The Theory of Greek Tragedy 19 
sort of typic form which has been described as a conflict of duties. 
In the light of the recent discussion it is obvious that through 
some such opposition as this the particular problem with which 
this tragedy has to do, is at once set out in the strongest possible 
light and receives the most satisfactory and convincing solution. 
A protagonist, acting, as in the Antigone, with complete faith in 
the sacredness of his undertaking only to discover in the end that 
so far from acquitting himself of his obligations he has actually 
incurred the penalty of an offense as serious to all intents and 
purposes as the debt which he has endeavored to meet—such a 
character affords in his own person the most striking contrast 
between anticipation and fulfilment and at the same time suggests 
the most reasonable explanation of his disgrace. As his motives 
are the highest conceivable on the one part, so is the tragic 
anomaly of his fate the most shocking and bewildering; and as 
his transgression is patent and undeniable on the other part, so 
is the rehabilitation of the moral order equally certain and reas- 
suring. In such wise the double requirement of Greek tragedy 
with respect to qualm and catharsis finds complete and ready 
satisfaction. 
At the same time, simple as the matter seems when viewed in 
its proper connection, it is to this very source that much of the 
misunderstanding of Greek tragedy must be referred. Not infre- 
quently thas it happened that one of these obligations or the other 
has lost its authority for the modern conscience with a resultant 
falsification of feeling for the situation. In a humanitarian age 
it is not surprising that Prometheus’ offense against the celestial 
ordinance should appear a trifle as compared with his services to 
mankind and that he himself should have come to be a purely 
sympathetic and romantic character, such as Shelley has done his 
best to familiarize us with. With a weakening of the ancient 
Civic sense, too, something of the same sort has happened to 
Antigone. But nevertheless it was originally this strict antinomy 
of approximately equal duties which afforded Greek tragedy one 
of the fairest opportunities for the production of its own peculiar 
effects, not the least notable of which was the characteristic 
duplicity of feeling it aroused for the protagonist. 
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