1. 3/25/15 Do Now: -Take out your “True” tragic hero response -Take out your Antigone books and any Antigone resources (notes/quiz) Homework: -Study for “Quest” tomorrow -“True” tragic hero response Content Objective: Students will review the characters, plot and conflicts in Antigone. Language Objective: Students will complete the graphic organizer in order to help review Antigone.

2. Agenda: Yesterday: Tragic hero Antigone and Creon Tragic Hero Response Directions: Based the work you did completing the graphic organizer, who is the “true” tragic hero of Antigone? Creon or Antigone? You must choose one character and explain how they are the “true” tragic hero of the play Antigone. You must use at least two quotes to support your argument. Today: Review for quest Thursday: Quest on Antigone/Greek Theater. Friday: Revisit anticipation guide Looking Ahead:

3. Agenda: Aristotle's ideas about tragedy were recorded in his book of literary theory titled Poetics. In it, he has a great deal to say about the structure, purpose, and intended effect of tragedy. His ideas have been adopted, disputed, expanded, and discussed for several centuries now. The following is a summary of his basic ideas regarding the tragic hero: 1. The tragic hero is a character of noble stature and has greatness. This should be readily evident in the play. The character must occupy a "high" status position but must ALSO embody nobility and virtue as part of his/her innate character. 2. Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the rest of us--mere mortals--would be unable to identify with the tragic hero. We should see in him or her someone who is essentially like us, although perhaps elevated to a higher position in society. 3. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or villainy or some overriding, malignant fate. In fact, the tragedy is usually triggered by some error of judgment or some character flaw that contributes to the hero's lack of perfection noted above. This error of judgment or character flaw is known as hamartia and is usually translated as "tragic flaw" (although some scholars argue that this is a mistranslation). Often the character's hamartia involves hubris (which is defined as a sort of arrogant pride or over-confidence). 4. The hero's misfortunate is not wholly deserved. The punishment exceeds the crime. 5. The fall is not pure loss. There is some increase in awareness, some gain in self-knowledge, some discovery on the part of the tragic hero. 6. Though it arouses solemn emotion, tragedy does not leave its audience in a state of depression. Aristotle argues that one function of tragedy is to arouse the "unhealthy" emotions of pity and fear and through a catharsis (which comes from watching the tragic hero's terrible fate) cleanse us of those emotions. It might be worth noting here that Greek drama was not considered "entertainment," pure and simple; it had a communal function--to contribute to the good health of the community. This is why dramatic performances were a part of religious festivals and community celebrations. Tragic Hero Notes:

4. “Direct quote from the play” Your analysis and explanation

5. Agenda: Format: -All multiple choice -Two passages and text-based questions Content: -Some Greek theater -Antigone (plot, characters, conflict, quotes) -Vocabulary “Quest” Outline:

7. Agenda: Videos:

8. 1)Aeschylus (525- 455 BC) 2)Sophocles (496-406 BC) 2)Euripides (480-406 BC)

9. Aeschylus (525- 455 BC) - known as the “Father of Tragedy” -Introduced the second actor; until then drama was just a circular dance around a sacred object -Only 7 of his 90-120 plays survived - According to Aeschylus, when he dozed off, Dionysus appeared to him in a dream and ordered him to write tragedies.

10. Sophocles (496-406 BC) -Added a third speaking actor -Actors also played more than one role which was indicated by a change in masks -Created characters with psychological character traits because he was interested in the motivations of characters; this resulted in characters who are more complex and fully developed -Wrote the 3 great tragedies we are studying: Oedipus Rex, Oedipus at Colonus, and Antigone a.k.a. The Oedipus Cycle

11. Euripides (480-406 BC) - Credited for modernizing theater closer to what we know today - Wrote about 95 plays, but only 18 or 19 have survived - Stylistically eloquent: scholars ask: Are we reading the lines of a poet or the speeches of an orator? - incorporated humor in his plays because he often satirized the Greek gods

12. Agenda: Oracle: Back in ancient times, an oracle was someone who offered advice or a prophecy thought to have come directly from a divine source. In modern usage, any good source of information can be called an oracle. Oracle:

13. Agenda: Dating back to 1400 BC, the Oracle of Delphi was the most important shrine in all Greece, and in theory all Greeks respected its independence. Built around a sacred spring, Delphi was considered to be the center of the world. People came from all over Greece and beyond to have their questions about the future answered by the Pythia, the priestess of Apollo. And her answers, usually cryptic, could determine the course of everything from when a farmer planted his seedlings, to when an empire declared war. Arguments over the correct interpretation of an oracle were common, but the oracle was always happy to give another prophecy if more gold was provided. The lack of a strict religious dogma associated with the worship of Greek gods also encouraged scholars to congregate at Delphi, and it became a focal point for intellectual enquiry, as well as an occasional meeting place where rivals could negotiate. The Oracle at Delphi:

14. Agenda: Fate: that which is inevitably predetermined; destiny. Hubris: (in Greek tragedy) excessive pride (arrogance) toward or defiance of the gods, leading to nemesis. Nemesis: an inescapable situation that causes misery and death. Terms to Know:

15. Some tragedies have one more or one less episode and stasimon. Prologue Parodos First Episode (or Scene) First Stasimon (or Ode) Second Episode Second Stasimon Third Episode Third Stasimon Fourth Episode Fourth Stasimon (Antigone actually has 5 Episodes ) Exodos In Antigone, the episodes are called scenes & the stasimons are referred to as odes. Structure of Greek Tragedy

16. Movement of the Chorus: as seen in the odes that follow each scene Strophê (Turn): A stanza in which the chorus moves in one direction (usually clockwise). Antistrophê (Counter-Turn): Chorus moves in the opposite direction (usually counter- clockwise). Epode (After-Song): Chorus stands still. Strophê (Turn): A stanza in which the chorus moves in one direction (usually clockwise). Antistrophê (Counter-Turn): Chorus moves in the opposite direction (usually counter- clockwise). Epode (After-Song): Chorus stands still.

17. Structure of Greek Tragedy Episode: A scene of dialogue in which one or more actors take part. Stasimon: (Stasima=plural) A choral ode that often reflects on the dialogue and events of the preceding episode. It is a lyric poem usually of some length and has an elevated style and a formal stanzaic structure. Exodos: A processional song sung by the chorus at the end of the play offering words of wisdom related to the actions and outcome of the play. Episode: A scene of dialogue in which one or more actors take part. Stasimon: (Stasima=plural) A choral ode that often reflects on the dialogue and events of the preceding episode. It is a lyric poem usually of some length and has an elevated style and a formal stanzaic structure. Exodos: A processional song sung by the chorus at the end of the play offering words of wisdom related to the actions and outcome of the play.

18. Structure of Greek Tragedy Greek Tragedies have a set structure or format that is characteristic of this type of play. In this type of play, scenes of dialogue alternate with choral songs, or odes. This arrangement allows the chorus to comment in its song in a general way on what has been said and/or done in the preceding scene. Greek Tragedies have a set structure or format that is characteristic of this type of play. In this type of play, scenes of dialogue alternate with choral songs, or odes. This arrangement allows the chorus to comment in its song in a general way on what has been said and/or done in the preceding scene.

19. Purpose of each Component: Prologue: A monologue or dialogue that takes place before the chorus enters the stage. The prologue presents background information; it is the exposition of the play. Parodos (Entrance Ode): The entry chant of the chorus. Like the odes, it is elevated in language and its purpose is to offer commentary on the events in the play. Prologue: A monologue or dialogue that takes place before the chorus enters the stage. The prologue presents background information; it is the exposition of the play. Parodos (Entrance Ode): The entry chant of the chorus. Like the odes, it is elevated in language and its purpose is to offer commentary on the events in the play.

20. THE ROLE OF THE GREEK CHORUS Gives advice, expresses opinions, and asks questions about the play’s events Establishes an ethical and/or social commentary on the action and events Serves as an ideal spectator/observer of the action; in Antigone, they represent the elder wise statesmen of Thebes. Adds movement, spectacle, song, and dance The choragus is the leader of the dramatic chorus; his dialogue is set apart from the others in the chorus. Gives advice, expresses opinions, and asks questions about the play’s events Establishes an ethical and/or social commentary on the action and events Serves as an ideal spectator/observer of the action; in Antigone, they represent the elder wise statesmen of Thebes. Adds movement, spectacle, song, and dance The choragus is the leader of the dramatic chorus; his dialogue is set apart from the others in the chorus.

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