Abstract
The first part of this article considers whether, under the aegis of Nietzsche's distinction between the ‘Apolline’ and the ‘Dionysiac’, there is anything to be gained by examining the Ion as a specifically ‘Apolline’ play. Secondly, I consider the ancient view, endorsed by Nietzsche, that plays such as the Ion were the forerunners of New Comedy, with particular attention to the structure of plot and the role of chance. A final section considers the play's presentation of how the Pythia actually received the word of the god.
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