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Aphrodite greek goddess
Aphrodite greek goddess
Hellenistic greek literature
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The sentiment of shame establishes the principles and morals which govern the Greek kingdom of Trozen. Shameful emotions also determine individuals’ actions and reactions as per their adherence to the ethics of the domain. The notably deplorable act of incestuous relationships flout the accepted values of this Greek society. According to Ira Mark Milne, editor of Drama for Students, “Although there are many stories of incestuous relationships (between family members) in Greek mythology, such tales are focused primarily on establishing rules and beliefs that make such relationships unacceptable” (155). Trozian gods and goddesses, specifically Aphrodite and Artemis, display their awareness of human aversion to such relationships and, at times, seek to punish their unfaithful servants by forcing them into the incestous romances they abhor. As a result of the violation of divine forces, Euripides’ Hippolytus reflects the theme of shame, manifested by the tragedy’s characters and their actions.
Euripides’ Hippolytus depicts the tragic fate and ultimate destruction of one family of Greek nobility. Offended by Hippolytus’ reverence and servitude to her rival goddess Artemis, Aphrodite castigates Hippolytus by fostering an intense passion and lust for him in Phaedra, his stepmother. Phaedra’s shame and humiliation, the results of Aphrodite's anathema, galvanize her to confide in the Nurse, who attempts to rectify the situation by brewing a potion derived from Hippolytus’ hair. Dawning after Hippolytus’ discovery of Phaedra’s passion, Phaedra’s shame precipitates her suicide and a note, which proclaims Hippolytus raped her before her death. Phaedra’s husband, Theseus, returning home from a trip to the Oracle at Delphi, uncovers his late wi...
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...he tragedies of Phaedra, Theseus, and Hippolytus, brought on by the vindictive forces of Aphrodite, result from shame and its manifestations: “This is the very thing that is killing me, dear ladies,/that I never be convicted of disgracing my husband/nor the children I gave birth to” (20).
Works Cited
Bates, Alfred, ed. Excerpt. The Drama: Its History, Literature and Influence on Civilization. London: Historical, 1906.
Halleran, Michael R. “The Hippolytus: An Interpretation.” Newburyport, MA: Focus, 2001.
Milne, Ira Mark, ed. Drama for Students. Vol. 25. New York: Gale, 2008. 147-156.
Roisman, Hanna E. Nothing Is As It Seems: The Tragedy of the Implicit in Euripides’ Hippolytus. Lanham, MD: Rowman & Littlefield, 1999.
Wolff, Christian. “Euripides.” Rpt. in Ancient Writers: Greece and Rome. Vol. 1. Ed. T James Luce. New York: Charles Scribner’s Sons, 1982. 233-266.
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.
* Scully, J & Herington, C.J., Aeschylus: Prometheus Bound (Oxford University Press, New York 1975)
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).
West, Grace S., Thomas West. Texts on Socrates: Plato and Aristophanes. Ithaca: Cornell University Press, 1998.
Eupriedes, Medea and Sappho’s writing focus on women to expose the relationships between a variety of themes and the general ideal that women are property. The main characters in both pieces of literature demonstrate similar situations where love and sex result in a serious troll. These themes affected their relationship with themselves and others, as well as, incapability to make decisions which even today in society still affects humans. Headstrong actions made on their conquest for everlasting love connects to sacrifices they made to achieve their goal which ultimately ended in pain. Love and sex interferes with development of human emotions and character throughout the course
The "Oedipus the King." Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Compact Edition, Interactive Edition. 5th ed.
Euripides. Three Plays of Euripides: Alcestic, Medea, The Bacchae. 1st ed. New York: W.W. Norton, 1974. Print.
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.
She places in people the desire to have sexual relations and causes fear in men of the power of seduction by women. Her marriage to her husband was ignored as she had affairs with immortal and mortal men. Her infidelity in her marriage places her on the side with Greek men, rather than Greek women because only Greek men were able to cheat on their wives; not the other way around. In conclusion, the three important rules discussed in this paper that Greek women were required to obey, can be seen in the myths of the goddesses Hera, Athena, and Aphrodite. Whether or not the Greek goddesses obeyed or did not obey these rules, their importance to the Greek culture is ever strong.
Gainor, J. Ellen., Stanton B. Garner, and Martin Puchner. The Norton Anthology of Drama, Shorter Edition. New York: W. W. Norton &, 2010. Print.
As the tale unfolds, it becomes clear that Phaedra is aware that her love for Hippolytus can never be fulfilled, and the shame that she feels from this passion is true. After confessing her love to Hippolytus in Act 2, scene 5, she curses the Gods for torturing her soul by making her love someone against her will, and she even goes as far as to ask for death. The power of shame has overcome her, and she feels that if she can not be with the man that she loves then she wishes to die by his sword as if she were a "monster". When Theseus returns home, her shame is heightened by the presence of him, and by the thought that her incestuous love will be made aware to all. However, this shame quickly turns to the offensive when she allows Oenome to plot a reverse of guilt and accuse Hippolytus of loving Phaedra. The power of shame is no more evident then at this point in the story, because Phaedra, feeling the height of shame after admitting her love to Hippolytus, must face both her husband Theseus, the man she should love, and Hippolytus, the forbidden love. Feeling confused and helpless, Phaedra allows Oenome to place the blame on Hippolytus, and this begins her change from feelings of shame to guilt.
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.
This paper aims to study two significant playwrights, Sophocles and Euripides, and compare their respective attitudes by examining their plays in respect to plot and character structures. To achieve this goal, the paper is organized into two main sections. In the first section, we provide a brief biography of both Sophocles and Euripides. The second and last section includes summaries of Sophocles’ Electra and Euripides’ Electra which were based on same essentials and give an opportunity to observe the differences of the playwrights. This section also includes the comparisons that are made by our observations about the plays.
1. Ibsen, Henrik. Hedda Gabler. The Bedford Introduction to Drama. Ed. Lee A. Jacobus. 3rd ed. Boston: Bedford Books, 1996. 672-709.
Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: U of Michigan P, 1967. Dorsch, T. R., trans. and ed. Aristotle Horace Longinus: Classical Literary Criticism. New York: Penguin, 1965. Ley, Graham. The Ancient Greek Theater. Chicago: U of Chicago P, 1991. Reinhold, Meyer. Classical Drama, Greek and Roman. New York: Barrons, 1959.