Hugh Lloyd-Jones

The vast number of books and articles devoted to Sophocles since the Second World War shows he arouses great interest, but, though we now have an English translation of Karl Reinhardt’s famous book about him, which first appeared in 1933, we have so far had no general study of the seven complete plays that was of high quality throughout. Professor Winnington-Ingram has brought out many excellent interpretations of Greek tragedy: now he offers us a study of Sophocles that is not likely to be improved upon for many years.

Until a comparatively short time ago most books purporting to deal with Greek mythology were content only to relate the myths, fighting shy of any attempt to explain that part of their significance which is not apparent on the surface. The proliferation of theories of myth which started about 1830 and finished, roughly speaking, at the beginning of the First World War was followed by a positivist reaction. One of the main causes of this reaction was the insistence of most of the proponents of theories about myth that their theory alone explained all myths, or at least most of them, Some of the theories could be made to explain almost anything: for example, an American scholar could use the theory, widely canvassed during the 19th century, that all myths originated as nature myths to prove that its advocate, Max Muller, was himself a sun-myth. The members of the ‘Cambridge’ school, who did valuable pioneering work on the use of anthropological methods, made the mistake of insisting too strongly that myth originated from ritual. This provoked a strong adverse reaction.

It is natural to contrast this book with The Victorians and Ancient Greece, by Richard Jenkyns, reviewed by me in the issue of this journal for 21 August-3 September 1980 (Vol. 2, No 16). Mr Jenkyns is a Classical scholar and a smooth and polished writer; I wrote that he ‘offers a great deal of information, clearly and pleasingly’. Professor Turner is a historian, the author of a study of the impact of scientific naturalism on Victorian England; he describes Macaulay’s style as ‘elegant’, and though he writes clearly enough, the adjective is not one that fits his own. He makes some mistakes which Mr Jenkyns would never have made; he cannot spell the names of Wilamowitz or de Quincey, or the word ‘Nicomachean’; he thinks Pindar was Athenian; he imagines that Frazer’s commentary on Pausanias, with its wealth of artistic, religious and historical detail, is a work similar to a critical edition of a text by Porson; and the knowledge that Exeter College, Oxford has a dining-hall, in which William Sewell once publicly burned a copy of Froude’s Nemesis of Faith, has led him to refer to it by the name of Exeter Hall, a building in London where Elderess Polly, Elderess Antoinette and other Nonconformist orators dear to Matthew Arnold used to edify the public. But where Mr Jenkyns is trivial, superficial and patronising, Professor Turner is serious, thorough and understanding. He is extremely well-informed, and, where necessary, well able to take account of Continental influences; and he knows how to detect and to delineate general tendencies. Jenkyns’s book is a pleasant entertainment for the casual reader, but Turner’s is an intelligent critical study of great value. It is handsomely printed, and the numerous misprints do not seriously impede the reader; and it is well illustrated, though I hope no future author will reproduce the ghastly portrait of Gilbert Murray by a relation which the National Portrait Gallery foolishly accepted.

This posthumous work provides yet more evidence of the phenomenal energy and wide range of information of the late Arnold Toynbee. He returns to a question which had interested him from the start of his career, and in order to appreciate the application to it of his mature method, a summary of that career is needed. It can be given with the help of the obituary notice contributed to the Proceedings of the British Academy for 1977 by William McNeill, an American scholar who has a close affinity with his subject.