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love in plato symposium and odyssey
love in plato symposium and odyssey
love in plato symposium and odyssey
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After Phaedra decides to kill herself, the chorus gives what I think is a little prayer or poem to free Phaedra from this consuming love but they talk about how she arrived to Athens from her homeland Crete and the fact that she’s found nothing but misery in Athens. Just before she commits suicide they finish it off with, ”And therefore her soul has been broken / by the terrible sickness of Aphrodite, / an unholy love” (762-765). In Hippolytus by Euripides, love is described as a sickness. A metaphor for her feelings towards Hippolytus and its illicitness. The metaphor today helps explain why people fall in love,but is mostly used to talk about the dark forbidden aspect of love.
Greek plays are what I consider to be very important text. That’s because they allow for people of the present to understand what Greek playwrights and their audiences thought or believed, as well as what life was like at the time. Nature was one of those topics that the Greeks found a way to explain, nowadays we have science to explain to us things like; why people get sick, or why does the sun rise and fall. For the people of Greece this was not the case, they were polytheistic and practically had a god for everything, some of the most popular being Zeus, Apollo, Artemis, and Aphrodite. These gods represented things like the sun, music, hunting and love. People used to pray to different gods, hoping to please them and that the specific god they called on would hear their pleas and grant them their prayers. Gods were also blamed for anything and were often seen as mischievous and intrusive in literature. Sometimes they played with the life of a mortal, or the emotions and usually this would result in a tragedy.
As a writer, Euripides uses the ...
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... consequences. I think that had Phaedra and Hippolytus began a relationship Theseus would have them both killed or exiled, because their actions would be deemed unforgivable.
The dark forbidden aspect of love, is highly looked down upon in both Ancient Greek times and current day. It’s considered a sickness, a consuming love that only leads to misery. In Hippolytus, Euripides uses the word sickness to describe the illegitimate desires that Phaedra had for her step-son Hippolytus. In current times love as a sickness can also be used to describe the illicit love that is still looked down on. Euripides’ use of gods to remove some accountability is excused due to the fact that in Ancient Greece it was common to believe that gods had control of human lives. Now that excuse just won’t do and in today’s society people hold all the accountability of their actions.
Indeed, Phaedras? representation of male homoerotics aligns quite easily with that of the lyric poets. Theognis speaks often...
Phaedra has a very lustful personality. She lusts over her stepson and cannot control it. This love is forbidden and frowned upon, which is why Phaedra keeps it a secret for so long, just like Tartuffe keeps his love for Elmire a secret in Moliere’s work Tartuffe. “I’ve given the neighboring rooms a full inspection; / No one’s about; and now I may at last…” (Moliere 77) Even though Phaedra’s situation is different than that of Tartuffe’s, it can still be seen as a similar situation in terms of forbidden love. Even if Phaedra wanted to stop lusting over Hippolytus, she cannot. According to Lattimore, Aphrodite announces “she has made Phaedra fall in love with Hippolytus, that Phaedra is keeping it a secret and like to die, but she is a necessary instrument for the young man’s punishment.” (7) She cannot part from this world to save herself the misery because she is needed to inflict punishment on Hippolytus. Without her husband, Theseus, here, imagine how much greater Hippolytus’ appeal is. “With Theseus away for over six months on one of his adventures, she burns with ...
Theseus and Hippolyta’s relationship is the most dignified in the play. They show a desire to get along and they are comfortable sharing experiences and feelings important to them (1.1.1-11; 4.1.111-126). Theseus tenderly dominates Hippolyta: “Come, my Hippolyta. What cheer, my love?” (1.1.122; 4.1.185). Hippolyta however never reciprocates his use of terms of endearment such as “my love” and “fair queen.” In addition, the mythical context of their relationship is foreboding. We are reminded that Theseus is able to marry Hippolyta because he kidnapped her (1.1.16-1.1.19). The mythical Hippolyta later either dies in childbirth, or fighting against the Amazons by Theseus's side, or Theseus leaves her for another woman, Phaedra, and the story gets more sordid after that.[1] Theseus’s reputation as ravisher of women is addressed in the script (2.1.74-80). And the Amazon method of perpetuating their tribe is not romantic.[2]
Humans have many ambitions in life, yet most people’s ambitions fall into one spectrum. This spectrum? Love. People often express their desire for love, yet don’t realize that love is carried with them throughout their lives. In today’s society, ‘love’ is a commonly used term to describe a relationship based on affection for another person. However, love has many levels of complexities. Ancient greeks recognized the various forms love can take. Some of which include eros, storge, and philia. William Shakespeare, in his classic drama “Romeo and Juliet,” and other authors use eros, storge, and philia to explore the complexities of love and its effects.
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.
Hellenistic views of marriage are very different from modern views in many ways, and because of these differences, it can be easy to dismiss archaic and Athenian marriages as loveless or purely functional. However, it should be noted that there are definite examples of these marriages being mutually supportive and loving. One can see these characteristics especially well in two works, Oeconomicus by Xenophon, and Alcestis by Euripides. Although different, these two stories demonstrate both the mutual support and love that can be found in Hellenistic marriages.
Many people would blatantly state that the importance of the gods in Greek society derives from the fact that Gods in any society are usually used to explain phenomenon that people cannot logically comprehend, but in ancient Greece gods were actually entities that took part in the workings of society itself. Even simple aspects of day-to-day life such as sex and disputes between mortals were supposedly influenced by godly workings. Unlike modern religions such as Catholicism, Buddhism, and Hinduism, where an omnipotent force supposedly controls the workings of the world, a hierarchy of Gods characterized religion in ancient Greece. Working as one big family, which they actually were, each one of the Greek gods governed a certain aspect of the world in a way that usually reflected their own humanlike personalities. These unique personalities also contained many human flaws such as envy and greed, and were where the Greek God’s importance lay. Greek religion was more concentrated on the way an individual dealt with situations that popped up in the world around him than on understanding the world itself. In other words the Greeks were more interested in the workings of the mind than in the workings of the environment around them.
From the begging of time, where humans where non-existent, the nature of gods was very chaotic due to there always being a power struggle between the gods. Through myths, many people were able to take into accounts of how the gods interacted with humans for better or for worse. It was known to many Greek citizens that gods were these almighty powerful beings who were praised and had to be treated with respect and dignity. Many people also feared the gods because there were known to disguise themselves as humans, and lay curses to those who did not obey the beliefs that the gods expected. Due to the power struggles between the gods many humans were caught in the crossfire because each god cared about power and rule. Aeschylus’ tragedy “Prometheus
I have always thought that there was only one type of love, which was that feeling of overwhelming liking to someone else. I am aware that Lust does exist and that it is separate from Love, being that the desire for someone's body rather their mind. In Plato's Symposium, Plato speaks of many different types of love, loves that can be taken as lust as well. He writes about seven different points of view on love coming from the speakers that attend the symposium in honor of Agathon. Although all these men bring up excellent points on their definitions on love, it is a woman that makes the best definition be known. I will concentrate on the difference between the theory of Common and Heavenly love brought up by Pausanias and the important role that Diotima plays in the symposium.
Throughout the play love is used by Euripides as a key plot factor and in many ways sets the outcome of the play. This love was definitely based on a physical attraction between a male and a female, thus making it “Common” love. The fact that Euripides uses “Common” love lends credibility to Pausanias’ philosophical ideas. The appearance of this idea suggests that it had realistic roots. . The events that took place in the play, such as the relationship between Phaedra and Hippolytus, must have been realistic so a Greek audience would believe the story. Even though Hippolytus is a fictional play the events that take place must have their roots in realistic events. This allows us to believe that Pausanias’ philosophical ideal was in fact a real life issue that Athenians dealt with in day-to-day life.
Aristophanes thinks that a human’s love is clearly “a lack” – a lack of one’s other half- and having no meant to satisfy themselves they begin to die. Zeus, having failed to foresee this difficulty repairs the damage by inventing sexual reproduction (191 b-c). Any “embracements” of men with men or of women with women would of course be sterile – though the participants would at least “have some satiety of their union and a relief,” (191 c) and therefore would be able to carry on the work of the world. Sex, therefore, is at this stage a drive, and the object is defined only as human. Sexual preferences are to emerge only as the human gains experience, enabling them to discover what their “original form” had been.
One of the best summarizes of Greeks’ gods attitude toward human is the claim of Aphrodite in Euripides’ Hippolytus that she will treat well the people who revere her power, but will “trip up” those who are proud towards her, and this pri...
The ancient Greeks lived in an influential and creative time. Music filled the streets, sculptures towered over the city and masterpieces hung on walls everywhere. Children were being educated which led to great philosophers in the future. This city-state was flourishing and is now known today as one of the most advanced ancient civilizations. As progressive as these people were sadly, they were held back by their own beliefs. The fear of a raging hurricane controlled by Poseidon or one of Zeus’s deadly lightning bolts left people scared that these awful things could happen to them which made following the lessons of the stories a lot easier than thinking for themselves. When the consequences were so deadly why wouldn’t you follow the rules? The gods were a great way to describe what was going on around them. It was an easier explanation then a scientific equation. The Greeks were not encouraged to think for themselves but were rather expected to follow the lessons of the myths in love, character traits and in the afterlife.The ancient Greeks grew up with stories of cursed lovers and doomed mortals for falling in love with immortals. Love was a dangerous thing in Greece and falling in love with the wrong person could mean disaster. A great example of being punished for falling in love are Cupid and Psyche. Venus was so jealous of Psyche’s beauty she tried to put a spell over her and make her fall in love with an awful beast (Hamilton, 97). When that didn’t work she made her do impossible tasks (Hamilton, 102). Hera is another imp...
Love, in classical Greek literature, is commonly considered as a prominent theme. Love, in present days, always appears in the categories of books, movies or music, etc. Interpreted differently by different people, Love turns into a multi-faceted being.
Let’s first focus on the Phaedrus, where Plato gives a detailed account of the psychology and the art of love. Socrates first introduces a thought-provoking analogy, comparing the soul to “the natural union of a team of winged horses and their charioteer” (246a6). One of the horses represents modesty and self-control, while the other one is full of excessive appetite. The charioteer (which could be interpreted as human’s rational element as mentioned in the Republic) tries to suppress the bad horse so that he can leads the chariot “toward what is best and in control” (237e3). However, if he is unable to do so and let the bad horse take control, “appetite drags us irrationally towards pleasure and rules in us, its rule is call excess (hubris)” (238a1). If love is controlled purely by the drive toward pleasure, this kind of erotic love is bad, as Lysias rightly belittles in the Symposium. In Socrates' view, however, there is also another kind of love, namely: