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Effects of tragedy on society
Importance of tragedy
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Many thematic issues are found in modern plays from classic myths in the book Nine Muses by Wim Coleman. Long ago, when life was full of mysteries, myths, or explanations, helped people make sense of a perplexing world. Myths also explain deeper questions. Such as, how did the world itself come to be? How did life begin? How were human beings created and why? And why is there suffering and death in the world? People of ancient cultures all over the world puzzled over such questions, and they created stories to answer them. One of the main thematic issues in Nine Muses is the tragic effect of engaging in actions which are forbidden. Some plays which express this thematic issue are “Pandora”, “Phaeton and the Sun Chariot”, and “Eros and Psyche”. One of the plays found in Nine Muses is “Pandora”. This play is about Hesoid, a Greek poet, who describes the creation of the universe of gods and humankind. He shares a story about “a gift for humankind” (P.22) or in other words, the first woman Pandora. As she enters the mortal world, she becomes the wife of Epimetheus, the brother of Prometheus, a titan. Epimetheus’s brother told him he is not to have anything to do with the gods, and when he found out that Pandora was a gift from the gods, he told her he told her that he could not accept her- a gift from the gods. Pandora finds a beautiful clay jar hidden behind a curtain, while searching for the “wife” of Epimetheus. Pandora reaches to open the jar assuming it has Epimetheus’s wife in it but Epimetheus stops her explaining that there are terrible things in the jar. Being a curious girl, as soon as Epimetheus leaves the room to attend his daily chores, Pandora walks over to the jar and opens the lid letting the terrible thi... ... middle of paper ... ...s talk and the two sisters become awfully jealous of her. After they try to find out the truth of Psyche and her husband, they leave with some jewels. The night after the two sisters leave, Psyche can’t sleep at night and order her servants to bring her a lamp. She sneaks into her husband’s room, to find a beautiful creature with great, white folded, feathered wings. He is the son of Aphrodite’s, Eros – she says. As she quietly moves away, her oil lamp drops oil on Eros burning him and waking him up. He explains to Psyche that “mortals and gods are forbidden to marry” (p.137) that’s why she couldn’t see him and now he must go away from her. In this play we see that Pandora should’ve listened to her husband, Eros, and it caused herself bad in not listening to Eros, but we see that things can work out after something terrible occurs, such as the birth of a child.
Comparing the Demeter of the Homeric Hymn to Hesiod’s portrayal of Pandora, each representation may, at first glance, appear as two entirely separate characterizations of an archaic wife’s role. A closer look at each story, however, suggests that the two women are actually made from the same substance, and each fulfills the same functions expected of women at the time.
While reading the works of Hesiod, it is impossible not to notice the way that women are characterized and discussed. In his two major poems, the Theogony and Works and Days, he makes no attempt to make his contempt and abhorrence of the female sex a secret. In Works and Days, Hesiod includes the story of Pandora – a woman created by the Greek gods meant as a punishment for the human race – in his discourse to his brother, Perses. The Theogony – through an account of the creation of the universe and the origins of all the gods – presents depictions of women as monstrous and wicked. The negative and misogynist views of women exhibited in Hesiod’s Theogony and Works and Days give insight into the similar views of women that existed in ancient
Both the poems of Hesiod’s tell of the curse of Pandora and both have Prometheus as the main character. Prometheus in both is the cause of why Zeus inflicted
The Ancient Greeks sought to define how humans should view their lives and how to create an existence dedicated to the basis of the “ideal” nature. This existence would be lived so as to create an “honorable” death upon their life’s end. Within their plays, both dramas and comedies, they sought to show the most extreme characteristics of human nature, those of the wise and worthy of Greek kleos along with the weak and greedy of mind, and how they were each entitled to a death but of varying significance. The Odyssey, their greatest surviving drama, stands as the epitome of defining both the flawed and ideal human and how each individual should approach death and its rewards and cautions through their journeys. Death is shown to be the consequence
Marriage is considered as one of the most important decisions and events in a woman’s life, even though; she has no direct control over this romanticized idea, especially in this typical patriarchal society. The wisdom and cleverness of Penelope, which she uses in The Odyssey to free herself from the traps set up by the greedy and ruthless suitors, have distinguished her from the female supporting characters in the epic poem and hence, dismissed her from the assigned role as a female in a patriarchal society that the Greek’s culture had unequally attached for thousands of years. Penelope demonstrates her intelligence at the beginning of the epic poem when she cleverly esc...
In Hesiod’s version, Zeus created Pandora as a punishment to man and illustrated her as an evil, deceitful and supposed curse on mankind, “Evil conspirators. And he added another evil to offset the good...she was a real pain for human beings” (Hesiod, 149-164) On the contrary women in Ovid’s tale were treated as companions who worked together for the greater good, as depicted by the myth of Pyrrha and Deucalion, “Then, side by side, they went without delay to seek the waters of Cephisus’ stream.” (Ovid, 17) Deucalion and Pyrrha are portrayed to be righteous and true devotes of the Olympian gods and hence given the responsibility of repopulating earth. Ovid demonstrates that the humans in this myth portray the role of a god, where they repopulate Earth with righteous humans, thus creating order in the universe again. He portrays their role as a vital component in this occurrence as without their diligence and morals—this act would not have been possible. Thus, establishing the human-centered concept of his
Aeschylus, was a master dramatist - he liked to portray conflict between persons, human or divine, or between principles.1 His trilogy of plays, the Oresteia, develops many conflicts that must be resolved during the action of the Eumenides, the concluding play of the trilogy. The central theme of the Oresteia is justice (dike) and in dealing with questions of justice, Aeschylus at every stage involves the gods.2 The Oresteia's climactic conflict in the Eumenides revolves around justice and the gods - opposing conceptions of justice and conflicting classes of gods. This essay will describe and discuss these conflicts and, more importantly, the manner in which they are resolved so that the play, and indeed the entire trilogy, might reach a satisfactory conclusion.
The myth of Eurydice is a sad story in which two lovers are separated by death. After his love dies, Orpheus journeys into the underworld to retrieve her, but instead loses her for good. Playwright Sarah Ruhl takes the myth of Eurydice and attempts to transform this sad tale into a more light-hearted story. However, despite humorous lines and actions throughout the play, the melancholy situation of the actual tale overwhelms any comicality present. Although meant to be funny, Sarah Ruhl's “Eurydice” can be seen as a modernized tragedy about two lovers who are separated forever by a twist of fate.
In Euripides’ tragic play, Medea, the playwright creates an undercurrent of chaos in the play upon asserting that, “the world’s great order [is being] reversed.” (Lawall, 651, line 408). The manipulation of the spectators’ emotions, which instills in them a sentiment of drama, is relative to this undertone of disorder, as opposed to being absolute. The central thesis suggests drama in the play as relative to the method of theatrical production. The three concepts of set, costumes, and acting, are tools which accentuate the drama of the play. Respectively, these three notions represent the appearance of drama on political, social, and moral levels. This essay will compare three different productions of Euripides’ melodrama, namely, the play as presented by the Jazzart Dance Theatre¹; the Culver City (California) Public Theatre²; and finally, the original ancient Greek production of the play, as it was scripted by Euripides.
Sophocles uses a mixture of both visual and emotional imagery to create the morally questioning, Greek tragedy ‘Oedipus Tyrannos’. He presents the audience with an intense drama, which addresses the reality and importance of the gods that the Greeks fervently believed in. The play also forces the audience to ask themselves if there is such a concept as fate.
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.
In Greek tragedy the natural forces are destructive. These forces might be nature, gods or fate. Man is helpless in facing these powers.
An interesting and important aspect of this Greek notion of fate is the utter helplessness of the human players. No matter the choice made by the people involved in this tragedy, the gods have determined it and it is going to come to pass. T...
One day, Psyche was led to a beautiful place until she was guided to a bedroom. An anonymous creature made love with her and due to the darkness; she was unable to see the creature. She then started to look forward to it, and the creature started to come to her every night but leaves before the sun rises. Psyche’s sisters pressured her to spy on the creature, whom they thought was a monster, by bringing a dagger and a lamp. One night, while Cupid was asleep, Psyche turned on the lamp and prepared the dagger to strike Cupid, but she saw the most attractive creature she has ever seen. Psyche unintentionally hurt herself with Cupid’s arrow that later resulted to a deeper passion. She then woke Cupid up by spilling the oil of the lamp. Cupid then flew away (Relihan 65).
Euripides’ Hippolytus is a play about a mortal prince whose name is Hippolytus. Hippolytus enjoyed hunting and remaining pure, so he decided to worship Artemis, the goddess of the hunt and virginity. He upset Aphrodite, goddess of love, to the point of rage. Wanting to take her rage on Hippolytus, Aphrodite decided to make Phaedra fall in love with Hippolytus. Unfortunately, Phaedra was Hippolytus’ step mother. Hippolytus could not fathom what his step mother was doing and he completely horrified by it. Out of shame, Phaedra decides to hang herself, but not before writing a note to her husband, Theseus, claiming that Hippolytus raped her. Theseus curses Hippolytus, which leads to his son’s death. In the end, Artemis appears and reveals the truth to both Theseus and Hippolytus. She also vows to avenge Hippolytus’ death by inflicting pain on Aphrodite’s next chosen person. Though this play is mainly about Hippolytus, the character who sets the plot in motion and is a vital tone of the themes is Phaedra.