What Is Sophocles Use Of Ritual Frames In Greek Drama

Lysistrata by Aristophanes is a prime example of Athenian old comedy from the prologues to the exods as it not only fills the audience with laughs through a wide range of comedic techniques such as double entendres, satire and vulgarity. Since Aristophanes creating the play in this format he has hidden some crucial and dramatic themes involved in the play. The themes so creatively disguised through the comedic techniques used were, gender roles, in strength there is unity and anti-war. The complex themes will be discussed throughout this essay along with Athenian old comedy and comedic techniques to provide evidence on how these dramatic themes were concealed. Through the use of Double entendres Lysistrata and the other Athenian women have

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.

Odysseus’ starts his speech by saying, ‘“We’re hardly strangers at meeting danger”’(Odyssey 12.226). This reassures and reminds the men of all the difficult trials that they have faced and conquered so far in their journey with Odysseus as their leader. He then proceeds to state that: ‘“This danger is no worse than what we faced when Cyclops penned us up in his cave with crushing force!”’(Odyssey 12.227-229) showing his confidence and proving that his wit and cunning can and has lead them safely out of danger before, even though his actions were responsible for getting them in to the dangerous situation in the first place. This is his Ethos which is his reputation and the characteristic’s that

Greek theater encompassed many aspects that reflected the moral values and ideals of society. Their customs were tightly woven into the scripts of plays. Antigone and Oedipus the King, two renowned works of the Greek playwright Sophocles, explore these values through a plot thick with corruption, virtue, and determination. These plays reveal the burdens two Theban kings, Oedipus and Creon, as their lies and poor judgment corrode the integrity of their city, their families and themselves. Possessing a strong faith in their respective gods, the characters of these Greek plays are often led astray as they try to escape the twisted hand of fate, further warping their perception of reality. As their vain

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 the epic, The Odyssey, by Homer, Odysseus proves to be a very respected and admirable leader. Before he leaves for the Trojan War, Odysseus is king of Ithaca, an island home to his dear wife and son. He is respected by his people and known for being a very powerful and intelligent man. In Troy, Odysseus leads his men to victory with his cunning and power, destroying their city. It has now been ten years since he saw his family, and returning home safely alongside his crew is his highest priority. However, he and his men are faced with trials like they have never seen, and Odysseus must take charge and command them using the skills he is most known for: his bravery, his genius, and his unwavering resolve.

Some evaluations claim that the Dionysus appearing in The Bacchae is fairly true embodiment of the ideals of ancient Athens. He demands only worship and proper reverence for his name, two matters of honor that pervaded both the Greek tragedies and the pious society that viewed them. In other plays, Oedipus' consultations with Apollo and the many Choral appeals to Zeus reveal the Athenian respect for their gods, while Electra's need for revenge and Antigone's obligation to bury Polyneices both epitomize the themes of respect and dignity. Yet although Dionysus personifies these two motifs, his clashes with the rest of Athenian tradition seem to make him its true adversary.

Over two thousand years ago in 400 B.C. Sophocles, a Greek dreamer, wrote the story, “Oedipus the King”. One might think that a story that old may be boring or poorly written, but in fact it is very descriptive and entertaining. Sophocles even employs different literary devices to enhance the themes throughout the story. Some of these techniques includes: metaphor, personification, imagery, symbolism, tone, meter, setting, and diction.

The period that Athens’ Sophocles lived in was a time of important changes to the traditional Greek ways of life. The most significant catalyst of change and concern of the period was democracy. From here stems ideas such as the nature, role and respect of and for the gods, and the individual. The drama of Antigone reflects these concerns in the context it was written through various ways.

Greek Drama played an important civic role in ancient Greece. This is evident in the tragic drama, Oedipus the King by Sophocles. The people of ancient Greece religiously believed in prophecies and the fact that the Gods controlled their destiny. If something were to be wrong with their lands then they would think that it was because something angered the gods, and in return would try to sacrifice animals in an attempt to make the Gods happy. These are some of the key points on which the play, Oedipus the King is based on.

Drama Response #1 Euripides created a vicious but magnificent tragedy, in which the audience is able to see and analyze the underlying motives that Dionysus choses to base his actions upon. Dionysus, as a jealous god and a manipulative character, is well-emphasized in the second choral lyric of this play. Lines 632-636 in this tragedy describes what obstacles Pentheus has encountered, since his showdown with Dionysus initially took off. “He razed the palace to the ground where it lies, shattered in utter ruin- his reward for my imprisonment. At that bitter sight, Pentheus dropped his sword, exhausted by the struggle.

There is clearly a source of tension that plagues the relationship between Odysseus and Ajax, one that interests me in its origins and significance. Ajax seems very stubborn, unable to reconcile with Odysseus after his death. Ajax seems very haughty, but this may be because he lost something

Sophocles’ play, Antigone, is considered a tragedy, and for good reason. It contains appalling actions and cataclysmic

Though both genres of theatre are closely tied to religion, Greek theatre and medieval drama have different religious motivations that impact the ways in which the theatrical event is utilized. In Greece, theatre was used to entertain or please the Gods, more specifically the God Dionysus, during the most important of the four Athenian festivals: the Great Dionysia. The first known Greek playwrights, such as Thespis and Euripides, were chosen to compete in the festival and submit three tragedies and one satyr play to be performed in front of approximately 15,000 spectators. In classical Greece, theatre was the center of citizenship and society; religious ideologies towards Dionysus were not only realized by performances, but strongly encouraged by the state. For example, if a citizen could not afford to attend the

In the ‘Frogs’ and ‘Wasps’ written by the “eminently best” comedian of the fifth century, Aristophanes, we see he utilized humour to exact the important message that Athens is corrupt, and on the verge of chaos. The Athenian audience would expect to be thrust into a world of humour in the City Dionysia, somewhere parallel to their own (e.g. the Athenian jury in the ‘Wasps’, and the failings of the government in ‘Frogs’). It is vital, then, that Aristophanes conveys his political and social views through slapstick, farce, and caricature to interest the audience. This is an important component in both plays as the audience is able to simultaneously accept his diplomatic views whilst being entertained. After all his main point for producing his plays were to produce something with a “little fable, with a moral”.