Sebastian's Diary Of A Young Hippolyta

Given the immense popularity of the myth of the Trojan War, many authors adapt its plot in order to highlight certain themes of life. Often, authors reinterpret the role of Helen of Troy, for whom the war was fought, in order to retell the story, since she plays such a titular part in it. Especially in the classic playwright Aeschylus’ tragedy Agamemnon and the lyric poet Sappho’s poems does Helen’s portrayal lead to different interpretations of the outcome of the traditional myth. Although both authors present Helen of Troy as a symbol of passion, Sappho envisions her as a noble force driven by the divine law of love, while Aeschylus depicts Helen to embody the fruitless, lust-driven struggle against Fate.

“That woman – she manoeuvers like a man” (Aeschylus 103). This quote from the Greek tragedy, The Oresteia by Aeschylus, introduces readers to a theme of the piece: the role of women. Furthermore, this tragedy gives the reader a view on how women played a role in ancient Greek society. Additionally, it highlights the reaction, from Greek men, to women in leadership roles. In the following, you will find a historical account of the role of Greek women, and how Aeschylus shows a different role of women. Therefore, by reading The Oresteia we can get a glimpse into what characteristics Greek women embodied. Also, through the actions of female characters such as Clytemnestra and Electra, we see examples of women

Artemis’ informative speech to Hippolytus not only displays the dramatic irony present throughout the play, but also solidifies many predominant themes present during the play. This passage summarizes the entire play as Artemis describes the plans of the characters, going on to blame Phaedra, the Nurse, Aphrodite, and Theseus. (Halleran, 276) Through Artemis’ passage (Euripides, 1283-1312), the truth about Phaedra and Hippolytus, unknown and misunderstood by Theseus, finally surfaces. As Artemis reveals the plot to Theseus in the passage, the themes of honour and relationship between man and god are evident. Hippolytus’ relationship with the goddesses Artemis and Aphrodite, along with his honour and pride, are

However, in Lysistrata the women needed to get involved to resolve the war between the Spartans and the Athenians. This was a huge red flag for the audience in Athens because of the Athenian attitude towards women. Treated as almost a second class citizen to men, the women in Lysistrata took an active role in persuading the men of Athens to find peace with the Spartans by way of abstinence. Particularly Lysistrata got a group of women together that disliked the current suffering caused by the war and convinced them to not sleep with their husbands until they decided to work towards peace.”...imagine. We’re at home, beautifully made up, and we walk around the house wearing sheer lawn shifts… and we keep our distance … they’ll make peace soon enough”(p.146). Using their sexuality as a weapon towards the men in Lysistrata the women effectively forced the men to change their political attitudes. This further proved to undermine the democracy by showing the audience that even the women noticed that the current system was causing problems and it needed to be changed. So much so that women were willing to make their husbands suffer until an agreeable result was achieved. Once an agreement was achieved between both sides the Spartans and Athenians drank together and celebrated their new found peace. This gave the audience another taste of what it would have been like if the war was over. Using the contrast

The passage I aim to examine comes from Book 7 from Thucydides’ History of the Peloponnesian war. It reveals the destruction of the Athenian army at Syracuse. The book focuses on two battles. The Athenians win the first battle and the second victory goes to Syracuse. The passage that I will study focuses on the Athenians trying to escape, as they have been defeated in the last battle. I aim to explore how Thucydides reveals the story through emotion and whether the narrative is appropriate to our understanding of the story.

In the Iliad, Homer depicts the role of women many times as property and often involves women in prizes of gifts. It is the role of women in terms of war prizes. Examining the impact of female characters in an epic, where Chryses brings a ransom to get back his daughter. Agamemnon refuses and later decides to return Chryseis but in exchange, wants Briseis, Achilles’ woman as compensation, and where Helen is the cause of the war who has been a property in dispute between Paris and Menelaus. Each of these examples demonstrates that women have played a major role in the Iliad, causing men to fight. This paper will explore delineate physical and emotional consequences of men regarding women as “war prizes.”

The 5th century BC would have been a perilous time for a citizen of a Greek state. Not only did Greece defend herself from an external threat but her very own clans warred against themselves. In this chaotic climate, the theatre became an outlet for Athenians to flesh out the underlying themes of war, conquest and their very own humanity. There could be no better setting for such a quest than one intertwined in the very fabric of Greek consciousness. The Homeric tradition itself is not a simple self-congratulatory tail of Achaean triumph. Both sides are united by the tragedy of a city under siege (Miles 1986, 189). Epic tradition deals with mortality and the human condition in an unexpected way; at its core, it sees the enemy as an extension of itself (Dué 2006, 3). Achilles (Hom. Il., 9.323–27) and Odysseus (Hom. Od., 8.521–31) invoke the laments of Trojan women for their husbands, the very soldiers that might have fallen by their own swords (Dué 2002, 5-11). Specifically, the swift-footed Achilles relates to a woman at a visceral level with a simile of a mother bird that has toiled to raise her young only to lose them (Dué 2006, 3). Hektor’s death should be a clear Achaean highpoint in the narrative but it is immediately dampened by the following scenes of a despairing father, mother and wife (Hom. Il., 22.404-515). Finally, the closing stages of the Iliad does not leave the audience with the funerary scenes of Achilles’ inevitable end but of his nemesis Hektor

The Odyssey begins by describing Odysseus, a “man of twists and turns” (Homer 1996: 1) showing that this book is focused on the men, rather than the women. Shortly after, the first description of any womanly figure is “bewitching” (Homer 1996: 2), which shows that as the epic progresses, the description of most female adversaries would be negative. In Hippolytus, Aphrodite begins by saying that she “treats well who revere her power” but “trips up those who are proud (averse) to her” (Euripides 2001: 2). This starts the play by painting women as vengeful and emotional. The focus on the men rather than the women, shows Ancient Greece’s view of women as subordinate and of lesser importance, due to their unpredictability and seduction. This theme of submission to men gives insight on how Ancient Greek Society treated women. In this essay I will argue that the theme of commitment plays an influential role in decision-making processes, both rational and irrational, leading to the premise of women being only sexual objects in Ancient Greece, rather than companions for life. Ultimately, I will show how the protection of the husband’s reputation, is a task that women owe to the man. Taking this into account, the monsters, mortals or Gods, that made their appearances in the texts, were primarily women, which shows the Greek’s view of women to be the seducers and the troublemakers, rather than always pure beings with good intentions. Thus I will prove, that in Ancient Greece, women’s

I've decided that this is gonna be a Sebastian x Reader story. But, Luna is also going to be in an affair with Ciel and I'll do her POV too. By the way, ANOTHER HIGURASHI WHEN THEY CRY REFERENCE. Lol have fun reading :D

The Midsummer Night’s Dreams, a comedy written by the famous British poet William Shakespeare, describes the events that relate to the wedding of Theseus and Hippolyta. It is composed of four interconnected plots that tell us the nature of love, including the adventure of four Athenian lovers: Demetrius, Helena, Lysander and Hermia; Oberon’s revenge on Titania and the mechanicals who are the six amateur actors. Among all these characters, two of the four lovers, Hermia and Helena, are similar in their attitude towards love. They both believe that they are the objects of love. However, they are different in their actions, ideas, appearance and personality. Hermia behaves in a virtuous way and she is also a confident and bold girl. On the contrary, Helena behaves in a defenseless and weak way, which shows that she does not have much confidence in herself.

In the story, “Pyramis and Thysbi, It is much like a real life Romeo and Juliet. They longed to get married but there family was on different sides. They spoke through a crack in the wall there whole life, and snuck out to meet up one day. She was waiting in a field for her love, when a lion tried chasing her down, which led her to running away and leaving her sweater behind. The lioness, with blood from its last kill, gnawed on her forgotten sweater. He finally arrived at the scene, saw her clothes on the ground covered in blood and assumed she was killed by a lion. Without thinking, and killed himself. Then, she walked up astonished, and kill herself. He chose a poor decision to not look at the scene and

There are many different stories surrounding how Hippolyta and Theseus became a couple. Keiko Hamaguchi clarifies these legends in his work Domesticating Amazons in The Knight’s Tale by writing: "As for Hippolyta, there are basically three different legends: Heracles’ gift of Hippolyta to Theseus as a prize; Theseus’ rape/abduction of Hippolyta; and Hippolyta’s love for Theseus. " In A Midsummer Night's Dream, the evidence suggests that Shakespeare's Hippolyta is a victim of abduction--the second legend. First, the Amazonian queen is stripped of her former customs and no longer behaves like a warrior, and her entire identity has been erased. She is defeated and lacks the fire and emotion of an Amazonian woman.

This play is about a great warrior and most legendary swordsmen. Who turns out to be a liar and arrogant, prejudice and an adultery. This is probably a social criticism by Plautus, because soldiers of his time would have been conditioned to be like this from their pillaging of cities they concur. Now with the fourth play there start to be some reoccurring ideas or conflicts. In “The swaggering Soldier” Palaestrio, Pyrgopolynices most trusted slave, connives a plan to save Philocomasium, Pyrgopolynices mistress, from being accused of kissing another man. Palaestrio’s idea was to pretend that Philocomasium had an identical sister that came into town with her boyfriend. Trying to fool Sceledrus who had caught Philocomasium with the other man, with the idea that her identical sister was at the neighbor’s house kissing the man instead of Philocomasium herself. Eventually, after several confrontations with Philocomasium and her identical twin sister; Palaestrio finally convinces Sceledrus that he had not seen what he was accusing Philocomasium of

Thésée’s accusation of “d 'inceste et d 'adultère” against Hippolytus triggered him to confess his love for Aricia as a defense. However, it enraged Thésée even more as he perceived it as his son’s atrocious attempt to cover up his “brutale insolence”. This scene helped to transit the play to the ‘falling action’ in which Hippolytus and Thésée unwittingly became the victims of Oenone’s perfidy.

“This plotting on behalf of the women is inspired, since men and religion most often criticize women for using their sexuality as a way to maneuver men into abdicating control. In this play, Aristophanes takes his criticism of women and turns a traditionally negative view into a positive depiction of women” (Metzger 1). Lysistrata turns the war from “Athens versus Spartans to man versus woman.” She wants the men to “exchange their spears and arrows for ‘weapons’ of love, that is, their penises.” (Presley 2)