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The dramatic technique in euripides medea
Gods of ancient Greece
The dramatic technique in euripides medea
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In The Bacchae, Euripedes portrays the character of Pentheus as an ignorant, stubborn, and arrogant ruler. These character flaws accompanied with his foolish decisions set the stage for his tragic downfall. Pentheus' blatant disregard to all warnings and incidents, which prove that Dionysus is truly a god, lead him to his own death. In the end, his mistakes are unforgiving and his punishment is just.
Throughout the play, the audience cannot help but feel merciless towards Pentheus. In his opening scene, Pentheus does not heed the warnings bestowed upon him by Teiresias and Cadmus. Before Pentheus even meets Dionysus, Teiresias offers him wise advice:
'So, Pentheus listen to me. Do not mistake the rule of force for true power. Men are not shaped by force. Nor should you boast of wisdom, when everyone but you can see how sick your thoughts are. Instead, welcome this God to Thebes. Exalt him with wine, garland your head and join the Bacchic revels'(19).
Cadmus carefully tries to persuade his grandson by adding, 'For even if you are right and this God is not a God, why say it? Why not call him one? You have everything to gain from such a lie'(20). Pentheus shows no respect for the elderly or their wisdom by replying, 'Go! Run to your Bacchic revels. I want none of your senile folly rubbing off on me!'(21). This response alone reveals a great deal about his disposition. He will not let any 'old fools' tell him what to do. However, it is ironic that Pentheus' rejection of the advice of these 'old fools' proves to be his first step towards his fatal end.
The next scene brings Pentheus and Dionysus face to face. Pentheus starts the conversation thinking he has the upper hand because he has more power over the situation. 'Untie his hands. Now I have him in my net, no amount of agile tricks can help him slip away' (25). However, it is clear to the audience that Dionysus is in control. He is provoking Pentheus by responding with quick, saucy remarks. 'Those who look for filth, can find at the height of noon' (28). Pentheus becomes frustrated. He needs to feel in control so he begins to hurl threats at Dionysus, 'I'll throw you in my dungeon.' Throughout this scene, Dionysus drops numerous hints that he is indeed the son of Zeus, 'He (Dionysus) is here now. He sees what is being done to me' (29). He for...
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...gh. He has given Pentheus numerous warnings and opportunities to obey and worship him. Pentheus, due to his exceeding incompetence, has overlooked all of them. Because of his refusal to conform, he deserves punishment and it is a fate the audience has come to welcome. Dionysus now takes control over Pentheus and his all his actions. He humiliates Pentheus by dressing him in women's dress and parading him throughout Thebes. Dionysus then leads him up to Mount Cithaeron where he is caught spying on the Bacchae by his crazed mother, Agave. She proceeds to tear him to shreds with her bare hands. This is the end for Pentheus, and ultimately, due to his constant ignorance, a just death.
Although the punishment may seem rather harsh, the audience is appeased by Pentheus' death. Pentheus is incapable of making any sensible decisions. His arrogance and controlling nature is apparent in every action and choice he makes. Pentheus rejects so many hints and opportunities to realize Dionysus' real identity. In his refusal to pick up the signals, he accepts his fate: death by the hands of his own mother. It is almost as if his death, through his refusal to act sensibly, is a form of suicide.
A few of Euripides's most famous tragedies are Hippolytus, The Bacchae, Alcestis, and Medea. He displayed his first set of tragedies at the Great Dionysia in 455 B.C., but did not win his first award until 441. In fact, he won only five awards and the fifth of these was announced subsequent to his death. Medea won 3rd prize, Alcestis won second as well as The Trojan Women. Iphigenia at Aulis, Bacchae, and Hippolytus took 1st place. The Cyclops, the only complete satyr play that exists, was written early in Euripides' career. It is a funny version of Odysseus' encounter with the one-eyed beast, Polyphemus. And although this spirit of faith is difficult to recognize in many of Euripides' later plays, it never entirely fades. A few of his dramas, such as Helena, comes close to being a comedy. Even in The Bacchae, he mixes comedy with tragic. Thus, by dissolving the rigid structure of tragedy, Euripides created new forms of drama, as well as hybrids of existing
Prometheus Bound is quite different from other tragedies in that it is peopled entirely by gods. The play focuses on the story of Prometheus, and we have versions of this myth in Hesiod's famous works. There is reason to think that the author of Prometheus Bound was not only acquainted with Hesiod's version but actually drew on Hesiod directly in this play. This essay therefore aims to establish in what ways the author of Prometheus Bound seems to have drawn from Hesiod's version of myth, in what ways he has diverged from it, and what reasons he might have had for making these changes and innovations. This might therefore highlight any particular emphasis or purpose of Prometheus Bound and what its author might have been trying to get across. Though there is not space in this essay to discuss the problems of attributing this play, it must be recognised that this ambiguity of authorship and dating makes it even more difficult than usual to look at views and purposes behind the play.
Next, Polyphemus demonstrates hubris by believing that because he is a giant, he is unbeatable by anyone, even a god. This is shown when Odysseus meets Polyphemus and greets him with gifts, as it is a custom to show courtesy to hosts and guests alike, (unexpected or not). Failure to give gifts can lead to revenge from the gods. Odysseus tells Polyphemus this, but Polyphemus “would not let you go for fear of Zeus” because the Cyclopes “have more force by far ”. (205; 200) Polyphemus then angers the gods further by kidnapping and eating Odysseus’ men, both of which are considered extremely uncivil in Greek society. Polyphemus is so confident in his invulnerability he lets the men roam free inside the cave, a mistake that leads to his downfall.
In Euripides’ The Bacchae and in the Medea, there are significant binary oppositions in both plays. Binary opposition is the two opposite terms, such as good versus bad. Binary opposition is used to present both sides of a contrast (Marvin, 1). In The Bacchae and the Medea, Euripides used binary opposition to highlight the central themes. The significant binary oppositions that are used are men versus women, foreigner versus citizen, and god versus man.
The power struggle between male and female in The Bacchae is mirrored by the struggle between the Dionysian forces and Pentheus. The conflict begins when Dionysus arrives in Thebes. Dionysus takes the Theban women away from their domestic duties and teaches them his secret rites, “I heard about strange new evils throughout the city—that our women have abandoned their homes for the sham revelries of Bacchus.” (Euripides 216-218). In the quote, Pentheus’ opinion on this change in the feminine role is clear. He finds the
“the gods have made you mad. They have that power, putting lunacy into the clearest head around or setting a half-wit on the path of sense. They unhinged you, and you were once so sane. Why do you mock me? – haven’t I wept enough?” (23.12-16)
However, that one trait did not alone take away his position of high authority. Oedipus displayed anger throughout the whole story, which did not help him at all. During the story, we learn of Oedipus' anger as he knocked a passerby at the meeting of the three highways; "I struck him in my rage". Later, this passerby whom he angrily and quickly killed, was revealed to be Laios, Oedipus' father. Oedipus' anger also quickly shifted his judgment of Teiresias. "We are in your [Teiresias] hands. There is no fairer duty", Oedipus' respect for Teiresias quickly changed as Teiresias refused to tell of what was the trouble's cause. Oedipus began claiming that "Creon has brought this decrepit fortune teller" to mean that Teiresias was thought of as a traitor in Oedipus' thinking. Oedipus' anger is also shown as he begins to insult Teiresias by calling him a "wicked old man". Oedipus' anger throughout the beginning of the play hindered himself.
... she make an exception for Hippolytus. But by the end of the play she vows revenge against Aphrodite. “Cypris shall find the angry shafts she hurled against you for piety and innocence shall cost her dear. I’ll wait until she loves a mortal next time and with this hand-with these unerring arrows i’ll punish him.”
My disappointment in the lack of mystery in the plot of the play was evoked by the continual clues appearing throughout the play. For example, in Oedipus's first speech to the people of Thebes, he condemns the murderer of the previous king, stating that "he will suffer no unbearable punishment, nothing worse than exile" (261-62). This is the first of a multitude of clues about the outcome of the play.
In conclusion, Oedipus's fate is his destruction in the chain of being, the ultimate cleansing of the state, the household, and himself. His rejection and persistence to ignore the power of the gods and religion is the cause for his great demise. Oedipus, a character too proud and knowledgeable, is seen as a threat to the gods. Any threat to the gods is sure to result in the destruction of the threat in order to restore the balance in the chain of being. The above discussion shows support of how religion greatly influenced the lives of people and society's structure.
When Tiresias walks onto the stage he is a blind, old man needing assistance to stay on his own two feet. He had been summoned by King Oedipus to do as he says and give him answers. The power takes a complete shift in this scene though as Tiresias refuses to answer to Oedipus saying that “it’s better that way, please believe me”. As Oedipus’ anger grows so does Tiresias’ power continue to increase as he continues to defy his King. Eventually Tiresias loses his cool and yells to Oedipus that “you are the curse, the corruption of the land”. At this moment the power shifts due to the shift in blame and responsibility. It has turned from Oedipus blaming Tiresias for not telling him anything and ends with Tiresias holding Oedipus responsible for Thebes’ undoing. Sophocles has used Tiresias to add extra emphasis due to him being blind. How powerful must a blind man be to have to stand up to his mighty King and accuse him of murdering the man of whom he took the throne. This image is what makes Tiresias character so much more of an influential part of the play. This scene between Tiresias and Oedipus is the turning point in the plot and it begins with Oedipus losing his power to Tiresias, the blind
In this essay, I hope to provide answers to how the actions of Hippolytus and Phaedra relate to the gods, whether or not the characters concern themselves with the reaction of the gods to their behavior, what the characters expect from the gods, how the gods treat the humans, and whether or not the gods gain anything from making the humans suffer. Before we can discuss the play, however, a few terms need to be defined. Most important would be the nature of the gods. They have divine powers, but what exactly makes the Greek gods unique should be explored. The Greek gods, since they are anthropomorphic, have many of the same characteristics as humans.
“Gods can be evil sometimes.” In the play “Oedipus the King”, Sophocles defamed the gods’ reputation, and lowered their status by making them look harmful and evil. It is known that all gods should be perfect and infallible, and should represent justice and equity, but with Oedipus, the gods decided to destroy him and his family for no reason. It might be hard to believe that gods can have humanistic traits, but in fact they do. The gods, especially Apollo, are considered evil by the reader because they destroyed an innocent man’s life and his family. They destroyed Oedipus by controlling his fate, granting people the power of prophecy, telling Oedipus about his fate through the oracle of Apollo, and finally afflicting the people of Thebes with a dreadful plague. Fundamentally, by utilizing fate, prophecies, the oracle of Apollo, and the plague, the gods played a significant role in the destruction of Oedipus and his family.
McGreevey exercises a great deal of power in choosing the things that he says in his speech and even the ways that he says them. He uses his words to benefit him. The majority of the speech sounds like a plea to the people of New Jersey and the American public. He asks for the audience to sympathize by speaking of his struggle and confusion. So, when McGreevey says, "And so my truth is that I am a gay American. And I am blessed to live in the greatest nation with the tradition of civil liberties, the greatest tradition of civil liberties in the world, in a country which provides so much to its people" the audience feels a pathos for him. This statement is a direct call for forgiveness and sympathy, even before they have heard the whole case. It calls for the American ...
The predominant priority in characterizing Oedipus throughout the play is in describing his strengths. This priority can only be explained by Sophocles striving to convey that Oedipus is to be viewed as a good and righteous person in both character and action rather than the one who caused the tragedy. Oedipus’s dedication to his word leads him to banishing himself after he realizes he is the one who has brought misfortune upon Thebes. The chorus of the play also frequently honors him and laments his tragedy, feeling truly mournful that the savior of Thebes is forced to suffer. After he saves Thebes from the terrorism and rises to lead successfully and justly, the people are trusting of him and give more note to his successes. Still, it must be noted that none of these acts result in Oedipus’s downfall. Only the killing of his father and marriage to his mother can be seen as the actions that cause his undoing. All other destructive actions by Oedipus in the play can only be taken after he commits these two terrible