Speech and Silence Hippolytus

Biographical information about the author: Born at Colonus, son of Sophilus. Sophocles was a playwright and served as a priest. He had a son with Nicartrata, who was also a playwright. And he also had a son with Theoris. Wrote 123plays but only 7 survived: Ajar, Antigone, Trachinian women, Oedipus Tyrannoss, Electras, Philocetes, and Oedipus at Colonus. Also increased the number of chorus from 12 to 15. Powerful imaged occur in Ajar’s sword, Philocetes bow, and Electras urn. Actions in his play unfold in a more natural way and avoid the expository prologues of his contemporary. The modern concept of tragic drama begins with Sophocles.

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).

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

In the First Homeric Hymn of Aphrodite, the structure of the narrative, in terms of organization and word choice, directly influence how one interprets the text. Specifically, the amount of time spent discussing both perspectives of the Aphrodite myth, lead me to believe that the limitation of her power, by way of the story of her humiliation, outweigh the assertions of her power mentioned in the beginning of this myth. In addition, the word choice and language used in the latter perspective further my assessment that limitations of Aphrodite's power outweigh her actual

“What’s the secret wish of your crazy, wild heart? / Whom must Love compel with Her wily ruses / back into the glittering net of your arms? / Sappho, who hurts you?” (17-20). This is what Sappho wishes to hear from Aphrodite. The power and beauty

The organization of each story immensely effects the perspective given to the reader. Euripides' play skims over the actual events that take place throughout the story and revolves around the outcome of these events. Leaving

This scene gives an insight in to the character of Phaedra as opposed to the effect Aphrodite has had over her. The scene shows that Phaedra is disgusted by the nurse’s insistence on bedding Hippolytus, ‘what an appalling thing to say!’ (Euripides, 2003, Line 498) Phaedra’s reaction to the nurse’ encouragement of adultery shows that her honour and virtue is of more importance, but she is losing her battle, ‘I shall be consumed in what I am trying to shun’ (Euripides, 2003, Line 506). The nurse however does not see the implications that acting upon Phaedra’s feelings would have. This shows the significance of the scene as it sets the flow of the play and leads to the death of both Phaedra and Hippolytus.

The central or main idea of the excerpt "Caesars Funeral" is that the crowd showed silence in the

The beginning of the play, Oedipus the King, by Sophocles, depicts several themes, such as the irony. Oedipus already begins to show his excessive pride and power, and using figurative language, lexical field and imagery effectively; Sophocles heightens the hubris shown by Oedipus and how he is unable to avoid his fate. The title is simple and self-explanatory and states that the protagonist of the play is Oedipus. But this straightforward title serves the purpose of juxtaposing the thrilling themes portrayed.

Viewers obtain wisdom subconsciously as the indirect experience of terror from the gouging of Oedipus’s sight, provides insight on the metaphor that with physical sight the hero was blind to the truth and now being robbed of sight educates Oedipus. Sophocles intends for the reader to realize, in comparison to the relatable Oedipus, that their own problems are manageable and minute in contrast. Overall, the audience’s initial pity causes this eventual fulfillment of emotional purgation wherein the play draws in one’s emotions to relate a person to Oedipus, then causes distraught when the hero suffers and eventually releases any tension or worry people bear. And so, the sequence of events leading to the protagonist’s demise cause the text to have such a strong cathartic

In Ion Euripides describes a realistic plot that matches nowadays events as well. He focuses on the vicissitudes of human life that lead the characters to the brink of ruin, and that raise on top of happiness at the same time. The life full of ups and downs is depicted in the example of Creusa’s life story. In Ion there are scenes that are composed of big fear, sincere repentance, strong jealousy, and pure love of Creusa.

The author is not only making an allusion to Aphrodite, but is doing so through her symbolic

Theodore V. Buttrey defended the role of character Aegeus in Euripides's Medea as being instrumental in helping progress the story from the play’s first and second act. This defense of Euripides, comes in response to critics, including Aristotle, who, having taken poorly to Aegeus’ underdeveloped character and rather suspicious entrance in the play, have gone and criticized the entire structure of Medea. Buttrey, on the other hand, credited Aegeus for acting as the principal red herring that ends up throwing the audience’s attention away from Medea’s intent on committing filicide until the horrible reveal of the play’s climax. Hence, it is with the king of Athens that Euripides committed a stroke of genius, for through him he announced his

In conclusion Euripides does present both characters sympathetically but focuses more on Phaedra as for the first half of the play she seem like the tragic heroine even though the play is named Hippolytus. Phaedra is portrayed with sympathy

Euripides is known for starting his plays with a speech, which gives background information and informs the reader what is going to occur later on in Hippolytus. Although this gives away the surprise to the reader right from the start, it allows them to understand the reasoning behind the motive and gives a better understanding. In the beginning scene, Aphrodite gives a speech about her hatred towards Hippolytus, considering he did the worst thing possible, by not worship her since he hunts all day and does not believe in sex. She then explains in the passage what she is going to do in revenge in order to get back at him for his wrongdoings. It is clear how furious this makes Aphrodite and how it makes her feel less powerful that she is not supported by Hippolytus. Aphrodite foreshadows what is going to happen throughout the play, which informs only the reader of what is going to happen, while the characters have no idea. Through numerous stylistic devices, lexical groups, and syntax, the audience is able to get a much deeper and better understanding of why Aphrodite has such a hatred for Hippolytus.