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Evolution of gender roles timeline
Evolution of gender roles timeline
Euripides playwright
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Euripides Support of Women’s Rights One can hardly deny that in Euripides’ plays women are often portrayed as weak, uncertain, and torn between what they must do and what they can bring themselves to do. Other women appear to be the root of grave evils, or simply perpetrators of heinous crimes. In a day when analysis of characters and plot had yet to be invented, it is easy to see why he might have been thought to be very much against women. However, when looking back with current understanding of what Euripides was doing at the time, armed with knowledge of plot devices and Socratic philosophy, this argument simply does not hold up. In fact, a very strong argument can be made to the opposite, that Euripides was in fact very much in support of women’s rights, and thought they were treated unfairly. To begin to understand what Euripides was doing, it is best to understand the medium of his art: the Greek theater. Theater was a competitive art among playwrights, with several competitions throughout the year, the greatest of which was at the Dionysian festivals in the spring. Greek drama, tragedy in particular, had little in common with modern acting productions. There was little or no suspense as to the outcome of the play; most all were based on Homeric tales from The Iliad and The Odyssey. The skill, therefore, was not in creating a fascinating plot, but in the subtle changes the playwright could incorporate to increase the dramatic effect. Changing the reasons for conflicts, dialogue, order of events, and sometimes even the outcome of the play were all ways to do this. With all these devices available to the fifth century playwright, what made Euripides so special that he was almost exclusiv... ... middle of paper ... ... Euripides. Medea. Trans. Paul Roche. New York: Norton, 1974. Euripides. The Bacchae. Trans. Paul Roche. New York: Norton, 1974. Euripides. Andromache. Trans. John McLean. New York: Dial Press, 1936. Euripides. Hippolytos. Trans. John McLean. New York: Dial Press, 1936. Euripides. Trojan Women. Trans. John McLean. New York: Dial Press, 1936. Euripides. Electra. Trans. John McLean. New York: Dial Press, 1936. Nietzsche, Friedrich. The Birth of Tragedy. Trans. Clifton Fadiman. New York: Dover Publications, 1995. Perseus Encyclopedia. Revised 1999. Tufts University. www.perseus.tufts.edu/cgi-bin/encyclopedia?entry=Euripides>. Powell, Anton, ed. Euripides, Women, and Sexuality. New York: Routledge, 1990. March, Jennifer. “Euripides the Mysogynist?” Euripides, Women, and Sexuality. Ed. Anton Powell. New York: Routledge, 1990.
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.
The Bailey Island Bridge is located in Harpswell, Maine on Route 24. Before the making of the bridge, the fishermen that lived on Bailey’s Island wanted a bridge that connected their island to Orr’s Island. The town of Harpsweell made and voted on their decisions in the weekly town meetings (“Bailey”). The project was stalled because of some of the mainlanders in the town, but it was brought back up for discussion in 1912. They first agreed on a “road” which would connect the two islands and would be constructed with timber. This was to cost $3,000. The cost quickly reached $25,000 at a later town meting because they decided to build the bridge with stone and concrete instead. Once the legislature decided to pass a bill stating that it would fun state’s highway and bridge projects, they decided to move forward with the project (Hansen, 36).
Euripides’ Bacchae presents a challenge to the identity of the Athenian male citizen. The tragedy undermines masculinity and traditional gender roles by exposing their vulnerability and easy transgression, implicates Athenian ideals of rationality and self-control in the fall of Thebes’ royal household, and complicates the concept of what it means to be a citizen. With Athens’ defeat in the Peloponnesian War looming, Euripides represents the Athenian anxiety as they faced their potential destruction and loss of their city and their identity.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
*Although Medea is arguably the most intelligent character in Euripides’s piece, shown in her dialogue with Creon, she has become ridiculed, and viewed as barbarous and less desirable following her separation from Jason. She is no longer a wife to a Greek man. She is simply an outsider, and a burden on a prosperous
Euripides shows his views on female power through Medea. As a writer of the marginalized in society, Medea is the prime example of minorities of the age. She is a single mother, with 2 illegitimate children, in a foreign place. Despite all these disadvantages, Medea is the cleverest character in the story. Medea is a warning to the consequences that follow when society underestimates the
Medea and Lysistrata are two Greek literatures that depict the power which women are driven to achieve in an aim to defy gender inequality. In The Medea, Medea is battling against her husband Jason whom she hates. On the other hand, in Aristophanes' Lysistrata, the protagonist Lysistrata plotted to convince and organize the female gender to protest against the stubbornness of men. In terms of defining the purpose of these two literatures, it is apparent that Euripedes and Aristophanes created characters that demonstrate resistance against the domination of men in the society.
Euripides is a keen witness to the human character and the father of the psychological theater. His plays were modern at the time compared to others because of the way he focused on the personal lives and motives of his characters, in a manner that was unfamiliar to Greek audiences. His plays have often been seen, in simple terms, bad because critics have been unable to comprehend his visions. The ideas and concepts that Euripides developed were not accepted until after his death.
Many different interpretations can be derived from themes in Euripides's The Bacchae, most of which assume that, in order to punish the women of Thebes for their impudence, the god Dionysus drove them mad. However, there is evidence to believe that another factor played into this confrontation. Because of the trend of male dominance in Greek society, women suffered in oppression and bore a social stigma which led to their own vulnerability in becoming Dionysus's target. In essence, the Thebian women practically fostered Dionysian insanity through their longing to rebel against social norms. Their debilitating conditions as women prompted them to search for a way to transfigure themselves with male qualities in order to abandon their social subordination.
In Women at the Thesmophoria, a Kinsman of Euripides disguises himself as a woman and sneaks into the festival of the Thesmophoria in order to defend the tragic poet, who the women want to kill because he slanders them in his plays. In her speech against him at the festival, Mika complains that he calls them “lover-bangers, nymphos, wine-oglers, disloyal, chattery, unwholesome, the bane of men’s lives” (lines 431-432). On the one hand, these women do not deny the charges Euripides brings against them but seem only to want to continue getting away with them without being caught, ironically giving proof to their deceptive nature. In lines 384-396 the female Herald actually admits that these types of crimes do occur in the household. However, the women’s acceptance of them varies. While they defend the practice of baby-swapping, they denounce women who betray lovers, elderly women who steal youn...
For centuries women have fought to obtain basic civil rights and today, they are still fighting to obtain equal rights. From the right to vote to their right to birth control, women have always been trying to assert their own independence in order to expand their freedom. While much progress has been made, there is still room for improvement. However, the evolution of women’s rights and the role of women is mirrored in literature and can be used to illustrate the progression throughout history. Sophocles’ Oedipus Rex is no different. Through the character Jocasta, Sophocles creates a counterpart to Oedipus and uses her to reveal the oppression of women by contrasting her and Oedipus’ relationships and reactions to the prophecy. Throughout the play Oedipus Rex, Sophocles illustrates Jocasta’s vulnerability and supportive nature in order to women as fragile, doting, and obedient wives and mothers to facilitate the necessity of self-assertion.
Women’s lives are represented by the roles they either choose or have imposed on them. This is evident in the play Medea by Euripides through the characters of Medea and the nurse. During the time period which Medea is set women have very limited social power and no political power at all, although a women’s maternal and domestic power was respected in the privacy of the home, “Our lives depend on how his lordship feels”. The limited power these women were given is different to modern society yet roles are still imposed on women to conform and be a dutiful wife.
Euripides became one of the best-known for his famous tragedies that reinvented Greek myths. Because of his innovative form of writing he was not very successful in contest during his lifetime, his success came came during the fourth century. Women are particularly prominent in Euripides works, many of his pieces contain allusions to sexual boundary crossing. Euripides acknowledges and even exaggerates the role and power of women, something that had not yet been recognized in the Greek theatre. At this period women
In Greek society, the role of women was considered to be insignificant compared to the Greek men. The women had very few rights, no room to voice personal opinions, and a very bleak future with few options for a better life. According to Moses Hades, professor of Greek studies, women in ancient Greek plays are known to be the main characters and take the role of the villain, victim, or the heroine. In Euripides’ play Medea, Medea, the main character, plays all these roles. She represents the heroine by helping her husband secure the Golden Fleece prior to their marriage, and then portrays the victim by being betrayed by her husband, and finally the villain by murdering her loved ones. Therefore, Euripides follows the standard format for a Greek tragedy.
Euripides’ play, Medea, is an ambiguous narrative relating to self-serving feminism. Depending on one’s viewpoint, the title character can either be one of the most unconventional delegates of women’s rights or an oblivious saboteur willing to undermine the cause. With all factors from the play taken into account, signs point toward the former. Medea was a pioneer of feminism, acting as a driving force behind breaking the stereotypes assigned to women. Despite being a foreigner and having a questionable moral compass, Medea succeeds in being a benefactress even if it wasn’t the goal she had in mind.