“The Clouds” Summary and Response The ancient Greek theater was performed in the frame of religious rituals. In these rituals Athenians offered sacrifices to Dionysia, the god of wine, as their way of worshipping gods. There were two types of plays, the tragedy and the comedy, and each one of them used differently from the other. Aristophanes, the writer of the play, wrote “The Clouds” which was a comedy play to mock Socrates and his way of arguments. The following essay will discuss the “The Clouds,” and focus on the depiction of philosophers in the play and analysis the use of chorus. “The Clouds,” is about an old man named Strepsiades and his son, Pheidippides. The play begins with the father, Strepsiades who is frustrated with his wife and son. He grieves over the day his son was born, because Pheidippides thinks day and night about the horses. He is not useful for his father. Strepsiades is drowned with lots of debts and wants his son to join the Thinkery. It is a place to learn how to argument and persuade. The old man wants his son to learn more about arguments, so his knowledge becomes handy when Strepsiades argues with creditors. Pheidippides refuses to enroll in the Thinkery, so his father decided to enroll himself. Strepsiades meets with Socrates at the Thinkery. …show more content…
The Chorus is a character in the ancient Greek theater. It was a group of performers which originally consisted of fifty seven members and later reduced to twelve members. The Chorus represents the conscience of society and their purposes were to break up the plot line, give commentary, and repeat a point that the author wanted to wave throughout the play. Moreover, they provide time to change the scenes. In the play, Chorus represents the goddesses who make up the clouds. The clouds interact with the Socrates and Strepsiades and made some comments on the wisdom of Socrates and the foolishness of the old man’s
The theater of Dionysus stands at the foot of the acropolis and its date originates back to the 6th Century, B.C.. Its originally wood seats rise in tiers above one another against the slope of the acropolis, creating a natural setting for the plays (D'ooge, 231). The Greek Theater was built to house a drama which, during the festivals of Dionysus, had evolved from the long tradition of choral hymns which were presented each year. As Greek culture changed and flourished, entertainment transformed from being a series of choral chanting and dancing to placing an emphasis on the actor. As the actors' importance grew, there became a need for a stage from which they could be seen by each of the fourteen thousand spectators the theater housed. The chorus was still a very active part of the entertainment and they resided in the orchestra (Norwich, 64). The orchestra was the oldest part of the Greek theater and thus, when the actor was given
ABSTRACT: I analyse the dramatic setting of the Gorgias by contrasting it with that of the Protagoras. The two dialogues are closely related. In the Gorgias Socrates states that the rhetorician and the sophist are basically indistinguishable in everyday life. In both the Protagoras and the Gorgias, his confrontation with his interlocutors is metaphorically related to a descent to Hades. However, while the events in the Protagoras are narrated by Socrates himself, the Gorgias has readers face the unfolding events without mediation. The temporal and spatial framing of the Gorgias is indeterminate, while both aspects are described in detail in the Protagoras. I maintain that the magical passage from an indeterminate "outside" to an indeterminate "inside" in the Gorgias is significantly related to the characters' attitude towards the boundaries of each other's souls, which are constantly ignored or attacked. As a matter of fact, the dialogue presents a very impressive amount of anger and exchange of abuse, which never ceases until the end. I suggest that the temporal framing demonstrates that the beginning and the end of the dialogue are closely connected. Socrates unexpectedly arrives and refutes Gorgias by asking him unexpected questions. The last myth of judgment indicates that Gorgias' attitude is comparable to that of the mortals who lived during Kronos' age, while Socrates brings about a liberation from appearance which is analogous to the innovations brought about by Zeus.
Within the many layers of Aristophanes’ comedic play Clouds, the ceaseless conflict between human nature and political virtue is unmistakable. After being expelled from the Thinkery, Strepsiades refuses to give up his cause to evade his creditors and sends his reluctant son Pheidippides to learn the art of rhetoric in his place. Even before venturing to the Thinkery, Pheidippides warns his father that he will severely regret his decision to coerce him into learning with Socrates, a correct prediction. When both Strepsiades and Pheidippides enter the Thinkery, Socrates introduces both the Just Speech and Unjust Speech. Yet, he immediately exits and leaves Pheidippides to observe and “learn them [just and unjust things] himself” (886). The two
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.
Socrates was wise men, who question everything, he was found to be the wise man in Athens by the oracle. Although he was consider of being the wises man alive in those days, Socrates never consider himself wise, therefore he question everything in order to learned more. Socrates lived a poor life, he used to go to the markets and preach in Athens he never harm anyone, or disobey any of the laws in Athens, yet he was found guilty of all charges and sentence to die.
When Strepsiades first arrives at the thinkery, he is met by the student who tells him the sort of things pondered in the thinkery. He told Strepsiades, “Just now Socrates was asking Chaerephon how many of its own feet a flea could leap” (Aristophanes, 144-145). Aristophanes’ goal is to mock Socrates and his followers, but he knows that a true philosopher is constantly pondering new things and questioning everything he examines. One of Socrates’ friends went to the Oracle, and “he asked if there was anyone wiser than I. The Pythia replied that no one was wiser” (Plato, 21a). Due to his knack of questioning everything, Socrates wonders what it could mean since so many people throughout Athens were considered to be wiser than he was. He tells his jury that “when I heard these things, I pondered them like this: ‘What ever is the god saying, and what riddle is he posing?’” (Plato, 21b). A philosopher believes nothing from faith, but only through reason. Therefore, Socrates had to figure out the meaning of what the Oracle said by his
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.
The circular area in the middle of the theatre is called the orchestra. The music of the orchestra. In ancient Greek times this area would have been used for dancing and where the ‘chorus’ would sing and perform. A ‘chorus’ was. a group of people who would play a major part in ancient plays often describing scenes much like a modern narrator.
During this essay, the trail of Socrates found in the Apology of Plato will be reviewed. What will be looked at during this review is how well Socrates rebuts the charges made against him. We will also talk about if Socrates made the right decision to not escape prison with Crito. Socrates was a very intelligent man; this is why this review is so critical. In Plato’s Apology, it seems that overall Socrates did an effective job using the 3 acts of the mind.
In Aristophanes’ Clouds, the character Socrates is clearly intended to be a subversive member of Athenian society. He runs the school, the Thinkery, which takes in young Athenians and teaches them what Aristophanes portrays as bizarre concepts and ideas, “whether the hum of a gnat is generated via its mouth o...
In Sophocles’ Oedipus the King, the audience is able to gain a deeper understanding of Oedipus’ downfall due to the context provided by the chorus. Through its own wavering faith in the Gods, the chorus is able to explain and add meaning to Oedipus the King that would not otherwise be evident. Further, the chorus’ explanation allows Sophocles to expose his goal in writing the play, giving the reader a unique perspective into the true cause of Oedipus’ downfall. Therefore, it is strictly the chorus that enables the reader to realize that the true cause of the plague is not a murderer but a crisis in faith.
This paper aims to study two significant playwrights, Sophocles and Euripides, and compare their respective attitudes by examining their plays in respect to plot and character structures. To achieve this goal, the paper is organized into two main sections. In the first section, we provide a brief biography of both Sophocles and Euripides. The second and last section includes summaries of Sophocles’ Electra and Euripides’ Electra which were based on same essentials and give an opportunity to observe the differences of the playwrights. This section also includes the comparisons that are made by our observations about the plays.
In the Greek theatre they take on a significant role of emphasising the storyline by groups speaking in unison rather than one single actor trying to reach the ears of around 17,000 listeners. They were after all a very natural part of Greek theatre and their absence would certainly reflect an unorthodox presentation. They also keep the emotion running as any scene changes can be done during their narrative sections. In a 20th Century production, the chorus performs a seemingly less essential role. As there would be ample amplification of sound, the chorus could be projected to the role of town folk who would fit into the structure of the play neatly.
In the list of characters at the beginning of the play, the Chorus is stated to be a chorus of Corinthian Women. This draws the first link between them and Medea. The Chorus follows Medea on her journey through this play. They act as narrators on important occurrences in the play; however, they also act as a device Euripedes uses to influence the opinion of the audience. He does this by presenting to the audience a moral voice in the Chorus. The audience can relate to them, because the Chorus is in a neutral position in the play. They are definitely an integral part of the play, but their role is not so much to influence the actual plot of the play, but more to echo what has happened in the plot and the thoughts of the protagonists, and to suggest moral solutions the audience. The Chorus uses language which almost makes it seem that they are speaking from the perspective of the audience, and in doing this they are guiding the audience responses to what Euripedes wants it to be:
The role of the Chorus in the Shakespeare's play, Henry V, is significant. Due to the subject matter that the play deals with, it is hard to present in the way that it deserves. The Chorus helps the audience follow the play by helping them to picture things as they were through the use of imagery. It uses descriptive language in describing events that take place in the play. The Chorus also helps in making the plot of the play flow together better by filling the time lapses that occur between acts due to the fact that the event being depicted in only a few hours actually occurred over several years, leaving some gaps between events. It also explains what happens in an act beforehand because the scenes switch around from place to place, and it can get confusing. The most important function of the Chorus is that it encourages the audience to be patient and reminds them to use their imagination to envision the events that occur in the play, to really imagine the royal courts of England and France, and to really imagine the battle scenes with all the horses and men.