The Role of Fate and Destiny in Greek Theater

Free Will and Individuality in Kierkegaard’s Ancient Tragical Motif

Jun 11, 2009

Kierkegaard discusses the features and the mindset of Ancient Greek Tragedy and the importance of fate and compares them with the modern understanding of freedom.

According to Aristotle, the principal unity of a play is plot and action and each character is an embodiment of the main idea or plot. In other words, the individual act of each protagonist is summed up in the main action and as a result the protagonists are only passive reflections or recipients of the overall structure, which can be called their fate or destiny.

Unlike modern works and the conception of individuality and responsibility, the character and the definition of mankind in ancient Greece consists of a lack of both free will and reflective action.

Ancient Greek Tragedy, Fatalism and the Relevance of Fate and Destiny

Kierkegaard, in his essay titled Ancient Tragical Motif, claims that Greek tragedy is fatalistic because of their perception that each individual is integrated and absorbed in the categories of state, family and destiny. So the hero’s downfall is a result of other higher powers that exist beyond themselves and it is not a consequence of their proper actions.

In most cases, as in Oedipus, their fate remains concealed to them for the major part of the play. However, even with awareness, the hero could not possibly change the course of events as they are fixed and predetermined in advance.

Modern Theatre, Individualism and Responsibility for One’s Actions

In modern tragedy, situation and character are of paramount importance. In fact, they are the driving force of plot and action and as such, each character creates and is fully responsible for his or her fate. Therefore, modern tragedies are represented in situation and dialogue, whereas in ancient Greek theatre both monologue and especially the chorus represent elements that are out of the reach and knowledge of the protagonists.

The Greek Chorus as Narrator, Guide and Commentator

The chorus then fulfills the function of providing background information and putting the events into their context. The reader or rather spectator becomes initiated in the course of events and actions and has direct knowledge that is inaccessible to the protagonist.

This understanding creates more sympathy and even compassion for the suffering protagonists. One feels sorry that they cannot see what their fate entails and what is around the corner. The upcoming events and sorrow do not depend on the hero’s own actions and are out of the control of the protagonist and one becomes aware of the already written, underlying predetermined destiny.

What Kierkegaard discusses in his essay hinges on an ancient Greek conception of mankind that is not based on individuality, self-awareness, or personal responsibility. Each person was seen as embedded in an intricate web of family, status, and destiny.

A person would have to accept and embrace their fate and the age-old adage at the door of the Delphi “Know Thyself” meant to know one’s legitimate place in the harmonious order of the universe, often designated as the “Logos.” It is in opposition to the modern idea of the free and acting individual for whom there exist no borders or boundaries and the sky’s the limit.

The copyright of the article The Role of Fate and Destiny in Greek Theater in Western Philosophy is owned by Arash Farzaneh. Permission to republish The Role of Fate and Destiny in Greek Theater in print or online must be granted by the author in writing.