shared future. In this regard, the article examines Simmel’s engagement with Naturalist tragedy and the transition from ancient to modern drama. Throughout, it is argued that the experience of modernity, where ‘all that is solid melts into air’, is conducive to a rediscovery of the relevance of fate and tragedy. (shrink)

For the lack of forty-nine drachmas Socrates was unable to attend the costly epideixis of Prodicus from which he would have learnt the truth about correct use of words. From Prodicus' ὥραι Socrates could also have learnt the concepts and characteristic words associated with arete and kakia: these compete in that work for the allegiance of Heracles, parading their respective characteristics. Thanks to Professor Arthur Adkins we have had for the past decade a book which not only confronts arete and (...) kakia, but also analyses the meaning and usage of many Greek words for the evaluation of action from Homer to Aristotle. The importance of this book is generally acknowledged but it has not received the detailed discussion it deserves. Professor Adkins finds the social structure of ancient Greece inimical to the development of an adequate concept of moral responsibility. He shows, in a most interesting manner, how Greek values changed as the needs of society changed. (shrink)

The ancient lawgiver Solon of Athens left norms of proper conduct that carry important ethical implications for all manner of human affairs, including commercial activities and the pursuit of wealth. In his extant poetry, he emphasizes the strong connections between individual virtue and its consequences in the social and political sphere. In considering the proper means of obtaining material wealth, he describes multiple ways to earn a living and connects them to proper intellectual and ethical dispositions through a concept of (...) justice. This focus on virtue establishes a long-range ethics that is based on a principle of justice, demands rational intellectual activity, and carries implications for everyone’s self-interest. Solon’s concern for matters of virtue, the proper means of attaining wealth, and the need for long-range awareness of consequences offers a valuable point of historical focus for our own examinations of business ethics today. (shrink)