Violence In EuripidesBacchae

(A Discussion on Scenes of Violence in the Iliad and Their Effect on the Text as a Whole)

The plot of Oedipus the King, a Greek Tragedy written by Sophocles, revolves around several prophecies. A plague has stricken Thebes, and Oedipus discovers that the plague will only end when the murder of King Laius has been caught. Additionally, another prophecy states that the son of King Laius and Queen Jocasta would kill his father and sleep with his mother. Oedipus vows to the citizens of Thebes that he will find the murderer, but as the plot develops, Oedipus comes to the realization that he himself was the murderer that he had been seeking. There are several scenes in Oedipus the King that incorporate violence, and these violent scenes are a critical aspect of the play because they contribute to the development of the plot; the use of violence, whether verbal or physical, also enhances our understanding of the characters’ personalities and/or emotions.

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.

Euripides’ play, The Bacchae, brings into perspective the Greek god, Dionysus. The play focuses on Dionysus wanting to establish his divinity in the city of Thebes, “Therefore I shall prove to him [Pentheus] and everyone in Thebes that I am god indeed” (47-49). As it can be seen here, Dionysus seeks to substantiate his divinity in the city that originally rejected him right from the get-go. He demonstrates this divinity through a very unique pathway, that pathway being vengeance. This course of vengeance leads him to manipulate various character's repressed desires. Dionysus uses these repressed desires in Thebes to enact his revenge on the city, but more specifically his own family. Albeit, repressed desires are not an actually character in The Bacchae, they arguably play one of the most important roles in the play. Dionysus brings out the repressed desires within Agave and Pentheus, and this ultimately shows their true character. He manipulates the two character’s repressed desires to fit his own agenda, which was mentioned earlier, and this is ultimately why he succeeds in his conquest for vengeance and the manifestation of his divinity to the city of Thebes. It also provides an explanation for why the two character’s behave the way that they do. It’s important to know your own desires so you cannot be easily manipulated and tricked like Agave and Pentheus were by Dionysus. If the two character’s would have known their own repressed desires, then arguably they would have

Thucydides' account of the Peloponnesian war served as a window into Athenian societal culture. Carrying the reader from Pericles' moving speech to the assembly, through Cleon and Diodotus' oratory battle over the fate of Mytilene, and finally to the Athenian proposal to the Melians, Thucydides detailed the transformation of Athens from a state based on justice and freedom to a empire with a corrupted soul. This corruption did not occur over night, but was the result of increasing tyrannical behavior by the part of Athens in its interactions with other Greek city states. The stages of this development can be analyzed into three parts: Pericles' war speech, the dialogue on Mytilene, and the Melian debate.

According to the Odyssey, and Agamemnon, ancient Greeks value violence as a way of maintaining their society because the stories showcase how violence functions in ancient Greece polis system. The stories indicate the structure of ancient Greece society and the ideal principles that held the people together. Because works of Homer and works of Aeschylus represent a different period of ancient Greek culture, the form of society differs. However, the fundamental principles of ancient Greek society remain similar. Regardless of what period of ancient Greece, the admiration of violence by the ancient Greek can be seen from both Homer and Greek Tragedy.

Antigone is an ancient Greek play, originally written by tragedian Sophocles, that has been adapted by the French playwright and dramatist, Jean Anouilh. This well-regarded interpretation of the play retains its classical plotline but explores theories of tragedy and how tragedy has moulded this classical play. During this theatrical piece, the protagonist, Antigone, ignites disastrous events that gravely impact not only her family, but the city of Thebes. Furthermore, A World Enclosed is an archetype of tragedy that perfectly represents Antigone. This archetype of tragedy is demonstrated in a plethora of ways throughout the play: Antigone’s stubbornness and determination, her over willingness and persistence to obey the gods, and how the chorus, essential and solitary figures in Greek plays, comment on how tragedy functions within the play.

One of the most famous tragedy was The Bacchae from the Athenian playwright Euripides. The Bacchae won first prize when it premiered at the Theatre of Dionysus in 405 BC, and is known as Euripides greatest work. This tragedy represents the two opposite sides of a man's nature: the rational and civilized side, which is represented by the character of Pentheus, the King of Thebes, and then there is the instinctive side, which is represented by Dionysus. This side feels a connection between man and beast and it’s a potential source of divinity and spiritual power. It’s believed that The Bacchae implies that it’s dangerous to deny this instinctive human nature; those who accept it find spiritual power, and those who suppress the desire in themselves

The authors of this article place a focus on Sophocles' Oedipus Rex and its containing of a lethal plague that profoundly affects this work of drama. In attempting to unravel the factors and descriptions of this plague as depicted in the work, the authors attempt to trace the plague throughout the text as well as search for a possible underlying cause. In comparing the plague within Oedipus Rex to the historical plague of Athens, the authors of this article allow the reader a more in-depth look at the time that Sophocles' writing sought to portray.

Society can greatly affect one’s desire to take a stand. In ancient Greek culture, for a person’s soul to rest, he or she must receive a proper burial. In the play, however, King

The conflict between the rational and the irrational is present in every person or situation. In Greek tragedies, this conflict is constantly present within the characters’ actions and decisions. Usually, there is always one character that will act rationally compared to the others and would try to fix the conflict. Both The Eumenides and The Bacchae depict the conflict between the rational and the irrational, yet the act and solution are presented differently. Whereas The Eumenides portrays it through killing the family by committing matricide and homicide, The Bacchae portrays it through killing the family by committing unconscious homicide driven by the desire of the forbidden.

Greek tragedies Oedipus the King and Euripides’ Bacchae are both timeless stories in Greek literature. The engaging plot of both is what is most rememberable however the significance of the chorus is overlooked. The chorus can be defined simply as a group of dancers and singers that participate in dramas by singing poetically and lyrically in certain pauses of the play. The music, movements and gestures of the chorus symbolically define the mood and the themes of the play as the story line develops. The flow of Oedipus the King and Bacchae are dependent on the chorus, proving their significance.

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.

There is such a considerable amount of violence in Titus, varying in intensity and degree that it might seem hard to draw any firm conclusions about its impact. One can, however, obtain the idea that the violence within the play has a far greater impact on both the audience and the on-stage characters when accompanied by a rhetoric or language that either juxtaposes or reinforces the brutality. The way in which characters react to violence, evident through their speech and imagery, can manipulate our responses to them and instil either an affinity or indifference to their personalities. Titus' first appearance in Act I Scene I is an example of this manipulation. His cold, calculating rejection of Tamora's plea for her son's life, juxtaposed with the solemn, funeral rhetoric give us the impression of a character who can flit between brutality and normality very easily, and who demonstrates little compassion when doing so.

A critical element of classical tragedy is gruesome, gruelling, and often heart wrenching deaths of characters, regardless of whether or not they are central figures to the plot as a whole. The first example of this found within in Book II of Virgil’s “Aeneid’ is the encounter with Hector’s ghost. A once great hero of the Trojan race is belittled into a grim description: “his beard was filthy, his hair matted with blood”. Whilst the murder of Hector is not the main focus within the ‘Aeneid’, nor even within Book II, it is still a greatly tragic death due to the vulgar actions of Achilles. In fact, Hector still retains the appearance induced by his gruesome death, further adding to the tragic nature of his death. Another example of tragic death within Book II of ‘The Aeneid’ is that of Priam – the old king of Troy. He is slain by the cruel Pyrrhus, after witnessing the murder of his own son: “defiling a fathers face with the murder of his own son”. Not only is that event in itself tragic, but also Pyrrhus then dragged Priam “through pools of his own son’s blood” to an altar at which he was killed. This event within Book II exemplifies the tragic nature of heroic deaths for a multitude of reasons. The first is the obvious cruel nature of death within a great battle. During this time period it was a common occurrence for young men to head off into battle in order to defend their own nation. However, Priam was an old man, and for him to die in battle is a tragic occurrence in