Both Fifth century B.C. playwright Euripides and Roman poet and dramatist Ovid tell the story of Jason ditching Medea for another woman; however, they do not always share a perspective on the female matron's traits, behavior, and purpose. Euripides portrays a woman who reacts to injustice by beginning a crusade to avenge all who harmed her which she is prepared to see through even if it means resorting to the most contemptible methods. Ovid, on the other hand, tells of a much less extreme figure whose humble goal is only to persuade Jason to return. Despite these differences, both Medeas create trouble by acting with emotions instead of with reason, and as a result, put
Barbarians simply meant foreigners. By the 1200 “barbarian” was a much more negative term referring to people who lived beyond the reach of civilization, people who were savage, evil. The Mongols were barbaric with the amount of land they conquered, laws, and punishments. The barbarians were barbaric in many different ways.
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).
In ancient Greece the females were considered to be conniving and deceiving whisperers, and men almost never trusted their wives. The ideal woman was an obedient and placating wife. They believed that the female should be strong but still yield to the power of the male in charge, whether it was older brother, father, or husband. Euripides often used females in uncommon ways; he did not simply show them as complacent animals. Women in Euripides' plays were used for social commentary. They were not just simple characters; they could be both agathos and kakos. The females in the works of Euripides were extremely strong and devious and they were loyal but at the same time
As the Greek and Roman empires ascended immensely throughout the western world, new ideas changed the way the Mediterranean Society handled things, which were spread across the globe. “The rise of the series of city-states of classical Greece began in the ninth century B.C.E. and during the late sixth century B.C.E, Rome’s development as a republic began as Etruscan society declined”(Bentley et al, 2008 p.132, 145). The development of these empires encouraged cultural circulation, blending the culture of the two empires into the land it conquered. As Greece and Rome gained more territory within the Mediterranean society, they began to progress toward a more civilized order of humanity. How were they alike? How were they different? How did
Anyone who is familiar with Greek mythology has heard a story about tyrannous Zeus, throwing thunderbolts, turning people into animals, or causing other supernatural events while releasing his wrath. He proves time and time again that he is more powerful than any mortal who tries to compete with him. Though Zeus is the mightiest, there are stories about many other gods demonstrating their power over mortals. Two such gods are Apollo and Dionysus. In the stories "Oedipus Rex" and "The Bacchae", these gods conflict with men that are not just average mortals, but respected kings. Although the political position of these kings makes them feel superior to all, the gods in the two stories show them that immortals are far superior to any
Marriage – the union of two imperfect souls to form an affectionate and beautiful relationship – is exceptionally intricate and delicate. Two different people with different insights come together to form a harmonious bond. Power, or control, is a chief concept that can “make or break” the affiliation. Distribution of the ruling is frequently divided into males versus females. This partition leads to many conflicts and tribulations. In the catastrophic Greek play Medea, by Euripides, the liaison between Medea and Jason demonstrates how both males and females assert power in the relationship and how incorrect usage of this supremacy leads to dilemmas.
When most people hear the word “Barbarian” they often think about the negative things that barbarians have done instead of the positive things that barbarians have done. It is stated in the section titled “Were the Barbarians a Negative or Positive Factor,”
Medea, a classic play by the Greek writer Euripides explores the Greek-Barbarian dichotomy through the character of Medea, a barbarian princess from the land of Colchis. As the story progresses, it becomes noticeable to the reader that Medea is not a traditional woman by Greek standards, this comes as no surprise as she is not native to the region. Central to the play’s plot are Medea’s barbarian origins and characteristics. These are related to and may indirectly influence her to perform acts such as misleading the King of Corinth, Creon and murdering her own sons. Despite these terrible acts, Medea still behaves heroically, as she breaks traditional and cultural barriers thus freeing herself from a doomed and lonely life.
To this day scholars offer a number of different interpretations of Euripides’ The Bacchae. This essay will argue the centrality of ‘sophia’ (wisdom) and its opposite ‘amathia’, similar to the interpretation offered by Arrowsmith and Dodds: that the central idea of The Bacchae is that wisdom – possession of humility, acceptance and self-knowledge, encompassed by the Greek word ‘sophia’ – is the greatest and most necessary quality humanity can possess in the face of godly power. In particular this essay will focus on how the central idea is communicated through the convergence of characters and dialogue in Euripides’ The Bacchae.
Aeschylus' play, The Persians, took place at the Persian Royal Palace in Susa. It depicted the emotional response of the Persian Elders, the Queen Mother Atossa, a herald, King Xerxes, and the ghost of Darius upon hearing the news of the Persian defeat at the Battle of Salamis against the Greeks. The play began with a conversation amongst the Persians elders about their war with the Greeks. They possessed grave trepidations because of a lack of news from the front. This fear stemmed from the great risk King Xerxes took by calling all the heroes and soldiers of the Persian Empire to fight in Greece. At first, they were confident of their victory, describing their forces as an "unconquerable ocean of men". However, their fear persisted of their forces' decimation.
Very few civilizations have had as profound an influence on the world as those of ancient Greece. The Greeks laid the foundations for fields varying from philosophy to political theory to war tactics. However, this influence was not just due to their intelligence or success, but their widespread presence in the Mediterranean. Greek culture was spread throughout their known world in two distinct manners, the foundation of apoikia in the Archaic Age (8th century to 500 B.C. ) and imperialists by poleis, primarily Athens of the Classical Age (490 - 323 B.C ). Though the culture of a mother city (mētropolis) may have spread through two very different manners of “colonization.” The word is not used in the literal sense, but rather hereafter used to mean “spreading of culture”, as the former can hardly be described using the contemporary definition of colonization and the latter was through Athenian empire-building. These developments had a significant impact on ancient Greece and our modern perception thereof. Like most of the ancient world, we can best analyze these methods of colonialism through extant artifacts. I will analyze an inscription of the foundation oath of Cyrene, which recounts the decision and manner in which the island of Thera sent its citizens to the form a new polis, and the fragments of the Lapis Primus, a marble monolith that documented tributes to Athens when the city was at the peak of its imperial age, evidencing the magnitude of their power and influence in the Greek region.
Marriage – the amalgamation of two imperfect souls to form an affectionate and beautiful relationship – is exceptionally intricate and delicate. Two different people with different insights come together to form a harmonious relationship. Power, or control, is a chief concept that can “make or break” the relationship. Distribution of the ruling is frequently divided into males versus females. This partition leads to many conflicts and tribulations. In the catastrophic Greek play Medea, by Euripides, the liaison between Medea and Jason demonstrates how both males and females assert power in the relationship and how incorrect usage of this supremacy leads to dilemmas.
Agamemnon returns from Troy, a victorious general, bringing home spoils, riches and fame. He is murdered on the same day as he returns. Clytemnestra, his adulterous wife, has laid in wait for her husband's homecoming and kills him whilst he is being bathed after his long journey. During the Agamemnon, large proportions of the Queen's words are justifications for her action, which is very much concerned with the sacrifice of Iphigenia to the gods, in order for the fleet to set sail for Troy. Aegisthus, the new husband of the Queen Clytemnestra, and partner in the conspiracy to murder the war hero, had reasons, which stemmed from the dispute between the Houses of Atreus and Thyestes. Was the
The Dionysian, named for Dionysus, is marked by chaos, drunkenness, madness, and instinctive emotions (Kreis, “Nietzsche, Dionysus and Apollo”). It is excess, dismemberment, and rebirth; the dark, earth-bound force of suffering (Jenkins). The Dionysian alienates figures from social, political, and familial bonds, destroying those who refuse to succumb to its power (McClure). Nietzsche says that the