1. Thanks to Mr. Temple for sharing this material

2.  Morally & spiritually uplifting value  reaffirmation of societal values, morals & beliefs  sense of purification

3.  Hamartia of tragic hero/protagonist  tragic character flaw  tragic transgression/error in judgment  hubris (hybris) = seeing oneself as equal to the gods

4.  Makes play easier to understand  Parts focus audience  Fresh themes & interpretations derived from familiar myths

5.  PROLOGUE  opening scene  establishes where & when in myth ▪ The Last Day of Oedipus’s reign as King of Thebes

6.  PARODOS  entrance of chorus  usually chanting lyrics that provide keys to theme of play

7.  STROPHE  dance of chorus across stage left to right  chanting lyric sets a tone or subject

8.  ANTISTROPHE  dance back from right to left  lyric reverses or answers tone/subject

9.  SCENE or EPISODE  counterpart to modern acts & scenes  develops plot through action & dialogue

10.  ODE or STASIMON  choral chant at end of a scene  commentary on previous action  foreshadows upcoming action

11.  PAEN  final ode  most beautiful & most thematic

12.  EXODOS  final scene after last ode wraps up play  signals end of myth segment  last keys for audience's reflection upon theme

13.  Minor actor  Major Thematic Guide  Interpreter of action & theme  Provides moral insights based upon community values  Transitional device between scenes

14.  Decent persons should not go from good fortune to bad  Why not?  “Disgusting, not fearful or pitiful” The Murder of Mother Teresa

15.  Bad persons should not go from bad to good  not tragic, but unjust  “disgusting, not fearful or pitiful” Hitler: Rise & Victory

16.  Nor should bad persons go from good to bad  not tragic, but justice  “audience feels no pity or fear”

17.  Character between extremes  neither distinguished for virtue  nor infamous for evil  comes to misfortune because of some error--hamartia  audience identification evokes pity & fear