Paul B. Woodruff

Presentations of tragic theater in ancient Greece both represent and elicit the sharing of emotions. The theory behind this is cognitive: In order to share the emotions of another, you must understand the situation of the other. In keeping with the theory, tragic texts emphasize the importance of understanding.Ancient Greek poets did not conceive that one person could respond emotionally to another without understanding the situation of the other, ideally through having lived through a similar situation — if not, then by imagining oneself in that situation. The word we translate as “compassion” is cognitive at root — “with-knowing,” sungnōmosune. Its cognate in modern Greek, sungnōme, still means “pardon me,” but..

The joy he took in Plato’s early dialogues was contagious. Gregory Vlastos introduced me to philosophy when I was nineteen and his example inspired me to continue on the road to scholarship. He loved Socrates and was fascinated by this controversial dialogue, the Hippias Major, which became the subject of my fi rst book. For Vlastos, Plato’s Socrates was a fi gure of almost biblical importance, an example of a life well lived in search of wisdom. Although he was an accomplished academic, Vlastos’ passions always went beyond the academic to fundamental questions of personal and political morality. Socrates’ questions mattered to him deeply, as they do to me.

What is unique and essential about theatre? What separates it from other arts? Do we need 'theatre' in some fundamental way? The art of theatre, as Paul Woodruff says in this elegant and unique book, is as necessary-and as powerful-as language itself. Defining theatre broadly, including sporting events and social rituals, he treats traditional theatre as only one possibility in an art that-at its most powerful-can change lives and (as some peoples believe) bring a divine presence to earth. The Necessity of Theater analyzes the unique power of theatre by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched-making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space-audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theatre cannot teach us transcendent truths, but it can teach us about ourselves. Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theatre as a unique form of expression connected to our most human insticts. The Necessity of Theater should appeal to anyone seriously interested or involved in theatre or performance more broadly.

Reverence is an ancient virtue that survives among us in half-forgotten patterns of civility and moments of inarticulate awe. Reverence gives meaning to much that we do, yet the word has almost passed out of our vocabulary.Reverence, says philosopher and classicist Paul Woodruff, begins in an understanding of human limitations. From this grows the capacity to be in awe of whatever we believe lies outside our control -- God, truth, justice, nature, even death. It is a quality of character that is especially important in leadership and in teaching, although it figures in virtually every human relationship. It transcends religious boundaries and can be found outside religion altogether.Woodruff draws on thinking about this lost virtue in ancient Greek and Chinese traditions and applies lessons from these highly reverent cultures to today's world. The book covers reverence in a variety of contexts -- the arts, leadership, teaching, warfare, and the home -- and shows how essential a quality it is to a well-functioning society.First published by Oxford University Press in 2001, this new edition of Reverence is revised and expanded. It contains a foreword by Betty Sue Flowers, Distinguished Teaching Professor Emeritus at the University of Texas at Austin, a new preface, two new chapters -- one on the sacred and one on compassion -- and an epilogue focused on renewing reverence in our own lives.

Americans have an unwavering faith in democracy and are ever eager to import it to nations around the world. But how democratic is our own "democracy"? If you can vote, if the majority rules, if you have elected representatives--does this automatically mean that you have a democracy? In this eye-opening look at an ideal that we all take for granted, classical scholar Paul Woodruff offers some surprising answers to these questions. Drawing on classical literature, philosophy, and history--with many intriguing passages from Sophocles, Aesop, and Plato, among others--Woodruff immerses us in the world of ancient Athens to uncover how the democratic impulse first came to life. The heart of the book isolates seven conditions that are the sine qua non of democracy: freedom from tyranny (including the tyranny of majority rule), harmony (the blending of different views), the rule of law, natural equality, citizen wisdom, reasoning without knowledge, and general education. He concludes that a true democracy must be willing to invite everyone to join in government. It must respect the rule of law so strongly that even the government is not above the law. True democracy must be mature enough to accept changes that come from the people. And it must be willing to pay the price of education for thoughtful citizenship. Ancient Athens didn't always live up to these ideals. Nor does modern America. If we learn anything from the story of Athens, Woodruff concludes, it should be this--never lose sight of the ideals of democracy. This compact, eloquent book illuminates these ideals and lights the way as we struggle to keep democracy alive at home and around the world.

This edition of early Greek writings on social and political issues includes works by more than thirty authors. There is a particular emphasis on the sophists, with the inclusion of all of their significant surviving texts, and the works of Alcidamas, Antisthenes and the 'Old Oligarch' are also represented. In addition there are excerpts from early poets such as Homer, Hesiod and Solon, the three great tragedians Aeschylus, Sophocles and Euripides, the historians Herodotus and Thucydides, medical writers and presocratic philosophers. Besides political theory, areas represented include early anthropology, sociology, ethics and rhetoric, and the wide range of issues discussed includes human nature, the origin of human society, the origin of law, the nature of justice, the forms of good government, the distribution of wealth, and the distribution of power among genders and social classes.

This article shows that important questions remain to be answered about the topics the sophists studied and taught, and their views, both positive and negative, about truth, religion, and convention. The sophists are united more by common methods and attitudes than by common interests. All sophists, for example, challenged traditional thinking, often in ways that went far beyond questioning the existence of the gods, or the truth of traditional myths, or customary moral rules, all of which had been questioned before. Gorgias, for example argued that nothing exists; Protagoras found fault with Homer's Greek; and Antiphon presented arguments for the innocence of someone who seems obviously guilty. In challenging traditional views, the sophists liked to use deliberately provocative, sometimes paradoxical arguments that seem aimed at capturing the audience's attention rather than enlightening them.