Aristotle, a philosopher, scientist, spiritualist and passionate critic of the arts, spent many years studying human nature and its relevance to the stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides 'Medea', a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedly perpetuates many of the Aristotelian rules, there are some dramatic structures which challenge its standing with relevance to Aristotle's guidelines, and the judgment of Medea as a dramatic success within the tragic genre.
With relevance to the most qualitative of the Aristotelian rules, that which dictates the necessity of continuing cathartic elements throughout the action, Medea is doubtlessly an epitome. Aristotle (Poetics 7.2) wrote that a fitting tragedy ?should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation.?
These focus elements, of pity and fear are essentially what formulate the action within Medea, and in turn, reflect upon the characters creating a relevance to the audience, and the cathartic response for which Aristotle was so passionate. A key point within the text of Medea, which represents the perpetuation of these emotive elements, is when she is informed by Kreon, [Lord of Corinth] that she is to be exiled, as the following excerpt details.
MEDEA: Aiai. Utterly destroyed. Dead.
...
... middle of paper ...
... survived the bastardization which comes with any translation.
NURSE: If only the Argo hadn?t crashed through the waves
To distant and dangerous Colchis!
If only the pine trees on Pelion Mountain had never
been felled, for the heroes who went in pursuit of
the golden fleece for Pelias.
(Act 1, sc i. Lines 1-6
The speech is poetry in itself, and if such a verse can be created in translation, what beauty could be found in the original text.
If nothing else, this essay has proven the synthesis of Aristotelian and unconventional tragic elements, through the use of the tragic hero, the three unities and the support of a cathartic response from the audience. Also though, with disregard to many Aristotelian rules, to create perhaps not a dramatic success by Aristotle?s ideals, but undoubtedly an effective and challenging text which is Medea.
Medea is a tragedy written by acclaimed Greek playwright Euripides.fortunately, had the opportunity to view last night's performance. Euripides cleverly uncovers the reality of Ancient Greek society, shining a light on the treatment of women and the emotions and thoughts that provoked during their time in society. As they were voiceless, Euripides acted as a voice. The scene is set during a male- dominated society, Medea the protagonist challenges the views and chooses to ignore the normality of civilisation. Treated as an outsider her passion for revenge conquers the motherly instincts she possesses, provoking a deep hatred and sparking revenge towards her once loved family.
If we seek to justify Shakespeare's King Lear as a tragedy by applying Arthur Miller's theory of tragedy and the tragic hero, then we might find Lear is not a great tragedy, and the character Lear is hardly passable for a tragic hero. However, if we take Aristotle's theory of tragedy to examine this play, it would fit much more neatly and easily. This is not because Aristotle prescribes using nobility for the subject of a tragedy, but, more importantly, because he emphasizes the purpose of tragedy -- to arouse pity and fear in the audience, and thus purge them of such emotions.
The tragic play Medea is a struggle between reason and violence. Medea is deliberately portrayed as not a ‘normal woman’, but excessive in her passions. Medea is a torment to herself and to others; that is why Euripides shows her blazing her way through life leaving wreckage behind her. Euripides has presented Medea as a figure previously thought of exclusively as a male- hero. Her balance of character is a combination of the outstanding qualities of Achilles and Odysseus.
Othello is one of Shakespeare’s four pillars of great tragedies. Othello is unique in comparison to the others in that it focuses on the private lives of its primary characters. When researching the subject of Othello being an Aristotelian tragedy, there is debate among some critics and readers. Some claim that Shakespeare did not hold true to Aristotle’s model of tragedy, according to his definition in “Poetics,” which categorized Othello as a classic tragedy as opposed to traditional tragedy. Readers in the twenty-first century would regard Othello a psychological thriller; it definitely keeps you on the edge of your seat creating the emotions of terror, heart break, and sympathy. This paper will focus on what Shakespeare actually intended regarding “Othello” and its Aristotelian influences.
Sophocles, one of Athens great ancient writers lived through the fifth century B. C. (496-406). In such period of time, theater was considered to be both a religious and civic event. Religious because it happened only twice a year in the honor of the god of wine and crops, Dionysus; civic because every Athenian citizen was invited to take part in the famous three days of drama. Each day, during those days, a tragic play was presented for the audience’s edification. Those plays featured some important mythical or legendary event the audience is familiar with. The main character and the overall story being acted out are also known by every spectator. With that said, the play writer had some expectations to meet and some criterias to follow. Sophocles, in Oedipus the King, had to meet the standard schematic of a tragic play. He needed the base of a traditional plague, lead with a prologue followed by a parados. Many episodes would be added to the parados, as well as many odes. He would close the play with an exodos. There are also some more meaningful details the audience is expecting to see. Those details are included in the great greek philosophe Aristotle’s concept of tragedy. In this essay I will discuss the traditional schematic of a tragic play as well as the particular facts one is expecting to encounter. With Aritstotle’s concept of tragedy, the analysis of Scodel Ruth and Michelakis Pantelis, a scholar and a cultural critique, I will draw on how Oedipus the King fits within the popular theater of the fifth century.
Aristotle continued to express a tragedy arouses both pity and fear, pity for the doomed hero and fear for all humans who are subject to the same forces and weakness. It would not be difficult to discover that Othello demonstrate weakness and fear in the play, and Shak...
Throughout a person’s life, one goes through the process of rebellion. In the play Medea, a work in translation by Euripides, mythology is symbolic of rebellion. This statement will be proven through the analysis of mythology as fully symbolic of suppression. It will also be proven through an analysis of the world around the character Medea and analysis of Medea’s actions.
The speech itself highlights women's subordinate status in ancient Greek society, especially in the public eye." When Medea points out that women, especially "foreign" women, "require some knowledge of magic and other covert arts to exert influence over their husbands in the bedroom," she argues for a kind of alternative power that women can enjoy. A power that remains invisible to men and unknown by society, yet sways each with unquestionable force. Medea also supplies a method for interpreting her own character towards the end of her speech (lines 251-257): we should read her history of exile as a metaphoric exaggeration of all women's alienation; in fact, her whole predicament, past and yet to come, can be read as an allegory of women's suffering and the heights of tragedy it may unleash if left unattended. Under this model of interpretation, Medea portrays the rebellion of women against their "wretchedness." Such a transparent social allegory may seem forced or clichéd in our own contemporary setting, but in Euripides' time it would have been revolutionary, as tragedy generally spoke to the sufferings of a generic (perhaps idealized) individual, rather than a group. It would be a mistake, however, to claim that Medea's speech elaborates a clearly progressive political message, as her concluding remarks appeal to women's natural talent for devious manipulation (line 414). While Euripides' play manifests many revolutionary political sentiments, its social criticisms remain sporadic, forming just a part of some of the many trains of thought he follows.
Ironically, Medea’s actions are similar to a man when she takes charge of her marriage, living situation, and family life when she devices a plan to engulf her husband with grief. With this in mind, Medea had accepts her place in a man’s world unti...
Today, we might not see Euripides's Medea as offending or off, but at the time of the art festival that it was originally written for, many of the ideas it brought up challenged the ideas and beliefs that greeks at the time had, and these conflicts are what caused it to place last in this contest, even thought today we study it extensively. Medea is a very complex and ingenious play, slyly developing a character much more intricate than any Greeks had seen before. Medea, the sorceress that all Greeks knew and loved, was spun completely, not only "ruining" their old story, but going against their ideas of heroism, and their gods. But it also challenged them to look at themselves and question their identity, not just as a person, but as an entire culture. He made them ponder their own identity, and in turn, forced them to contemplate if they were truly ready for the next revolution in literature.
The Greek tragedy Medea is a tale of a woman scorn and the wrath that follows. The story is one of outright deceit, crippling revenge and questionable justice. It is typical of Greek tragedies in its simplicity, but atypical in the way it justifies horrific revenge. Medea is one of Euripides' most enduring plays. It and only a handful of others have survived the several thousand years since their conception.
The time period of Greek theater’s popularity was a very influential time in our world’s history. Without knowing what Greek theater was all about, how can someone expect to truly understand a tragic play and the history it comes with? The history behind the character of Oedipus, in the play Oedipus the King, is very complicated. His intricate past dealing with prophecies, family members, and murder is the main focus of the story. There are many characteristics that complete Aristotle’s definition of a tragic hero; these being the presence of hamartia and peripeteia, a sense of self-awareness, the audience’s pity for the character, and the hero is of noble birth.
Medea’s illegitimate marriage and the betrayal of Jason drive Medea to extreme revenge. Medea chooses to act with her immortal self and commit inhumane acts of murder rather than rationalize the outcomes of her actions. Medea see’s this option as her only resort as she has been banished and has nowhere to go, “stripped of her place”. To create sympathy for Medea, Euripides plays down Medea’s supernatural powers until the end of the play. Throughout the play Medea represents all characteristics found in individual women put together, including; love, passion, betrayal and revenge. Medea’s portrayal of human flaws creates empathetic emotions from the audience. The audience commiserates with Medea’s human flaws as they recognize them in themselves. Medea plays the major role in this play as she demonstrates many behavioral and psychological patterns unlike any of the other Greek women in the play; this draws the audience’s attention to Medea for sympathy and respect.
A modern tragedy of today and a tragedy of ancient Greece are two very different concepts, but ironically, both are linked by many similarities. In “Poetics”, Aristotle defines and outlines tragedy for theatre in a way that displays his genius, but raises questions and creates controversy. Aristotle’s famous definition of tragedy states:
According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself among many other things. Oedipus is often portrayed as the perfect example of what a tragedy should be in terms of Aristotle’s Poetics. Reason being that Oedipus seems to include correctly all of the concepts that Aristotle describes as inherent to dramatic tragedy. These elements include: the importance of plot, reversal and recognition, unity of time, the cathartic purging and evocation of pity and fear, the presence of a fatal flaw in the “hero”, and the use of law of probability.