Humanity in dramas about Ifigenia (Euripid, J. W. Goethe, Velimir Lukic)

[J. M. Todorović Vasić]

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Disertacija je zasnovana na komparativnoj analizi diskursa drama o Ifigeniji (Euripidove drame Ifigenija u Aulidi i Ifigenija na Tauridi, Geteova Ifigenija u Tavridi i Okamenjeno more Velimira Lukića). U Euripidovim tragedijama očigledan je pomak u odnosu na Eshilovsku i Sofoklovsku tradiciju, što se prevashodno odnosi na pitanja konstituisanja identiteta i čovekove egzistencije. Euripid ne menja mitski predložak u značajnoj meri, ali ga prilagođava ili bira verziju koja je najpogodnija prirodi njegove tragedije, ističući mane pojedinca ili društva u sprezi sa božanstvima i religijom. Prvi postavlja hipoteze o razumu i čovečnosti kroz postupke svojih lica izražavajući njihove misli i emocije kroz intrasubjekatske agone. Raspon karaktera Ifigenije kod Euripida prevazilazi Eshilovu predstavu mučnog podnošenja žrtvovanja i potpune objektivizacije, a svojim postupkom prihvatanja sudbine koju su joj bogovi dodelili postaje subjekt sopstvenog stradanja i izrasta u ideal. Euripidova Ifigenija na Tauridi u teorijskom smislu predstavlja primenu svih scenskih sredstava i snagu karaktera u glavnom licu, što su karakteristike stvaralaštva ovog tragičara. Uspostavljaju se opozicije ljudskog i božanskog principa, kolektivnog stava i ličnog ubeđenja i delanja čoveka i volje bogova. Geteova Ifigenija u Tavridi nastaje na Euripidovoj obradi mita, ali pokreće sasvim nova pitanja identiteta, humaniteta i opoziciju domovine kao bliskog i poznatog i stranih entiteta. Drama koja predstavlja majstorstvo u versifikacijskom i stilskom smislu na poseban način aktualizuje poznate teme, preispitujući tradicionalna načela. Lice Geteove Ifigenije je u potpunosti diferencirano od antičke prethodnice, ona je lice mere i poretka, čistog duha i ljudskosti. Velimir Lukić piše pseudomit obrađujući dramu savremenog čoveka u licu Ifigenije. Njegova Ifigenija je moderna žena kojoj je dat izbor i ona odlučuje o svojoj sudbini, ona snagom svog karaktera i istrajnošću moralno-etičkih načela bira da bude objekt zadovoljenja težnje drugih. Drame o Ifigeniji su određene različitim problematikama žrtvovanja i prihvatanja stradanja zarad bogova i njihove volje i čoveka i njegovog uspeha (Euripid), 6 zarad drugog i čitavog roda (J. V. Gete) ili zarad sebe i sopstvenog spasenja (Velimir Lukić). Svako sporedno lice (u kontekstu Ifigenije kao glavnog lica) u dramama o Ifigeniji se percipira samostalno i u saodnosu sa Ifigenijom. Uočeno je da u saodnosu sa Ifigenijom dolazi do preobražaja ostalih lica, tj. da ona posreduje da bi do preobražaja došlo (preobražaj može biti i progresivan i regresivan tako da izrasta u plemeniti karakter ili da se razotkriva njegova suštinska tamna strana ličnosti). Lica majke, oca, heroja Ahila, glasnika, kolektivnih lica biće izučavana komparativnom analizom diskursa drama u kontekstu mita i sa namerom da se njihov humanitet preispita i suoči sa Ifigenijinim.

This dissertation provides a comparative discourse analysis of plays about Iphigenia (Euripides’ plays Iphigenia in Aulis and Iphigenia Among the Taurians, Goethe’s Iphigenia in Tauris, and Petrified Sea by Velimir Lukić). In Euripides’ tragedies, there is a noticeable departure from the traditions established by Aeschylus and Sophocles, primarily concerning issues of identity formation and human existence. Euripides does not significantly alter the mythological framework; however, he adapts it or chooses the version most suitable for the nature of his tragedy, highlighting the flaws of the individual or society in contrast to the gods and religion. He is the first to put forward the hypotheses about reason and humanity through the actions of his characters, expressing their thoughts and emotions through intrasubjective agons. The range of Iphigenia’s character in Euripides’ plays departs from Aeschylus’ portrayal of painful sacrifice and complete objectification. By accepting the fate assigned to her by the gods, she becomes the subject of her own suffering as well as an idealized figure. From a theoretical perspective, Euripides’ Iphigenia Among the Taurians blends all theatrical devices with the strength of character of the protagonist, which is typical of Euripides’ work. It also establishes the following oppositions: (1) human versus divine principle; (2) collective attitude versus personal conviction; and (3) the will of the gods versus human agency. Goethe’s Iphigenia in Tauris is based on Euripides’ version of the myth, but it raises questions that are entirely new and revolve around identity, humanity, and the opposition between homeland (familiar and intimate) and foreign entities. This play, which is a masterpiece in terms of versification and style, engages with familiar themes in a unique and modern way, reexamining traditional principles. Goethe’s Iphigenia is distinctly different from her Attic predecessor, as she is the embodiment of balance and order as well as purity and humanity. Velimir Lukić creates a pseudo-myth in a contemporary drama about Iphigenia. His Iphigenia is a modern woman who is granted the opportunity to choose and who is in control of her own destiny. Through the strength of her character and steadfast adherence to her moral and ethical principles, she chooses to be the object through which the desires of others are fulfilled. 8 The plays about Iphigenia are defined by their different treatment of sacrifice and the acceptance of suffering: for the gods and their will or for humans and their success (Euripides), for others and all of humanity (J. W. Goethe) or for oneself and one’s own salvation (Lukić). Every secondary character in the plays about Iphigenia, seen as such in relation to her as the central character, is portrayed both independently and in connection with Iphigenia. It has been observed that other characters undergo a transformation through their interactions with Iphigenia. She mediates these transformations, which can be progressive or regressive, revealing a noble character or the inherent dark side of one’s personality. The characters of the mother, the father, the hero Achilles, the messenger, and collective entities are examined through the lens of comparative discourse analysis, within the context of the myth, and with the aim of evaluating their humanity and comparing it with that of Iphigenia.

drama, Euripid, J.V. Gete, Velimir Lukić, mit, humanitet, Ifigenija, žrtva, žena

drama, Euripides, J.W. Goethe, Velimir Lukić, myth, humanity, Iphigenia, sacrifice, woman

821.14'02-2.09(043.3) 821.112.2-2.09 Goethe J. W.(043.3) 821.163.41-2.09 Lukić V.(043.3)

grčka književnost, nemačka književnost

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