Phaedra as an Example of Enlightenment Values

One has the capability to determine from right and wrong and having the determination to stand up for what one believes in, no matter what the price is. In Sophocles’ Antigone, a written dramatic play, Sophocles portrays the theme that at times of one’s life, it is necessary to follow moral law and ignore political law. In the play, a determined and courageous woman named Antigone is loyal to her beloved brother by granting him a proper burial and having to suffer the consequences for revolting. Throughout Antigone, several incidents occurred where the political law was of no importance to the individual. Conflicts between Antigone and Ismene and then with Creon and Antigone are examples of the theme. The theme also ties with the

Artemis recognizes Phaedra’s nobility and honour, telling Theseus she came also for, “…[his] wife’s frenzied lust, or in a way, / nobility.” (Euripides, 1300-1301) Artemis recognizes Phaedra’s concern to maintain her reputation, as well as her struggle to fight off the emotional attachment to Hippolytus instilled in her by the goddess Aphrodite.

The Enlightenment Era was a period during the eighteenth century. Its philosophers, often called “the philosophs” attempted to refute the previously held religion-based system by creating arguments based solely on reason, and thus create a completely rational system of thought. But, the question of whether they were as reason-based in their thinking as they attempted to be, given the 11 documents, is unanswerable. While some of the documents are useful to judge this, they are by no means a complete and comprehensive overview of the period’s style of thinking, and some of the documents are entirely unhelpful.

Purposely difficult and intentionally obsessive, Plato’s Phaedrus is an exceedingly difficult read that defies all conventional logic as a piece of discourse. The text is extremely subjective, open to interpretation and individual creativity as to what or whom the narrative is about. Written by Plato, a close disciple of Socrates, this text is set along the Illissus river where Phaedrus and Socrates meet for a day of speech, debate, rhetoric and okay…flirting. Phaedrus leads of the day and recites a speech by his close friend Lysias, who Phaedrus considers to be a top speechmaker. Socrates then, after chiding by Phaedrus unleashes two speeches of his own that overshadow and refute Lysias claim so boldly that Phaedrus is so taken by the

Sophocles’ Oedipus is one of the most well-known tragic heroes in the history of drama. His strange

Early on in the play, Phaedra does not yet fit the model of the deceitful

Euripides and Sophocles wrote powerful tragedies that remain influential to this day. The vast majority of work recovered from this time is by male authorship. What remains about women of this time is written through the lens of male authors’ perspective and beliefs about the role of women in Greek culture. The works of these two playwrights frequently characterize women as unstable and dangerous. Agave, Antigone, and Medea are all undoubtedly the driving force behind the tragic action in these plays. It is their choices that lead to the pain and death of the people around them. Through an examination of the evidence from three separate works, Antigone, The Bacchae, and The Medea, the role of women in ancient Greek tragedy becomes clear. The actions of Agave, Antigone, and Medea repeatedly prove their characters instability and danger.

Aristophanes’ play, The Clouds, has an inconsistent message about morality. Morality is the difference between what is right and what is wrong. Morality affects our action, thoughts, and what is perceived as good and bad. For the ancient Greeks nomos was the concept of law and moral conduct, while physis was natural behavior. In both plays there were incidents that have a moral argument. In The Cloud, there are scenes where morality is question about what a character is doing. Compared to Euripides’ play, Electra, morality is a key issue. Some people may say that in The Clouds, the moral argument is view differently than in Electra. In this paper I will argue that the concept of what is moral is different yet the same for the characters in both plays and some characters are more vulnerable to having their sense of morality swayed.

When Teiresias asks in Antigone (line 1051), "What prize outweighs the priceless worth of prudence?" he strikes (as usual) to the heart of the matter in Sophocles' Theban Plays. Sophocles dramatizes the struggle between fate and free will, in one sense, but in another sense the drama might be better understood as the struggle between the will of the goods (which it is prudent to follow, according to Teiresias) and man's will (which is often imprudent). Sophocles' characters are moved by their own wills, of course (either in accordance or in conflict with the will of the gods). Oedipus in Oedipus the King is determined to pursue the truth in spite of the objections of Jocasta, the priest, and his own misgivings. In Oedipus at Colonus, Theseus "cannot rest" (line 1773) until he has served both Antigone and the late Oedipus (implying that conscience is his motivator awareness, in other words, of his duty towards them). In Antigone, Antigone acts in accordance to the will of the gods (but in disobedience to the will of Creon) and does so knowing the punishment that awaits her: "Go I, his prisoner, because I honored those things to which honor truly belongs" (lines 178-9). This paper will show how while fate is a powerful force in The Theban Plays, the characters themselves are still left to exercise their own free will (either with respect or disrespect to will of the gods). Thus, the main drama consists not in the

When Phaedra and the man do try to resolve their problems, they each put their fates yet again into the hands of others rather than take control of their situations, revealing how when outside forces threaten the autonomy of a person that one cannot simply expect others to fix the problems on one’s behalf. Phaedra’s initial entrance in the play begins with her commanding her nurses to “take this veil,” a symbol of modesty, “from [her] head” (Euripides 223), reflecting Phaedra’s inability to take control of her life. Even in a mad state in which she loses her inhibitions and is willing to shed her humility, she cannot do so herself but rather depends on others to do it for her. This further reveals how Phaedra has lost control of her situation

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.

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.

In this essay I intend to discuss how Aeschylus presents Clytaemnestra in the Oresteia and how he marks the extent to which traits of Clytaemnestra's character remain defiantly unchanged as she manipulates events and characters around her. Clytaemnestra is the only character who appears in all three plays in the trilogy, but despite her immense stage presence she remains a troublesome character to interpret due to the highly ambiguous nature of her words. I intend to show that the key to unlocking Clytaemnestra's manly heart lies in the fact that she hated Agamemnon, not simply because he had killed her child, nor because she loved Aegisthus, but out of a jealousy that was not a jealously of Cassandra, but of Agamemnon himself and his

When Medea kills her children, audiences react with shock and horror. Any sympathy viewers have built for the woman is, in the words of Elizabeth Vandiver, “undercut” by this act (15). Since Medea is the protagonist, we question why Euripides chose to make her a child murderer. Most scholars agree that he invented this part of the myth. He also lessened her role as witch by drawing attention to her human qualities. This only highlights the infanticide (14) because we cannot excuse her ruthless act as monstrous and non-human. However, Medea remains very human until after she kills her sons. Appearing at the end of the play in the deus ex machina, she takes over not only the position but also the