Analysis Of ' Phedre ' Was A Classic Tragedy Written By Jean Racine

Throughout history, scholars, poets, and socialites cite and argue multiple aspects within Sophocles’ plays, which all contain a deluge of sentiments that permeate global society and culture. Riddled with disparate interpretations and theories, Antigone sparks acrimonious debate regarding a plethora of its details, such as characterization, theme, and undertone. Antigone, written by the Ancient Greek playwright Sophocles, recounts the events of Oedipus’ daughter, Antigone, following her brothers’ deaths. Sophocles manipulates Antigone’s character to model the loyal, dutiful individual the Greeks idolized in their religion and culture rather than formulating a realistic character who serves herself.

This brings us to their interaction in Act 5. Hippolyta and Theseus begin the scene, where Hippolyta states that the lovers are speaking of strange things. This leads Theseus to go on and on about how people in love are crazy. He states that, “Lovers and madmen have such seething brains, such shaping fantasies, that apprehend more than cool reason ever comprehends. The lunatic, the lover, and the poet are of imagination all compact”- basically comparing lovers to madman and how they hallucinate and are ruled by their

Throughout A Midsummer Night’s Dream, while the story involving Lysander, Demetrius, Hermia, Helena, Oberon and Titania is developing, the rustic gentlemen (Bottom and his friends) are shown rehearsing for a play that they will perform in honor of the upcoming wedding of Theseus (the Duke of Athens) and Hippolyta. The play, “Pyramus and Thisby,” is based on a story that was told by the ancient Roman writer Ovid and retold by Chaucer. The “Pyramus and Thisby” play is not performed until the fifth and final act of A Midsummer Night’s Dream. By then, as Barton points out, the major problems of Lysander, Demetrius and the rest have all been neatly resolved. As such, the “Pyramus and Thisby” play-within-a-play “seems, in effect, to take place beyond the normal, plot-defined boundaries of comedy” (Barton 110).

The play demonstrates recognition of Othello in Act V, his character changes from gullible and insecure to aware. The ideas of Aristotelian tragic components are discussed in depth in his Poetics. Aristotelian components include; the importance of events, the catharsis, the dramatic form, the reversal and recognition, and the tragic hero giving substantial proof that the play is an Aristotelian tragedy, and that Othello is a tragic hero according to Aristotle.

In Sophocles’ Antigone, the title character’s gender creates the capacity for liminality. Not fully demonstrating masculine or feminine normative action, Antigone perplexes those around her and even loses her own logic. Caught between her duty to the realms of the personal and the political, Antigone exhibits liminality of gender through her emasculating interaction with Kreon in juxtaposition with the feminine necessity of her actions.

This story of betrayed love is ironically woven into the bedcover on the marriage bed of Peleus and Thetis. Although the poem is supposed about the story of Peleus and Thetis, which is a happy one, the ekphrasis of Adriane dominates most the poem. In stark contrast to the happy tone of Peleus, The story of Ariadne centers around betrayal and abandonment. Ariadne's expression of grief (lines 132-201), is arguably the focus of the

Antigone is an ancient Greek play, originally written by tragedian Sophocles, that has been adapted by the French playwright and dramatist, Jean Anouilh. This well-regarded interpretation of the play retains its classical plotline but explores theories of tragedy and how tragedy has moulded this classical play. During this theatrical piece, the protagonist, Antigone, ignites disastrous events that gravely impact not only her family, but the city of Thebes. Furthermore, A World Enclosed is an archetype of tragedy that perfectly represents Antigone. This archetype of tragedy is demonstrated in a plethora of ways throughout the play: Antigone’s stubbornness and determination, her over willingness and persistence to obey the gods, and how the chorus, essential and solitary figures in Greek plays, comment on how tragedy functions within the play.

Whether we agree with this play's message, or follow it, it's theme lies in Antigone's triumph against mundane opposition. It definitely showed support for her conviction, and the reader should be able to accept or reject this view. Whether one gives one's life for a cause depends on how deeply our moral standards are imbedded in one's heart, and on our acknowledgment of the importance of a

In the play Antigone by Sophocles, the importance of family over authority is heavily expressed. With Antigone’s opening scene, to the interaction with Haimon and Creon, and then ending with Creon's loss of his family due to his mistakes, the story expresses the moral of family over the law.

  The dilemma of identifying the true hero, or heroine, of Sophocles’ Antigone has tortured students for years. It is indeed a difficult decision to make. The basis for this decision is what the reader perceives to be Sophocles’ dramatic issue in this play. The dramatic issue of the play is twofold: Antigone is a fanatic who is driven by her religious fever to bury the body of her criminal brother, Polyneices, against the edict of Creon. In the second part, Sophocles shows how the new King Creon’s refusal to change his decision in the face of adversity is admirable, but at the same time his political morals end up destroying his family. His fall from grace is tragic, whereas Antigone's fall is

In Antigone and Lysistrata the tension between the polis and oikos is reflected in different ways. Antigone prioritizes oikos over polis, while Creon prioritizes polis over oikos. The men in Lysistrata favor fighting for the state over being at home while the women want their husbands with them instead of being at the war. We find ample evidence of different conflicts and similarities in both plays, but the male's prioritizing polis over oikos and the female's prioritizing oikos over polis causes the central tension in Antigone and Lysistrata.

The author, LA MacKay through this article has provided a comprehensive insight into the themes of revolt and conflict illustrated through the characters and sentiments of the play, Antigone and therefore proves to be a valuable resource for the study of the same. The article has been published by the Transactions and Proceedings of the American Philological Association and the author has composed various analytical essays, particularly on the subject of Creon and Antigone which

Reading through three related stories, we discover different motifs denoting author’s thought in different time.Without any doubt, the tragic essence goes through the Three Theban Plays. As Sophocles meditates the philosophy of the tragedy all along his life, the tragic essence expands from individuals in a society. The conflict in each play becomes increasingly complicated. In Antigone, we can clearly distinguish the conflict between Antigone and Creon, family and politics. However, in Oedipus at Colonus, the play merges all the conflicts happened to former plays and enhances the theme of the story. The later part of this trilogy, especially the ending of Oedipus the King and Oedipus at Colonus, reveals a darker and deeper phenomenon of Thebes and projects it to Oedipus. The prophet plays important role of forming the story line and tragic image of Oedipus, but the root causing the series of tragedy of the characters is not gods’ command. It is degeneration of people, which is pathetic to humanity. Finally, after suffering from family complex and exile, Oedipus is not only a victim of the society, but also the reflection of the twisted humanity of Thebes.

reason, and by the light of his intelligence. . .” Also in Act II Scene II, the

Aristophanes’ Clouds, if read hastily, can be interpreted as a mindless satyr play written in 419 BCE. Yet the chorus warns the reader not to expect the play to have farcical ploys like “a hanging phallus stitched on” the actors to evoke a laugh, but has underlying seriousness as “she [the play] comes in trusting only her words” (Clouds 538-44). Even if the play does use some low devices, the play’s message is sophisticated and can be read as a warning to Socrates. Aristophanes is a “friendly critic” of Socrates and warns Socrates to change his ways for Athens and for the good of himself (Whidden). Plato’s Symposium and especially his Apology of Socrates justify the claims made in Clouds about the dangers of philosophy and Socrates to