Presentation on theme: "The Literature of Antiquity"— Presentation transcript:
1The Literature of Antiquity Greek Drama:Oedipus Rex
2Learning Objectives Learn about the elements of Greek theatre. Explore Aristotle’s contribution to our understanding of Greek drama.Understand Nietzsche’s viewpoints on the Apollonian and Dionysian influences in Greek culture/theatre.Learn about the tragic story arc.Get the background knowledge about Oedipus and his family that we need to know to understand the action of the text.
3Greek theater arose from the worship of the god Dionysus Greek theater arose from the worship of the god Dionysus. Religious songs called dithyrambs attempted to reenact Dionysus’ life, death, and resurrection. These songs, performed by a chorus, became the first plays.
4Tragedy – comes from the Greek word tragoidia meaning “goat-song Tragedy – comes from the Greek word tragoidia meaning “goat-song.” It is considered the highest form of drama.ComedyAlso called satyr plays.It is considered the lowest form of drama due to bawdy or vulgar content.
5Chorus Chanted dithyrambs in unison. Men only – no females performed. Meant to provide commentary on the actions of the actors. Show audience how to react.Lead by the choragos
6ThespisIntroduced the first actor apart from the chorus – someone who played a role other than himself.Where the word thespian comes from.
7AeschylusIntroduced a second actor2 actors allowed for conflict between characters (and the beginnings of tragedy).
8SophoclesIntroduced the third actorReduced the importance of the chorus – focused on plot.Most famous & successful tragedian
9City DionysiaReligious festival held annually in Athens to honor Dionysus. The best playwrights performed their tragedies and comedies in hopes of winning the prize.
11Maskwith built-inmegaphonein the mouthaperture forincreasing thevolume of thevoice.KorthornoiRaised shoesto increasethe height oftragic actors in order to show their importance.
12Aristotle’s Poetics: 335 B.C. The very first bit of literary theory! Hurrah!VocabularyMimesis – imitation/representationCatharsis - purgationPeripeteia - reversalAnagnorisis - recognitionHamartia – miscalculation/flawCatastrophe – final tragedy
13Six Elements of Tragic Drama: Plot – complex, yet realistic (3 unities)Character – good, but flawed, and consistentThought – should be spoken aloudDiction – elevated and poetic, but simpleMelody – chorus should be integrated wellSpectacle – costumes, backdrop, special effects should blend well
14The Three Unities: Unity of Time Play must occur within a single day. Tragedy strikes quickly.
15Setting will be in one place The Three Unities:Unity of PlaceSetting will be in one place
16The Three Unities: Unity of Action There are no subplots– the plot will drive consistently to its tragic end.
17The Tragic Hero Must be noble and honorable Must suffer a downfall due to an error in judgment or character flaw (hamartia)Usually lives in order to learn from his/her mistakesDownfall evokes pity and fear in audienceFrancis Fergusson: Greek tragic theatre is “a solemn rite of sacrifice that purges the community of its collective guilt by punishing a scapegoat, one man who perishes for the good of the people.”
18Map of Tragic Action Aristeia = moment of greatness Hubris = pride and arroganceHamartia/Ate = fatal mistake/flawPeripeteia = reversal of fortunesAnagnorisis = understandingCatharsis =emotionalcleansingCatastrophe = final tragedy
19N I E T Z S C H E The Birth of Tragedy Written in 1886 A work against nihilism andpessimismTragic drama allowed the Greeks tosee themselves as worthy—itreaffirmed existence and meaning.The universe understood in termsof the Apollonian vs. the Dionysian.Man must be able to participate in art
20Dionysian Apollonian chaos music destruction intoxication sexual licensegroup mentality / loss ofindividuality / mobfragmentation / dismembermentNature / WildernessNon-realityemotional/intuitive/ecstaticunpredictable / absurdity/meaninglessordersculpted/plastic artscreationsobrietychastityindividualizationwholeness/sanitycity / civilizationRealityrational / logical / calmpattern / meaning
21According to Nietzsche, the ancient Greeks used tragic theatre as a safe way of experiencing the ecstasy and abandonment of the Dionysian with all the built-in safety/sanity features of the Apollonian.
22Oedipus Rex Sophocles, 429 B.C. Wins first prize at City Dionysia Considered by Aristotle to be the prime example of tragic drama.
23Oedipus Rex King Laius and Queen Jocasta learn from an oracle that their newborn son willone day kill Laius. To prevent this fate,Laius orders the baby’s ankles to be boundand for the child to be exposed.A shepherd finds the child and pities him. He takes itto his king and queen in Corinth for protection. Sincethey were childless, they decide to adopt the boy astheir own. They name him Oedipus or “Swollen Foot.”
24Oedipus RexAt a dinner party, a drunken guest taunts Oedipus, telling him he is a bastard child—not really son of the King of Corinth. Oedipus sets out to ask the Oracle at Delphi the truth.The Oracle tells him he is destined to “mate with his mother and kill his father.” To avoid this fate, Oedipus leaves Corinth.On the road, Oedipus kills an impudent man who refused to give him right-of-way (Laius).
25Oedipus RexLater on, Oedipus answers the riddle of the Sphinx and kills the monster laying siege to Thebes.As reward for saving the city, Oedipus is made king (since the last one mysteriously died) and married to the existing queen – Jocasta.When Apollo sends a plague upon Thebes, Oedipus vows to root out the source of the god’s displeasure… which ends up being himself.
26Sigmund Freud’s theory: Children are torn between feelings of love for one parent while feeling a sense of competition with the other.According to Freud, this tension is one possible cause of neuroses in later life.According to Freud, the boy wishes to possess his mother and replace his father, who he views as a rival for his mother's affections.desire for mother /jealously and anger towards his father.
27Themes and Motifs in Oedipus Rex Freud: “The lesson which, it is said, the deeply moved spectator should learn from the tragedy is submission to the divine will and realization of his own impotence.”Robert Fagles:“Terror of the unknown future which we fear we cannot control—our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster.”Sophocles: “Count no man happy till he dies, free of pain at last.”To what extent is man responsible for his own actions? How do we reconcile a need for divine order and meaning with our need for individuality and free will?Sight, blindness, vision, hunters, plowmen, sailors, detectives, prophecies