The Oxford text of this passage reads as follows:This gives the received text and punctuation. No generally agreed meaning has been found in the opening sentence as it thus stands; nor have any of the numerous alternative versions which have been proposed gained widespread support. In this paper I suggest that good sense can, after all, be made of this passage in its received form.

Troades has often been thought to lack any coherent structure, and this has been variously attributed to its being the last play of the trilogy and to Euripides' overriding concern to impress the horrors of war upon his fellow Athenians. More recently, however, attention has been drawn to how the constant presence of Hecuba gives unity to the play and to how it is articulated by the striking entries of Cassandra, Andromache, and Helen. Cassandra and Andromache enter in mock triumph, (...) Cassandra waving torches in her ironical wedding song and Andromache on a waggon, while Helen is dragged out by force and her scene marked off by Menelaus' second prologue. All three women emerge from the tent, argue with Hecuba but fail to convince her, and depart for marriage in Greece. Andromache's ideal marriage to Hector contrasts with Cassandra's perverted ‘marriage’ to Agamemnon and with Helen's destructive marriage to Paris. The departure of the Trojan women for marriage in Greece balances Helen's earlier departure from Greece for marriage in Troy. (shrink)

Thucydidean politicians recognize the difficulty posed by the uncertainties of the future in times of war, yet they differ sharply in their conclusions about how best to respond. Thucydides’ analysis of the rhetoric of wartime decision-making focuses upon the deterioration of political culture under a major national crisis, as well as the role of effective leadership in countering this tendency. The dilemma of Thucydidean politics is how to ensure a deliberative process that will not be taken captive by the pressures (...) and emotions of war, and the demagogic leaders who seek to exploit such pressures and emotions for their own ends. By studying the failures and successes of the past (as documented and analyzed in his History), decision-makers in the future can better understand the political dynamics of wartime decision-making and the corrosive forces that crises too often produce. Thucydides’ narrative analyzes the political, social, and moral psychological dynamics that produce aggression, violence, and the desire for domination and revenge. On his view, these are not inevitable products of human nature, merely dispositions that normative institutions are designed to check. Rather he portrays human nature as running amok when such checks are weakened. What can restrain ‘human nature’ are the norms and institutions that promote communal as opposed to factional or individual interests. (shrink)

The Oxford text of this passage reads as follows:This gives the received text and punctuation. No generally agreed meaning has been found in the opening sentence as it thus stands; nor have any of the numerous alternative versions which have been proposed gained widespread support. In this paper I suggest that good sense can, after all, be made of this passage in its received form.

Troades has often been thought to lack any coherent structure, and this has been variously attributed to its being the last play of the trilogy and to Euripides' overriding concern to impress the horrors of war upon his fellow Athenians. More recently, however, attention has been drawn to how the constant presence of Hecuba gives unity to the play and to how it is articulated by the striking entries of Cassandra, Andromache, and Helen. Cassandra and Andromache enter in mock triumph, (...) Cassandra waving torches in her ironical wedding song and Andromache on a waggon, while Helen is dragged out by force and her scene marked off by Menelaus' second prologue. All three women emerge from the tent, argue with Hecuba but fail to convince her, and depart for marriage in Greece. Andromache's ideal marriage to Hector contrasts with Cassandra's perverted ‘marriage’ to Agamemnon and with Helen's destructive marriage to Paris. The departure of the Trojan women for marriage in Greece balances Helen's earlier departure from Greece for marriage in Troy. (shrink)