Animal Domestication In Prometheus Bound

Euripides’s plays often featured uncanny insight into the human condition and the struggle that his characters bore due to their expected roles within society.

Everyone is going to die. This is no secret to the audience of the Greek play Agamemnon. Rather than surprising us with the murders that befall at the hands of vengeance, the Greek playwright uses this common story to display the underlying theme that one must first suffer before they can reach the truth. To understand the significance behind the story of Agamemnon, one must understand the passions and how they relate to the human person, Zeus’s law of suffering into truth, and Aeschylus’s motives for writing Agamemnon and how he reflects Catholic teaching.

During the time of Euripides, approximately the second half of the fifth century B.C., it was a period of immense cultural crisis and political convulsion (Arrowsmith 350). Euripides, like many other of his contemporaries, used the whole machinery of the theater as a way of thinking about their world (Arrowsmith 349). His interest in particular was the analysis of culture and relationship between culture and the individual. Euripides used his characters as a function to shape the ideas of the play (Arrowsmith 359).

Through the three plays of The Oresteia, we are exposed to many opposing forces of power. Elements such as darkness, light, fate, patriarchy, and justice are intertwined to make up Aeschylus’ tragic tale, however all of these elements are directed by one central force: balance. The word balance itself suggests a state of equilibrium or a stable environment. Balance is often looked at as a scale; if one side of the scale is overpowering the other, then it creates a state of disorder, irregularity, and even chaos. Aeschylus meddles with the scales of balance but, in the end, reinforces the equipoise of power. I would argue that, not only does The Oresteia include balance as a critical underlying theme and is strategically used in determining the outcome of the play, but that the role of Athena is vital in creating this balance.

Even though Agamemnon made a success for his homecoming, what was waiting for him was her wife’s conspiracy with Aegisthus and his death (262-263). Namely, his nosmos was rather a failure and he also faced fate of his failed household. This Agamemnon’s gives a comparison with Odysseus future success for preserving his family and throne. Furthermore, Clytemnestra’s unfaithfulness and infidelity provides a foil to Penelope’s faithfulness and loyalty. Clytemnestra’s merciless and brutal actions, not sealing Agamemnon’s eyes while he was dying, adds contrasting characteristics between Odysseus and Agamemnon’s wives. Note that here, the story of successful vengeance for Agamemnon by Orestes gives a foil to Telemachus’ weakness and deficiency. Orestes here is depicted as a heroic example with murder of Aegistus after he comes of age (264). On the contrary to Orestes who saved his household and restored order in his family’s kingdom, Telemachus, as he came of age, couldn’t serve as protecting his household and repel his mother’s suitors in the absence of his father. In the light of comparing each heroic figures’ sons, the son of Achilles is also depicted as successful warrior with great strength and fame in the battlefield against Trojan, adding a foil to Telemachus’ unsuccessful position as a son (266).

Aeschylus’ drama, Agamemnon, relates the story of a king’s downfall at the hands of his queen. Agamemnon, the king and the play’s namesake, is introduced almost halfway through the production. His first appearance creates a scene fraught with characterization, of himself and others around him, and symbolism. The scene and Aeschylus’ techniques allow interpretations concerning the king’s own hubris being his destruction. The introduction of Agamemnon portrays the chariot as his ability to identify his own pride as a flaw, the tapestries as his willing acceptance of his hubris, and Cassandra’s movements as her acceptance of her fate.

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.

Its main characters are women each with differently complex personnalities. Hecabe was the queen of Troja, her situation makes her a tragic character and atracts pity. On the other hand, her daughter the princess Cassandra is dedicated to the gods; she bears the curse of having the ability if foresight yet never being trusted, thrown onto her by the god Apollo. Finaly Hecabe's daughter-in-law Andromache, proud and noble. The protagonists being so different, they each will have a different approach to the play's events. Furthermore Menelaus, one of the play's two male characters, is considered weak in contrast with the strong female personnalities present. The trojan women also question the god's power and men dependence on them. The gods in the play are depicted as flawed, therefore assimilated with simple

The poetic tone of Aristophanes' Lysistrata differs greatly from the poetic tone of the Greek tragedies we have read in class. However, after analyzing this Greek comedy, it seems to share some of the main characteristics of Euripides' Medea. Within these plays, we meet shrewd, powerful masculine women who use the art of manipulation to get what they want from others and to accomplish their goals. This theme of manipulation is employed through various means and techniques. The women of these plays also seem to contradict the stereotypical woman and have characteristics similar to the Homeric Greek warrior.

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.

Prometheus Bound is an Ancient Greek tragic play that is one of three plays concerning the large-than-human figure, Prometheus. Zeus, the king of the Gods on Mont Olympus in ancient Greek religion, Prometheus, a Titan, he stole the fire from Mont Olympus and brought the secrets using fire to mortals, then punished by Zeus to a life bound in chains. This is where the title—Prometheus Bound—is given to the play. Prometheus myth is originated from ancient Greek poet Hesiod’s Theology. In Theology, Prometheus is an evildoer, a liar. However, In Aeschylus' works, he fights for human survival and against Zeus. Prometheus’s name means "anticipate," in the play, he had known that Zeus would punish him, but he declined to comment on the tales, instead, still doing the things under his willing. “It is painful to me to tell the tale, painful to keep it silent.” ---- Scene I “Prometheus Bound”. Prometheus violates the fate and against with it. This action is a tragedy but incredible. The image of Prometheus refers to the people's rebellion and noble. This revolution is intimately related to the progress of social civilization. It is rooted in the individual in the struggle with the fate, society, and itself. From time to time, people reading “Prometheus Bound”, Prometheus tagged as “iron-hearted” and “made of stone” but Zeus is “furious” and “arrogant”. However, the good

The tale of Oedipus and his prophecy has intrigued not only the citizens of Greece in the ancient times, but also people all over the world for several generations. Most notable about the play was its peculiar structure, causing the audience to think analytically about the outcomes of Oedipus’ actions and how it compares with Aristotle’s beliefs. Another way that the people have examined the drama is by looking at the paradoxes (such as the confrontation of Tiresias and Oedipus), symbols (such as the Sphinx), and morals that has affected their perceptions by the end of the play. Nonetheless, the most important aspect is how relevant the story is and how it has influenced modern ideas like that of Freud and other people of today.

Ignorance can blind an individual from the truth. Plays were of great importance in early Greek culture. Plays were the main source of entertainment, and one of the most exceptional examples is Oedipus the King written by Sophocles. The drama is tremendously uplifted by the character development and the excellent structure Sophocles has put forward. Interactions between characters and each character’s motivations generate brilliant themes throughout the play. Sophocles uses a technique called recognition, which illustrates a character’s turn from ignorance to the truth. The play is about the city of Thebes which is racked by a plague and a crisis that is quickly wiping humans from the earth. The great king of Thebes is Oedipus who must dispose of the problem very quickly. He welcomes information from the god Apollo, who says Oedipus must punish the killer of the former king, Laius. In one of the instances where Oedipus tries to find the killer, he encounters Tiresias, who is a physically blind man but can see everything because he is a prophet of Apollo. Tiresias possesses the information but declines to cooperate with Oedipus. After a series of verbal insults, the audience is left in awe when Tiresias puts the blame on Oedipus. Similarly to Oedipus the King, dialogue “Allegory of the Cave” written by Plato also in the early Greek times, shows that ignorance can lead an individual to be blind from the truth. Sophocles magnificently develops a question of “Who sees and who is blind”. Also in Oedipus the King, Sophocles exhibits how selflessness and ignorance can blind a person from the truth, but eventually has to go through recognition which can cause great agony.

As the famous Greek playwright Euripides once said: “Stronger than lover's love is lover's hate. Incurable, in each, the wounds they make.” Such ideas are portrayed in one of him most famous plays, Medea. This play is a fascinating classic centered on the Greek goddess Medea. Despite its recent fame, during his time, Euripides was unpopular since he used what would be considered a ‘modern’ view where he would focus on women, slaves and persons from the lower classes. In the play, Medea commits filicide, which initially appears extremely horrendous, but as the audience is guided through the play, they develop sympathy towards Medea. In order to achieve this empathy and enhance the understanding of Medea’s pride and ideals, Euripides

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