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Title: Greek Tragedy, Sophocles and Euripides


1
Greek Tragedy, Sophocles and Euripides
  • Week 15

2
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Theater of Dionysus???????
12
Theater of Dionysus
13
Theater of Dionysus
14
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15
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  • ?????????????????????
  • ????,???(Chorus)??????????????(Dionysus),?????????
    ??? ?
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    ??

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?????? Peisistratus
  • ????????,???????,??????534?????????
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    ??????

17
Tragedy Goat song The word tragedy literally
means "goat song," probably referring to the
practice of giving a goat as a sacrifice or a
prize at the religious festivals in honor of the
god Dionysus.
18
????
  • ??????????
  • Aeschylus
  • ????????
  • Sophocles
  • ????????
  • ???????????,??????

19
Thespians
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    ????
  • ????????????,????????????????????????????(Thespis)
    ,???????????????,??,????????????????,?????????????
    ???(Thespians)

20
?? ??????
  • ???????,??????????,??????????????????????,????????
    ????
  • ???????,???????????????????????,?????

21
Sophocles??
  • 496B.C406B.C
  • ????????Colonus???
  • ?????,??????????
  • ?????????????????????????????

22
?????(Sophocles, 496B.C. - 406B.C.)
  • ????????,??????????????,????????????,?????????????
    ???????
  • ??????????????????????????????,????,??????????????
    ??????????,????,?????????????

23
Sophocles??
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  • ???????(???????)
  • ??
  • ?????,??????

24
Sophocles??
  • ?????110???(130?125?123)
  • ???????????
  • ?????(Ajax c.450B.C)
  • ?????(Antigone c.442B.C)
  • ?????(Trachiniae c.413B.C)
  • ??????(Oedipus Rex c.425B.C)
  • ?????(Electra c.410B.C)
  • ??????(Philoctetes c.409B.C)
  • ??????????(Oedipus at Colonus
  • c.401B.C)

25
????????????
  • ?????????????,?????????????????????,??????????????
  • ??????,????????????,??????????????????????,???????
    ??????????????????,?????????????????????
  • ??????,??????????????????(they ought to be)?

26
?????
  • ???????????,??????????????????????????,?????????
    ????,???????????????????

27
Sophocles
  • ???,???
  • ??????
  • ???????????
  • ????????????
  • ?????????????????
  • ????????????????

28
Euripides
  • ????????????
  • ??????????????,?????????????????????
  • ??????????????????
  • ??
  • ???????,??????????????

29
???????(Aristophanes)?????(Menander)?
  • ?????????????????,??????????????????????(Aeschyles
    ),?????(Sopholes),?????(Euripides),???????(Aristop
    hanes)?????(Menander)?
  • ?????????,??????????????????,?????,?????(satyr p
    Lay),????????,??????????????????

30
Recurrent Themes in Tragedy
  • P.148
  • Von Reden, Sitta. Exchange in Ancient Greece.
    London Duckworth, 1995.

31
First
  • There is a general reflection upon the tension
    between nature and civilization which thought to
    be controlled by marriage, sacrifice, and
    agriculture.

32
Secondly
  • There is a vital concern about the relationship
    between oikos and polis and their conflicting
    claims to the loyalty (philia) of their members

33
Thirdly
  • There is an extended debate on the relationship
    between Athenian law and divine nomos

34
Fourthly
  • Most plays contain a self-reflexive debate on
    linguistic exchange, the power of logoi and their
    manipulative force on society and its individual
    members

35
Finally
  • They are framed in a discourse which uses Homeric
    imagery and mythology for the discussion of
    contemporary problems.

36
All these themes are interlocked.
  • This not only ties together scenes which seem at
    first unconnected, but also gives a complex
    meaning to every individual image.

37
From Aeschylus to Sophocles
  • Aeschylus belonged to the generation that fought
    at Marathon his manhood and his old age were
    passed in the heroic period of the Persian defeat
    on Greek soil and the war that Athens fought to
    liberate its kin in the islands of the Aegean and
    on the Asiatic coast.
  • Sophocles, his younger contemporary, lived to see
    an Athens that had advanced in power and
    prosperity far beyond the city that Aeschylus
    knew.

38
Involvement in citys affairs
  • The league of free Greek cities against Persia
    that Athens had led to victory in the Aegean had
    become an empire, in which Athens taxed and
    coerced the subject cities that had once been its
    free allies.
  • Sophocles, born around 496 B.C., played his
    parta prominent onein the citys affairs.

39
treasurer
  • In 443 B.C. he served as one of the treasurers of
    the imperial league and, with Pericles, as one of
    the ten generals elected for the war against the
    island of Samos, which tried to secede form the
    Athenian league a few years later.

40
A special committee
  • When the Athenian expedition to Sicily ended in
    disaster, Sophocles was appointed to a special
    committee set up in 411 B.C. to deal with the
    emergency.
  • He died two years before Athens surrendered to
    Sparta.

41
129 plays
  • His career as a brilliantly successful dramatist
    began in 468 in that year he won first prize at
    the Dionysia, competing against Aeschylus.
  • Over the next sixty-two years he produced more
    than 120 plays.
  • He won first prize no fewer than twenty-four
    times, and when he was not first, he came in
    second, never third.

42
No acting in his own plays
  • Aeschylus had been an actor as well as a
    playwright and director, but Sophocles, early in
    his career, gave up acting.
  • It was he who added a third actor to the team
    the early Aeschylean plays (Persians, Seven
    Against Thebes, and Suppliants) can be played by
    two actors (who of course can change masks to
    extend the range of dramatis personae).

43
The third actor
  • In the Oresteia, Aeschylus has taken advantage of
    the Sophoclean third actor this makes possible
    the role of Cassandra, the one three-line speech
    of Pylades in The Libation Bearers, and the trial
    scene in The Eumenides.
  • But Sophocles used his third actor to create
    complex triangular scenes like the dialogue
    between Oedipus and Corinthian messenger, which
    reveals to a listening Jocasta the ghastly truth
    that Oedipus will not discover until the next
    scene.

44
Seven extant plays
  • We have only seven of his plays, and not many of
    them can be accurately dated.
  • Ajax (which deals with the suicide of the hero
    whose shade turns silently away from Odysseus in
    the Odyssey) and Trachiniae (the story of the
    death of Heracles) are both generally thought to
    be early productions. Antigone is fairly securely
    fixed in the late 440s, and Oedipus the King was
    probably staged during the early years of the
    Peloponnesian War (431-404 B.C.).

45
Electra, Philoctetes and Oedipus at Colonus
  • For Electra we have no date, but it is probably
    later than Oedipus the King.
  • Philoctetes, a tale of the Trojan War, was staged
    in 409 B.C.
  • and Oedipus at Colonus, which presents Oedipuss
    strangely triumphant death on Athenian soil, was
    produced after Sophocles death.

46
Intellectual revolution
  • Most of these plays date from the last half of
    the fifth century B.C. they were written in and
    for an Athens that, since the days of Aeschylus,
    had undergone an intellectual revolution.
  • It was in a time of critical reevaluation of
    accepted standards and traditions that Sophocles
    produced his masterpiece, Oedipus the King, and
    the problems of the time are reflected in the
    play.

47
Mysterious contemporary
  • The use of the familiar myth enabled the
    dramatist to draw on all its wealth of
    unformulated meaning, but it did not prevent him
    from striking a contemporary note. Oedipus, in
    Sophocles play, is at one and the same time the
    mysterious figure of the past who broke the most
    fundamental human taboos and a typical
    fifth-century Athenian.
  • His character contains all the virtues for which
    the Athenians were famous and the vices for which
    they were notorious.

48
Pecicles and Oedipus
  • The Athenian devotion to the city, which received
    the main emphasis in Pericles praise of Athens,
    is strong in Oedipus his answer to the priest at
    the beginning of the play shows that he is a
    conscientious and patriotic ruler. His quick rage
    is the characteristic fault of Athenian
    democracy, which in 406 B.C., to give only one
    instance, condemned and executed the generals who
    had failed, in the stress of weather and battle,
    to pick up the drowned bodies of their own men
    killed in the naval engagement at Arginusae.

49
I must know!? Know thyself!
  • Oedipus is like the fifth-century Athenian most
    of all in his confidence in the human
    intelligence, especially his own.

50
EURIPIDES
  • 480-406 B.C.

51
Medea
  • Euripides Medea, produced in 431 B.C., the year
    that brought the beginning of the Peloponnesian
    War, appeared earlier than Sophocles Oedipus the
    King, but it has a bitterness that is more in
    keeping with the spirit of a later age.

52
Modern sense
  • If Oedipus is, in one sense, a warning to a
    generation that has embarked on an intellectual
    revolution, Medea is the ironic expression of the
    disillusion that comes after the shipwreck.
  • In this play we are conscious for the first time
    of an attitude characteristic of modern
    literature, the artists feeling of separation
    from the audience, the isolation of the poet.

53
rejected by his contemporaries
  • The common background of audience and poet is
    disappearing, the old certainties are being
    undermined, the city divided.
  • Euripides is the first Greek poet to suffer the
    fate of so many of the great modern writers
    rejected by most of his contemporaries (he rarely
    won first prize and was the favorite target for
    the scurrilous humor of the comic poets), he was
    universally admired and revered by the Greeks of
    the centuries that followed his death.

54
Private and intellectual life
  • It is significant that what little biographical
    information we have for Euripides makes no
    mention of military service or political office
    unlike Aeschylus, who fought in the ranks at
    Marathon, and Sophocles, who took an active part
    in public affairs from youth to advanced old age,
    Euripides seems to have lived a private, an
    intellectual life.

55
Questioning the received ideas
  • Younger than Sophocles ( though they died in the
    same year), he was more receptive to the critical
    theories and the rhetorical techniques offered by
    the Sophist teachers
  • his plays often subject received ideas to
    fundamental questioning, expressed in vivid
    dramatic debate.
  • His Medea is typical of his iconoclastic
    approach his choice of subject and central
    characters is in itself a challenge to
    established canons. He still dramatizes myth, but
    the myth he chooses is exotic and disturbing, and
    the protagonist is not a man but a woman.

56
The citizen rights?
  • Medea is both woman and foreignerthat is, in
    terms of the audiences prejudice and practice
    she is a representative of the two free-born
    groups in Athenian society that had almost no
    rights at all (though the male foreign resident
    had more rights than the native woman).

57
Anti-social
  • The tragic hero is no longer a king, one who is
    highly renowned and prosperous such as Oedipus,
    but a woman who, because she finds no redress for
    her wrongs in society, is driven by her passion
    to violate that societys most sacred laws in a
    rebellion against its typical representative,
    Jason, her husband.

58
Earth and Sun
  • All through Medea the human beings involved call
    on the gods two especially are singled out for
    attention Earth and Sun.
  • It is by these two gods that Medea makes Aegeus
    swear to give her refuge in Athens, the chorus
    invokes them to prevent Medeas violence against
    her sons, and Jason wonders how Medea can look on
    Earth and Sun after she has killed her own
    children.

59
The Magic Chariot
  • These emphatic appeals clearly raise the question
    of the attitude of the gods, and the answer to
    the question is a shock.
  • We are not told what Earth does, but Sun sends
    the magic chariot on which Medea makes her
    escape.

60
rejected by most of his contemporaries
  • Euripides is the first Greek poet to suffer the
    fate of so many of the great modern writers
    rejected by most of his contemporaries (he rarely
    won first prize and was the favorite target for
    the scurrilous humor of the comic poets), he was
    universally admired and revered by the Greeks of
    the centuries that followed his death.

61
Iconoclastic
  • His Medea is typical of his iconoclastic
    approach his choice of subject and central
    characters is in itself a challenge to
    established canons.
  • He still dramatizes myth, but the myth he chooses
    is exotic and disturbing, and the protagonist is
    not a man but a woman.
  • Medea is both woman and foreigner, that is, in
    terms of the audiences prejudice and practice
    she is a representative of the two free-born
    groups in Athenian society that had almost no
    rights at all (though the male foreign resident
    had more rights than the native woman).

62
great intellectual power
  • She is not just a woman and a foreigner, she is
    also a person of great intellectual power.
  • Compared with her the credulous king and her
    complacent husband are children, and once her
    mind is made up, she moves them like pawns to
    their proper places in her barbaric game.
  • The myth is used for new purposes, to shock the
    members of the audience, attack their deepest
    prejudices, and shake them out of their
    complacent pride in the superiority of Greek
    masculinity.

63
Finds no redress
  • The tragic hero is no longer a king, one who is
    highly renowned and prosperous such as Oedipus,
    but a woman who, because she finds no redress for
    her wrongs in society, is driven by her passion
    to violate that societys most sacred laws in a
    rebellion against its typical representative,
    Jason, her husband.

64
Earth and Sun
  • All through Medea the human beings involved call
    on the gods two especially are singled out for
    attention Earth and Sun.
  • It is by these two gods that Medea makes Aegeus
    swear to give her refuge in Athens, the chorus
    invokes them to prevent Medeas violence against
    her sons, and Jason wonders how Medea can look on
    Earth and Sun after she has killed her own
    children.
  • These emphatic appeals clearly raise the question
    of the attitude of the gods, and the answer to
    the question is a shock. We are not told what
    Earth does, but Sun sends the magic chariot on
    which Medea makes her escape.

65
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66
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67
ending
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69
The Dance of Ares
  • The plains of Boeotia, called the dance of Ares
    (Mars) because many battles were fought there.
  • Alexander, by destroying Thebes in 335 BCE,
    shocked Greece into accepting his power.
  • The end of classical Greece 337-322 BCE

70
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71
Supplementary MaterialsSophocles Philoctetes
  • Themes and discussion

72
Philoctetes
73
Philoctetes is leaving the island of Lemnos
  • A cave had been Philoctetes home since the
    Greeks abandoned him on Lemnos.
  • Philoctetes sits clutching his magic bow in his
    left hand.
  • Above right is Odyssues.
  • To the left are Athene and Neoplotemos.

74
Lemons
  • Lemnos or Limnos is an island in the northern
    part of the Aegean Sea.
  • It is part of the Greek prefecture of Lesbos and
    has a considerable area, about 477 km².

75
A sacred island
  • For ancient Greeks, the island was sacred to
    Hephaestus, god of metallurgy, who as he tells
    himself in Iliad I.590ff fell on Lemnos when his
    father Zeus hurled him headlong out of Olympus.
  • There, he was cared for by the Sinties, according
    to Iliad or by Thetis (Apollodorus, Bibliotheke
    I3.5), and there with a Thracian nymph Cabiro (a
    daughter of Proteus) he fathered a tribe called
    the Cabiroides.
  • Sacred rites dedicated to them were performed in
    the island.

76
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77
LEMNOSBY PAUL HETHERINGTON
  • The position of Lemnos in the northern Aegean,
    where it lies midway between the tip of the Mount
    Athos promontory and the coast of Asia Minor,
    meant that control over it was always sought
    after. Any ships entering or leaving the
    Hellespont (the Passage of Romania, now the
    Dardanelles) could do so only with the knowledge
    (and often the permission) of the current rulers
    of Lemnos.

78
Lesbos
  • The frequency with which their identity might
    change is a symptom of its strategic importance
    to the Hellenic would throughout its history.
  • The island is now administered under the nomos of
    Lesbos.

79
Two sectors
  • Lemnos has an area of 476 sq km and, like a
    number of the Aegean islands, its shape indicates
    its volcanic origins, two bays to north and south
    almost dividing the island in two
  • the smaller, eastern, sector was where the
    capital of the island in antiquity, Hephaestus,
    was situated,
  • while on the coast of the western sector, larger
    and much more mountainous with the highest peak
    of Mount Skopia reaching 430 m, the medieval and
    modern capital of Myrina is located.

80
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81
Lemnian earth
  • The low-lying and flatter areas of the island are
    quite fertile, and produce a variety of crops.
  • A tradition, already current in antiquity and
    still existing in the 20th century, credited
    Lemnian earth, excavated on one day each year,
    with the power of healing many kinds of wounds
    it was exported all over the Hellenic world.

82
figured both in Homeric legend and in Hellenic
history
  • In antiquity Lemnos figured both in Homeric
    legend and in Hellenic history.
  • Herodotus (4.145) related how the Argonauts, who
    according to legend had arrived on the island and
    left progeny there, were driven out of Lemnos
    three generations later by the Pelasgi.
  • Later (5. 26) he described how Lemnos, with
    Imbros, was taken from the Pelasgi by Otanes, who
    had already occupied Byzantium and Chalcedon.
  • The stronghold of Myrina figured early in the
    history of the island, as when Miltiades, having
    called on the Pelasgi to leave the islanda call
    which the townspeople of Hephaestus obeyedwas
    defied by the inhabitants of Myrina, whom he
    besieged (no doubt secure in their rock-perched
    fortress) before eventually ejecting them by
    force.

83
Philoctetes on the island of Lemnos. Marble.
Victoria and Albert Museum, London.
84
ARGONAUTS
  • When the ARGONAUTS, in their way to Colchis, came
    to Lemnos, they found out that all males had been
    murdered.
  • For the Lemnian women, having learned that their
    husbands had taken Thracian wives, resolved to
    kill all men in Lemnos.

85
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86
Philoctetes and Odysseus
  • http//homepage.mac.com/cparada/GML/Philoctetes.ht
    ml
  • Only Philoctetes excelled me with the bow in the
    land of the Trojans, when we Achaeans shot."
    (Odysseus to the Phaeacians. Homer, Odyssey
    8.220).
  • "Destruction shall have end when you are dead,
    the author of our bane." (Philoctetes to Paris.
    Quintus Smyrnaeus, The Fall of Troy 10.229).
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