Aside from all the prodigious number of Greek tragedies in history, stands a collection of Greek comedies which serve as humorous relief from the powerful overtone of the tragedy. These comedies were meant to ease the severity and seriousness sometimes associated with the Greek society. The ideas portrayed in the comedies, compared to the tragedies, were ridiculously far-fetched; however, although abnormal, these views are certainly worthy of attention. Throughout his comedy, The Clouds, Aristophanes, along with his frequent use of toilet humor, ridicules aspects of Greek culture when he destroys tradition by denouncing the importance of the gods' influence on the actions of mortals, and he unknowingly parallels Greek society with today's. Aristophanes also defiantly misrepresents an icon like Socrates as comical, atheistic, and consumed by ideas of self interest, which is contradictory to the Socrates seen in Plato's Apology or Phaedo.
Aristophanes denounces the importance of the gods' influence on the actions of mortals. In the usual tragedy, the gods play an extremely important role towards the actions of the mortal characters. Through fear of the alternative and examples of the past, Athenians carried out their everyday lives under the guidance of the gods' wishes. Aristophanes challenges the audience, and Greek culture as a whole, by offering a different view on the answers and directions of life, than that of the gods. He denounces the parables and explanations to answers in life that involve the gods. Instead he explains that such things as the aerial whirlwind, and especially the clouds, are the reasoning behind all of natures actions. On the surface these comments were seen as a mockery and very humorous. Underlying this humor is a scary truth, most likely ignored by the congregations witnessing this play. How many times has a character in a tragedy been so willing to contradict the gods? Dominant characters like Creon and Prometheus have blatantly disobeyed the gods. The alternative explanations serve a hidden truth in the hearts of many of the Athenian people. This truth is always again repressed by the end of each play, tragedy or comedy; because their was too great of a fear to upset the higher beings.
Aristophanes, although he wrote in 420 BC, parallels much of Greek society with that of today's. He disrupts the audiences' comfort thro...
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...ety whom should be scorned and laughed at. Also, in the Apology, Socrates and the other great teaching elite, were suspected of accepting money for their skills which could have place him in a category with his portrayal in The Clouds, but he was able to dispel those rumors in his defense.
Throughout his comedy, The Clouds, Aristophanes ridicules aspects of Greek society when he destroys tradition by denouncing the importance of the gods' influence on the actions of mortals, and he unknowingly parallels Greek society with today's. Disguised by laughter, he digs deep into the truth by which citizens of Greek and future cultures will abide. Aristophanes challenges humans' strength in belief systems, fortitude of character, and ability to deal with the complexity of parenting. He also defiantly misrepresents an icon like Socrates as comical, atheistic, and consumed by ideas of self interest, which is contradictory to the Socrates seen in Plato's Apology or Phaedo. However different from each other, each writing contained a role for Socrates, which symbolized the messages trying to be conveyed in each. So even if the name is alike, the ultimate purpose of a good character was met.
Throughout Aristophanes’ “Clouds” there is a constant battle between old and new. It makes itself apparent in the Just and Unjust speech as well as between father and son. Ultimately, Pheidippides, whom would be considered ‘new’, triumphs over the old Strepsiades, his father. This is analogous to the Just and Unjust speech. In this debate, Just speech represents the old traditions and mores of Greece while the contrasting Unjust speech is considered to be newfangled and cynical towards the old. While the defeat of Just speech by Unjust speech does not render Pheidippides the ability to overcome Strepsiades, it is a parallel that may be compared with many other instances in Mythology and real life.
In reading the comedies of Aristophanes, modern readers are able to catch a rich glimpse of the gender norms and expectations of his time. Visions of power-hungry, crafty women and bumbling, foolish men pervade his plays and reveal ancient Greek views and stereotypes regarding male and female roles. One of the more complicated concepts to grasp, however, is Aristophanes’ true sentiment regarding homosexual love and practice. The aim of this paper is to compare Aristophanes’ presentation of homoeroticism in The Women at the Thesmophoria to that of his speech in Plato’s Symposium and attempt to clarify the playwright’s stance on the matter. In these two works, Aristophanes offers a mix of mocking and approving sentiments oh homosexual men and the practice of homosexuality itself. As he is a comedian, Aristophanes immerses his characters in satire in order to gain laughs from the audience; by looking carefully at the texts, we can see he does not actually see homoeroticism as an institution to be derided and ridiculed.
Throughout all the years, he never could find anyone as wise as himself, and all he did was make enemies searching. These enemies are now his accusers, and they accuse him of spreading evil doctrines, corrupting the youth, and not believing in the Gods. Throughout the speech, Socrates continues to shoot down every accuser and it is evident that he has done no wrong. Eventually, one of his accusers states that he must be doing something strange and that he wouldnt be that famous if he were like other men. Socrates did not live a very public life unlike most people at that time.
For these two articles that we read in Crito and Apology by Plato, we could know Socrates is an enduring person with imagination, because he presents us with a mass of contradictions: Most eloquent men, yet he never wrote a word; ugliest yet most profoundly attractive; ignorant yet wise; wrongfully convicted, yet unwilling to avoid his unjust execution. Behind these conundrums is a contradiction less often explored: Socrates is at once the most Athenian, most local, citizenly, and patriotic of philosophers; and yet the most self-regarding of Athenians. Exploring that contradiction, between Socrates the loyal Athenian citizen and Socrates the philosophical critic of Athenian society, will help to position Plato's Socrates in an Athenian legal and historical context; it allows us to reunite Socrates the literary character and Athens the democratic city that tried and executed him. Moreover, those help us to understand Plato¡¦s presentation of the strange legal and ethical drama.
Greek tragedies often teach readers several valuable lessons, one of which is the catastrophe caused by acting on emotions. Both Oedipus and Antigone experience this as a result of their rash behavior. Even Creon ends up miserable in Antigone due to the change in his behavior. By acting on their emotions, these characters all experience tragic downfalls, while others, such as Ismene and Creon during Oedipus Rex, remain safe due to their prudence and indications of wisdom.
The debate between Unjust and Just Speech in Aristophanes’ Clouds draws the reader’s attention to the theme of natural pleasure versus lawful justice. The debate begins with the two Speeches representing
Euripides’ Electra is a tragedy that encourages readers to consider the problematic nature of humanity’s response to injustice: its quest to make fair that which is unfair, to correct unjust actions, and to mark the fragile border between what is ethically correct and morally wrong. Aristophanes’ Clouds is a tragedy disguised as a comedy that illuminates Strepsiades’s profound disregard for justice, conduct, and the establishment of civilization. Underneath Aristophanes’ comedic approach lies a dark conclusion that alludes to a problem that civilization faces today: ignorance and its resistance to evolution. Electra adheres to its respective form as a tragedy while Aristophanes’ Clouds outgrows its comedic structure to form a darker, more serious conclusion.
Aristophanes’ Clouds begins by introducing the audience to Strepsiades, a simple-minded and old man who finds himself in debt due to his son’s ,Pheidippides, expensive hobby. Strepsiades asks Pheidippides to attend Socrates’ thinkery; a place where Pheidippides could learn a speech that he could then use to talk the city and Strepsiades’ creditors out of collecting the debt. From the very initial moment of this play, therefore, we witness an individual who finds himself in direct collision with the laws of the polity. Specifically, Strepsiades’ is in collision with those features of civil law that seek to ensure that interactions between citizens are characterized by a somewhat
The late 5th, early 4th centuries, in Athens were an eventful and emotional time for civilians. Between wars and the political debates of the time, civilians were fearful and anxious over the uncertainty of their government. To their advantage, they had games and other forms of entertainment, such as western theater to distract them from the outside world. Aristophanes was one of many playwrights to write comedy and satire plays, specifically Clouds and Women at the Thesmophoria are said to be the best explanation of Aristophanes concerns on contemporary Athens.
In Ancient Greece, new ideals surfaced as answers to life's complicated questions. These new beliefs were centered on the expanding field of science. Man was focused on more than the Gods or heavenly concerns. A government that was ruled by the people was suggested as opposed to a monarchy that had existed for many years. Freedom of religion was encouraged in city-states. These new ideals, though good in intentions, often conflicted with each other creating complex moral dilemmas. Such was the case in Antigone, a play written by Sophocles during this era of change. In the play, Antigone and Creon battle a philosophical war exemplifying the conflict existing in the Greek ideals. They both based their actions on their beliefs of what is right and wrong. The conflict arose when the ideals that backed up their actions clashed with each other, making it a contradiction between morals.
In his published lecture concerning Aristophanes' plays, Cedric H. Whitman discusses what he considers as the general template of all of Aristophanes' main characters: the comic hero. Whitman defines a comic hero as possessing great individualism, a good deal of poneros, meaning wickedness, and striking a balance of eiron and alazon, which translates into being a mixture of an ironical buffoon, who makes fun of himself for his own amusement, and an imposter, who disguises his true identity or feelings. He sees the comic hero as one who is extremely self-motivated and self-centered: "whatever is heroic is individualistic, and tends toward excess, or at least extremes. It asserts its self primarily . . ." Whitman also declares that poneros is necessary in the character of the comic hero, that this person is villainous, manipulative, and very convincing. The comic hero is shameless in expressing his desires, and he has no shame in pursuing them by any means necessary, whether such acts would be considered right or wrong. Whitman also recognizes the mixture of eiron--ironical buffoonery--and alazon--being an imposter--in the comic hero of Aristophanes' plays. "The mere buffoon, says Aristotle, makes fun for the sake of getting a laugh for others; the ironical man makes fun for his own amusement, which is more worthy of a free man.
In his tragic trilogy, The Theban Plays, Sophocles portrays the essence of Ancient Greek life; their culture, politics, religion and the maxims that are intended to guide their daily life through the actions of the main characters, Oedipus, Creon, and Antigone. Sophocles employs the use of thematic structures that coherently affects each character uniquely, and one of the most common themes depicted in these plays is that of fate vs freewill. In the Theban trilogy, Sophocles uses a well-structured theme of fate vs freewill to establish the relationship between the Greeks and the gods, as well as to illustrate the limits of mortality.
In Ancient Greece the existence of gods and fate prevailed. In the Greek tragedy King Oedipus by the playwright Sophocles these topics are heavily involved. We receive a clear insight into their roles in the play such as they both control man's actions and that challenging their authority leads to a fall.
Not only does Aristophanes utilize irony in scenes to transform political attitudes, but he also uses humorous satire. During the sex boycott, one of Lysistrata's followers, Myrrhine, seduces her husband, Cinesias, stalling the entire time to heighten his desire so he will commit to peace. However, when Myrrhine asks if he will, his reply is "I'll think about it" so she runs away leaving him "in torment." The fact that Cinesias will say anything in order to have sex satirizes men's weaknesses. In addition, the scene foreshadows the other men's reactions as they fight to sign the peace treaty so they can return home with their wives and end the oath.
Out of all the famous Greek playwrights, Sophocles has to be one of the most well known of all. All seven of Sophocles’ plays “are often considered the most perfect achievement of ancient Athens” His plays make the audience think about the character’s actions, such as asking who was in the right and who was in the wrong. Sophocles’ plays ‘are just as relevant today as they were in the fifth century B.C.E.” (“Ancient Athenian Drama” 701). There are some connections between events in Sophocles’ life and his plays Oedipus and Antigone.