There is a deep sense of realism that lies in the play Ion. The opening of the play arouses an old wrong, the seduction of Creusa by Apollo, which slowly develops into a tangled plot of deceit. The theme of the play is unique in how it is centered on a human dilemma that many can associate with in some way.
From the beginning, one can only imagine the outcome of Apollo’s seduction of Creusa. To make matters worse she has a child. There is an uncanny feeling of darkness and silence as she is made to keep her lips sealed. It appears that she gave up her son from fear of her parents. Like many young girls today she made a drastic decision in order to conceal her pregnancy. Apollo in this play is given human attributes. He is depicted as a barbarian who truly lacks the goodness of a god. Indeed a critical problem has developed with Apollo’s seduction of Creusa.
Apollo from the beginning is perceived as a demanding figure. Creusa is seen as the passive figure with no say in her circumstances. How could a mortal expect to make a god care for a child? This is where Euripides attempts to bind the mortals and the gods together. Apollo and Creusa share a common problem, and each makes different decisions in how they will go about solving that problem.
Immediately after Creusa leaves Ion in the cave, Apollo rescues him. Apollo’s actions are strange in that he goes as far as to catch the soul of the priestess so that she would care for his son but yet refused to give aid to Creusa. As a youth, Ion is appointed as a guard of Apollo’s gold, then an altar attendant and later the chief caretaker. Ion knows nothing of his birth, and asks no questions because of his deep respect for Apollo. He is happy in his service to the gods never knowing the agony that his mother is suffering as she longs for her lost son. It is critical to recognize that throughout the story no one acknowledges Apollo as the agitator of all the problems.
Creusa marries Xuthus and they find themselves unable to have children. While she longs to have a child, she can only regret the loss of her son years ago. Because they desire to have children, they go to Delphi to consult the gods.
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
Throughout the book, Apollo only wanted to gain his powers as a god again and go back to Mount. Olympus, cared for only his own troubles, and concern for only himself (only in the beginning though). This all proves
...wants to save his people. He discovers that his real parents are King Laius, the man he killed, and Queen Jocasta, his wife. All along he was the man that put the curse on the city he loved and he sees that the Oracle that he was certain he got rid of actually came true.
Throughout the Greek play, “Antigone”, we see one of the main character’s, Creon, who recently was named King of Thebes due to his Nephews battling to the death for the throne. Creon by the end of the play would eventually develop a theme known as a “Tragic Hero.” His character's emotion and motivations conflict with another main character, his Niece who the play is named after, Antigone. The characteristics of Creon have conflicting motives such as his hierarchy, greed, and vengefulness are highlighted by Antigone’s opposing ethics. Ultimately these conflicting motivations develop Creon as a tragic hero by making him regret his Decree and rash decisions once he has learned of his fate.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
At the outset of Oedipus Rex no female characters are present; the reader sees a king who comes to the door full of curiosity: “Explain your mood and purport. Is it dread /Of ill that moves you or a boon ye crave?” When the priest has responded that the people are despairing from the effects of the plague, the king shows sympathy for his subjects: “Ye sicken all, well wot I, yet my pain, /How great soever yours, outtops it all.” Thomas Van Nortwick in Oedipus: The Meaning of a Masculine Life : “We see already the supreme self-confidence and ease of command in Oedipus. . . . exudes a godlike mastery in the eyes of his subjects. . . .”(21-22); such “godlike mastery” will be his undoing. The critic Ehrenberg warns that it “may lead to ‘hubris’” (74-75). Throughout the drama Sophocles draws out an ongoing contrast between the “godlike mastery” of the king and the softer, more balanced and selfless characteristics of Jocasta, his wife. She is a foil to Oedipus. Shortly thereafter Creon, Jocasta’s brother, is returning from the Delphic oracle with the fateful words of the god’s command: “...
In his literary work, Eça’s female characters are marked for life and are either weak or are prostitutes; in the case of Genoveva in “The Tragedy”, she is the latter (King and Sousa 200).
The play was considered comic by the ancient Athenians because of its rhyming lyricism, its song and dance, its bawdy puns, but most of all because the notion and methods of female empowerment conceived in the play were perfectly ridiculous. Yet, as is the case in a number of Aristophanes’ plays, he has presented an intricate vision of genuine human crisis. In true, comic form Aristophanes superficially resolves the play’s conflicts celebrating the absurdity of dramatic communication. It is these loose threads that are most rife with tragedy for modern reader. By exploring an ancient perspective on female domesticity, male political and military power, rape, and efforts to maintain the integrity of the female body, we can liberate our modern dialogue.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
...scene and the misogynistic views of such as Iago, 'How if she be black and witty'' with the later scene of Act IV Scne iii and Desdemona's refusal to say the word 'whore', 'I cannot say whore/It does abhor me', then the dark baseness of the male world is seen in opposition and dark contrast to the innocence and naivety of Desdemona.
Finally, this report will identify recomendations for Starbucks to minimze future loss and to compete with major competitors like McCafe and Gloria Jeans Coffee.
With clear core values towards providing quality coffee, the best service, and atmosphere, Starbucks has enjoyed great success since it was founded 30 years ago. The company has being doing very well for last 11 years with 5% or more store sales increase, even with the rest economy still reeling from the post-9/11 recession. However recent research, conducted to Starbucks, have showed some concerns regarding company’s problem meeting customers’ expectations.
Great quality products, customized, served in clean, convenient placed stores for everyday coffee, friendly and fast serving, everything in a pleasant atmosphere - these were just few factors that lead to the great success of Starbucks during the nineties. Their USP was a place where every American could escape from home or work, for a coffee drinking ritual; high quality coffee, according to each customer's taste, served in a special, intimate ambience. Their image was supposed to appeal to anyone, being based on the idea of community, "exploiting" the need of people to interact with each other, in a "third place", away from home or work.
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.
In addition to being best-known supplier of the finest coffee and promising only the highest quality products, Starbucks emphasizes firm values, provides guidelines to enhance employee self-esteem. This is to ensure continued customer satisfaction. Moreover, diversity has become a priority to providing an inviting environment to all consumers. Starbucks continues to abide by a strict, slow growth policy in which they set out to dominate a market before moving on to expand, thus history has shown this strategy to be successful for Starbucks, making them one the fastest growing companies nationwide.