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INTRODUCTION.
a given play.'[1] that is to say, for the enunciation of events which are to follow it, as for those which have preceded it, has no word of condemnation for this dramatic combination of human agency with divine. That it was a mere stage-trick, a playwright's shift, has been revealed to the wisdom of the modern critic only."
- ↑ Aristotle in one instance only takes exception to the employment of supernatural machinery by Euripides. The introduction of Medea's dragon-car is, in his judgment, a violation of dramatic propriety, "because it is used to effect the denouement." The inference is obvious, that he did not regard the other instances of divine intervention as open to the same objection.
