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The characterisation of Sophocles's king Oedipus
Essay on Aristotle notion on tragedy
Greek theater then and now
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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.
To start, Scodel elaborates first on what the content of Greek tragedy is: “a tragedy [is] a drama usually based on traditional legend, set in a past that was already remote for the ancient Athenian audience”( pa...
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...oretold yet he could not escape it.
In all I established how Sophocles’ Oedipus the King fits perfectly within the popular theater of Greek tragedy. The guidelines for prologue, parados, episodes, odes, and exodos are respected. The base tale is that of a king who falls in disgrace because of an unfortunate prophecy. The plot ends on a sad note for the reader as one feels both pity for the tragic hero and fear as to what will happen to him.
Works Cited
Backpack Literature My literaturelab An Introduction to Fiction, Poetry, Drama, and Writing (p. 707, pp 711-52, p 713, p 716, p 733). (2011). Longman Pub Group.
Pantelis, M. (n.d.). Theater festivals, total works of art,and the revival of Greek Onefile.
Scodel, R. (2010). Defining Tragedy, An Introduction to Greek Tragedy. Cambridge tragedy on the modern stage. Cultural Critique + Academic University Press, 74.
...ods come for the free drugs that he offers. Johnny is a man for whom we feel pride, shame and pity all at once but such a contradictory character would be unstable and unpredictable. Aristotle defines tragedy according to seven characteristics. These are that it is characterized by mimicry, it is serious, it expresses a full story of a relevant length, it contains rhythm and harmony, the rhythm and harmony occur in different combinations in different parts of the tragedy, it is performed not narrated and that it provokes feelings of pity and fear then purges these feelings through catharsis the purging of the emotions and emotional tensions. The composition of a tragedy consists of six segments. In order of relevance, these are plot, character, thought, diction, melody, and performance. For a comedy the ending must be merry. Instead Jerusalem ends in death.
A Greek drama is a series of actions within a literary presentation in which the chief character has a disastrous fate. Many Greek dramas fall under the theatrical category of a tragedy due to the tragic events and unhappy ending that cause the downfall of the main character. During the famous play “Antigone” the Greek author Sophocles incorporated several features of a tragedy. These features include a morally significant dilemma and the presence of a tragic hero. The grand debate over which character can hold the title of the tragic hero has been discussed in the literary world for ages.
Aristotle was a phenomenal Greek philosopher. His words and thoughts inspired millions, and continue inspiring today. He taught lessons to those who would listen, he preached his scientific findings, but above all, Aristotle enjoyed the theatre. In fact, Aristotle had his own views about different genres. Today we will look at tragedy. In Aristotle’s mind, a tragedy was the process of imitating an action which had serious implications, was complete, and possessed magnitude. He even composed six elements that a tragedy must contain. Aristotle’s six elements of tragedy are a plot, characters, thought, verbal expression, song composition, and visual adornment. Each contributes to an aspect of a tragedy.
The great Sophoclean play, Oedipus Rex is an amazing play, and one of the first of its time to accurately portray the common tragic hero. Written in the time of ancient Greece, Sophocles perfected the use of character flaws in Greek drama with Oedipus Rex. Using Oedipus as his tragic hero, Sophocles’ plays forced the audience to experience a catharsis of emotions. Sophocles showed the play-watchers Oedipus’s life in the beginning as a “privileged, exalted [person] who [earned his] high repute and status by…intelligence.” Then, the great playwright reached in and violently pulled out the audience’s most sorrowful emotions, pity and fear, in showing Oedipus’s “crushing fall” from greatness.
Kennedy, X. J., & Gioia, D. (2010). Literature an introduction to fiction, poetry, drama and
In Ancient Greece the existence of gods and fate prevailed. In the Greek tragedy King Oedipus by the playwright Sophocles these topics are heavily involved. We receive a clear insight into their roles in the play such as they both control man's actions and that challenging their authority leads to a fall.
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.
Myers, H. A. (1949). Aristotle's study of tragedy. Educational Theatre Journal, 1(2), 115. Retrieved from http://search.proquest.com/docview/1290192594?accountid=12085
The play Oedipus the King, written by Sophocles and translated by Robert Fagles, encompasses well developed characters which reveal much about the culture of Greek society; the quintessential character to show these cultural values is Oedipus. Oedipus’s confrontations with characters such as the Priest, Jocasta, and Creon reveal that he is not only a king, he is also prisoner, plagued by blindness and rage. Throughout the play, Oedipus’s confrontations with Creon, Jocasta, and the Priest bring to light the presence and contrasting lack of Greek cultural values such as intelligence, family, religion, and intelligence embedded in his character.
This essay will illustrate the types of characters depicted in Sophocles’ tragic drama, Oedipus Rex, whether static or dynamic, flat or round, and whether protrayed through the showing or telling technique.
Owen, E. T. “Drama in Sophocles’ Oedipus Tyrannus.” In Twentieth Century Interpretations of Oedipus Rex, edited by Michael J. O’Brien. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1968.
People might argue many plots in the tragedy are so extreme that rarely happened in an ordinary people’s life. For instance, it’s uncommon for people to kill his father and marry with his mother, as we observed in Oedipus the King. However, the audiences still can sympathize the tragedy, because they all have lost a family member sometimes in their life. And when they saw the tragedy, they will recall their own tragedy in their life, and be comforted by the characters’ misfortune and their inability to solve the issue. This is true for both ancient Greek audiences and current readers.
Drama, consequently, became a mirror for the developing social and civic institutions and tensions of Athens. Athenian society’s structure was firmly based within a framework of “kinship groups” (Fainlight, pg), which was primarily dominated by aristocratic leaders; the famed, idealistic democracy of Athens, as a consequence, was restricted only to a select few. Furthermore, the city’s Dionysia festival gave special license to tragedy to display images of society collapsing within this context. (Goldhill, 1990). The conflicts explored in many of these tragedies often mirrored those that the private Greek individual and Athens were facing, allowing Athenian dramatists to examine universal themes that confronted not only Athens but also societies throughout
Sophocles remains one of the most outstanding playwrights of the classical period. Sophocles had a way of tabling his characters linking their actions with the thematic concerns in his literary oeuvres. The stylistic devices and the use of diverse character traits always made most of his artistic work thrilling. Oedipus the King is one of the most exciting masterpieces Sophocles has ever authored. Oedipus the King explores the role of fate, pride and the possible consequences of one’s actions about the societal myths and norms. In this text, Sophocles examines the atrocities that emanate from leadership wrangles, lack of discretion and the symbolic castration for Oedipus incestuous sin. The intent of this paper is to critically conduct a character
“Oedipus the King” by Sophocles is a tragedy of a man who unknowingly kills his father and marries his mother. Aristotles’ ideas of tragedy are tragic hero, hamartia, peripeteia, anagnorisis, and catharsis these ideas well demonstrated throughout Sophocles tragic drama of “Oedipus the King”.