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Sophocles Antigone common essay
Sophocles Antigone common essay
Sophocles Antigone common essay
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Heaney’s play The Burial at Thebes is a version of the Greek tragedy Antigone by the Athenian dramatist Sophocles (c496-406 BCE). According to Heaney it is not a translation but a version as he was “looking for meaning not language” (Heaney, 2009, CDA5937, The Burial at Thebes - Interviews). This is in keeping with the commissioning of the play to celebrate 100 years of the Abbey theatre in 2004 as the founders, W.B Yeats and Lady Gregory, were Irish “cultural nationalists” (Hardwick, 2008, p193) . The change in title from the traditional Antigone to The Burial at Thebes moves the emphasis away from the characters to the “controversial question of the burial of a prince, who was regarded as a turncoat” (Theocharis, 2009, CDA5937, The Burial at Thebes - Interviews) enabling Heaney to intertwine the tradition Greek ideology with Irish nationalism.
The chorus in Greek tragedy is defined as a group of people who often participate in and comment on the dramatic action, emphasising traditional moral and social attitudes and providing commentary (Moohan, 2008). In Greek theatre they also provided a more practical role, entertaining the audience during the play with songs and dance and allowing the performers to change. Most performers performed two or more roles known as doubling. In The Burial at Thebes the director, John Theocharis (2009), states that the chorus also adds dramatic tension and suspense whilst creating subjective and objective voices that underpin the context of the play.
In looking at the contribution that the chorus makes this essay will look at the various functions of the chorus - their role as a commentator, participating in and commenting on the dramatic action and how they present traditional moral and soci...
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...ture of the play, mainly based on the Greek, outlines these values in poetical format in the Choral Odes. The chorus’ commentary on the characters and drama and its subsequent participation pushes the plot towards traditional ideas with the encapsulation in their ending summation.
Works Cited
Hardwick, L. (2008), ‘Seamus Heaney’s The Burial at Thebes’, in Brown, R (ed.), Cultural Encounters (AA100 Book3), Milton Keynes, The Open University, pp.192-235
Heaney, S. (2004), The Burial at Thebes, London, Faber and Faber Ltd
Heaney, S. (2009), CDA5937 The Burial at Thebes – Interviews (AA100 Audio CD), Milton Keynes, The Open University
Moohan, E (2008), ‘Glossary’, in Moohan E (ed.), Reputations (AA100 Book1), The Open University, pp.231-238
Theocharis, J (2009), CDA5937 The Burial at Thebes – Interviews (AA100 Audio CD), Milton Keynes, The Open University
Throughout his book, Ayers proves his thesis well. He creates a compelling narrative support with evidence taken from The Valley of the Shadow archive. As explained in the previous pa...
Solmsen, Friedrich. “The World of the Dead in Book 6 of the Aeneid.” Oxford Readings in Vergil’s Aeneid. S. J. Harrison, ed. New York: Oxford UP, 1990. 208-223.
"One day he caught a fish, a beautiful big big fish, and the man in the hotel boiled it for their dinner" (p.191). Little did Mrs. Malins know that those words issued from her feeble old lips so poignantly described the insensibility of the characters in James Joyce's The Dead toward their barren lives. The people portrayed in this novelette represented a wealthy Irish class in the early twentieth century, gathered at the house of the Morkan sisters for an annual tradition of feast and dance. Although all of the personages had, at one point, a potential for a beautiful life, sad memories of the past and the despair that invaded Ireland had eventually boiled all true senses and desires into a dull stew, destined to rot. Of particular interest is Gabriel Conroy, whom Joyce singularly bestowed a gift of introspection, though that did not save him from becoming yet another of the living dead.
In modern theatres today we do not have a chorus, as it would obscure the view of the play and maybe set the wrong atmosphere as modern audiences are less willing to suspend their disbelief and want things to be as realistic.
The spectacle of this play is limited which is why there is such weight put on the actors themselves. Their scene and ensembles never show signs of change yet they develop and grow. There is a huge stress on the statue, which whom the Learned Ladies bow
In the Shakespearean tragedy Othello the number and description of themes is open to discussion. With the help of literary critics, we can analyze this subject in detail.
The grandeur with which Egyptians regarded their funerary customs does not come without explanation. They delighted in tying the occurrences of the natural world with supernatural dogma, and their burial practices exemplified this deluge of religion. A special deity was even attributed to cemeteries and embalmers: Anubis (Fiero, 46). Due to this deep sense of religion, a fixation with the afterlife developed within their culture. The Egyptian afterlife, however, is not synonymous of heave, but, rather, of The Field of Reeds, a continuation of one’s life in Egypt meant “to secure and perpetuate in the afterlife the ‘good life’ enjoyed on earth” (Mark 1; “Life in Ancient Egypt” 1). The pursuit of this sacred rest-place prompted the arousal of intricate Egyptian funeral rituals.
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Ikram, Salima. Divine Creatures: Animal Mummies in Ancient Egypt. New York: The American University in Cairo Press, 2005. 1-15. Print.
Dalley, Stephanie. Myths from Mesopotamia. New York: Oxford University Press, 1989. Dundes, Alan, ed. Sacred Narrative: Readings in the Theory of Myth. LA: University of California Press, 1984.
The role of the Chorus in the Shakespeare's play, Henry V, is significant. Due to the subject matter that the play deals with, it is hard to present in the way that it deserves. The Chorus helps the audience follow the play by helping them to picture things as they were through the use of imagery. It uses descriptive language in describing events that take place in the play. The Chorus also helps in making the plot of the play flow together better by filling the time lapses that occur between acts due to the fact that the event being depicted in only a few hours actually occurred over several years, leaving some gaps between events. It also explains what happens in an act beforehand because the scenes switch around from place to place, and it can get confusing. The most important function of the Chorus is that it encourages the audience to be patient and reminds them to use their imagination to envision the events that occur in the play, to really imagine the royal courts of England and France, and to really imagine the battle scenes with all the horses and men.
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Abydos was a cultural and religious center that held importance not just for those that lived there but to the region as a whole. Many Egyptian pharaohs had temples built at Abydos for their worship after they had traveled to the afterlife. Not surprisingly, the more affluent Egyptians at Abydos had tombs constructed incorporating drawings and murals depicting servitude to the gods and other activities in which they expected to participate when they joined with the gods (Casson 42). Included in the tomb would be grave goods such as food, clothing, musical instruments and anything else that would make the afterlife more pleasant for the owner of...
The Chorus, in this play, guides the audience. In the end, it is up to the individual as to what reaction they have to the play, but the Chorus is there to, in a way makes this reaction more complicated. One could leave the play totally condemning Medea, but the Chorus display’s Medea in a way that makes the audience sympathise with her, and so the moral conclusions that need to be come to side, become more complex. The audience has to base their reaction to Medea on what crimes they have seen her commit, and on what they have heard of her through the Chorus. Their integral part in the play acts in many ways, to follow, revise, and extend the plot of the play, and to influence the opinions and sympathies of the audience. It is a literary, and dramatic device that Euripedes uses, and uses well, to help portray a tragedy, and also a moralistic play, in which the Chorus is the voice that provides the morals.
In answering this question, I will look at the question in two ways. Firstly, I will look at the role of the chorus objectively, examining the basic role of the chorus in the play, and looking at the role of the Chorus as Sophocles would have intended the role of the Chorus to be understood. However, I will then look at how I think the Greek audience would have perceived the role of the Chorus and then how the role of the Chorus is perceived today by a 20th century and examine the key differences in the two different sets of perceptions. Finally, I will look at the importance of the role of the Chorus to a 20th century audience and a Greek audience respectively.