Introduction to a Greek Tragedy

8/9/2019 Introduction to a Greek Tragedy

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IntroductionIntroductionto Greekto Greek

TragedyTragedy““ It’s all Greek toIt’s all Greek tome…”me…”


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Background of GreekBackground of GreekTragedyTragedy

OriginsOriginsTragedy is thought to have developedTragedy is thought to have developedfrom the ancient choral lyric which wasfrom the ancient choral lyric which was

sung by a male chorus in honor ofsung by a male chorus in honor ofDionysus, god of wine, at his annualDionysus, god of wine, at his annualfestivals.festivals.The word tragedy! comes from theThe word tragedy! comes from the

Greek word tragoidia! meaning goatGreek word tragoidia! meaning goatsong.! "t these festivals the Greekssong.! "t these festivals the Greekssacri#ced a goat on the altar to Dionysussacri#ced a goat on the altar to Dionysuswhile singing the choral lyrics.while singing the choral lyrics.


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The lyric e$panded from mythsThe lyric e$panded from mythsabout Dionysus to stories from theabout Dionysus to stories from thewhole legendary tradition.whole legendary tradition.

The father of drama was said by theThe father of drama was said by theGreeks to have been Thespis. In %&'Greeks to have been Thespis. In %&'B.(. Thespis put on the #rst tragedyB.(. Thespis put on the #rst tragedyat the )estival of Dionysus inat the )estival of Dionysus in"thens."thens.


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*lot of a Greek Tragedy*lot of a Greek TragedyThe stories used in tragedy were takenThe stories used in tragedy were takenalmost e$clusively from mythology.almost e$clusively from mythology.

These ancient myths and heroicThese ancient myths and heroiclegends were important to the Greeks,legends were important to the Greeks,for they recorded what was thought tofor they recorded what was thought tobe the collective social, political, andbe the collective social, political, and

religious history of the people andreligious history of the people andincluded many profound tales about theincluded many profound tales about theproblems of human life and the natureproblems of human life and the natureof the gods.of the gods.


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The custom re+uiring the use ofThe custom re+uiring the use ofthese mythological stories inthese mythological stories intragedy satis#ed an essentialtragedy satis#ed an essential

re+uirement of the religiousre+uirement of the religiousfunction of drama, for it enabledfunction of drama, for it enabledthe poets to deal with sub ects ofthe poets to deal with sub ects ofgreat moral dignity and emotionalgreat moral dignity and emotionalsigni#cance.signi#cance.


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The audience then learned fromThe audience then learned fromtragedy what personal motives andtragedy what personal motives andoutside forces had driven theoutside forces had driven the

characters to act as they did.characters to act as they did.Because poets used plots familiarBecause poets used plots familiarto their audience, they would haveto their audience, they would haveopportunities to use irony andopportunities to use irony andsubtle -or not so subtle allusions.subtle -or not so subtle allusions.


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/ho wrote Oedipus 0e$1/ho wrote Oedipus 0e$1

2ophocles -'34 B.(. 5 '64 B.(.2ophocles -'34 B.(. 5 '64 B.(.7is life spanned the rise and decline of7is life spanned the rise and decline ofthe "thenian 8mpire, in which he was athe "thenian 8mpire, in which he was a

playwright, government o9cial, andplaywright, government o9cial, andwarrior.warrior.7e preferred plays that dealt with the7e preferred plays that dealt with thestruggle of a strong individual againststruggle of a strong individual againstfate, portraying people as they shouldfate, portraying people as they shouldbe.be.The most memorable feature ofThe most memorable feature of2ophocles: drama is his cast of vivid,2ophocles: drama is his cast of vivid,dynamic characters.dynamic characters.


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Greek TheatreGreek Theatre

The TheatreThe Theatre*erformances were held in daylight in*erformances were held in daylight inenormous, open;air arenas. " typicalenormous, open;air arenas. " typical

theatre was built on a hillside, givingtheatre was built on a hillside, givingthe seating area a natural rise sothe seating area a natural rise sothousands of spectators could clearlythousands of spectators could clearlyview the action.view the action.

The "ctorsThe "ctorsIn the vast outdoor theatre, actors hadIn the vast outdoor theatre, actors hadto make themselves appear largerto make themselves appear largerthan life.than life.


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"ctors, cont."ctors, cont.8ach actor wore a mask of linen, cork, or8ach actor wore a mask of linen, cork, orwood, on which was painted an e$aggeratedwood, on which was painted an e$aggeratede$pression. )or e$ample, a sad face for ae$pression. )or e$ample, a sad face for atroubled kind, or a woman:s face totroubled kind, or a woman:s face todistinguish that the character was a womandistinguish that the character was a womansince all actors were male. )unnel;shapedsince all actors were male. )unnel;shapedmouth openings helped actors pro ect theirmouth openings helped actors pro ect theirvoices.voices.(ostumes were used to identify a speci#c type(ostumes were used to identify a speci#c type

of character. These came in di


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2tructure of a Tragedy2tructure of a Tragedy

Greek tragedies were performed withoutGreek tragedies were performed withoutintermissions or breaks.intermissions or breaks.*rologue*rol ogue 5 the opening scene, in which the5 the opening scene, in which thebackground of the story is established,background of the story is established,usually by a single actorusually by a single actor*arados*arados 5 the entrance of the chorus,5 the entrance of the chorus,usually chanting a lyric which bears someusually chanting a lyric which bears somerelation to the main theme of the playrelation to the main theme of the play8pisode8 pisode 5 the counterpart of the modern5 the counterpart of the modern

act or scene, in which the plot isact or scene, in which the plot isdeveloped through action and dialoguedeveloped through action and dialoguebetween the actors, with the chorusbetween the actors, with the chorussometimes playing a minor role.sometimes playing a minor role.


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2tructure of a Tragedy, (ont.2tructure of a Tragedy, (ont.

2tasimon2tasimon 55 the choral ode. A stasimonthe choral ode. A stasimoncomes at the end of each episode so thatcomes at the end of each episode so thatthe tragedy is a measured alternationthe tragedy is a measured alternationbetween these two elements.between these two elements.8$odus8$odus 55 the nal action after the lastthe nal action after the laststasimon ended by the ceremonial e!it ofstasimon ended by the ceremonial e!it ofall the playersall the players2trophe2tr ophe 55 stan"a that chorus sings as theystan"a that chorus sings as they

mo#e from right to left across the stagemo#e from right to left across the stage"ntistrophe"ntistr ophe 55 countermo#ement$ stan"acountermo#ement$ stan"athat chorus sings as they mo#e from left tothat chorus sings as they mo#e from left toright across the stageright across the stage


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De#ne TragedyDe#ne Tragedy

"" tragedytra gedy is an imitation of an actionis an imitation of an actionthat is serious, has magnitude, andthat is serious, has magnitude, andis complete in itself. The incidents inis complete in itself. The incidents in

the plot arouse pity and fear on thethe plot arouse pity and fear on thepart of the audience so the end ofpart of the audience so the end ofthe tragedy brings about athe tragedy brings about acatharsis, an outlet or purging ofcatharsis, an outlet or purging ofemotions aroused in the play. Theemotions aroused in the play. Theaudience then leaves the theatreaudience then leaves the theatrecleansed and uplifted.cleansed and uplifted.


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Tragic 7eroTragic 7ero

2ince the aim of a tragedy is to arouse pity and fear2ince the aim of a tragedy is to arouse pity and fearthrough an alteration in the status of the centralthrough an alteration in the status of the centralcharacter, the tragic hero must be=character, the tragic hero must be=

" #gure with whom the audience can" #gure with whom the audience can

identify so his fate can trigger theidentify so his fate can trigger theemotions of pity and fear on the part of theemotions of pity and fear on the part of theaudienceaudienceTrue to life and consistentTrue to life and consistent7ighly renowned and prosperous, but not7ighly renowned and prosperous, but notpre;eminently virtuous and ustpre;eminently virtuous and ust*ossesses a >aw in his character that*ossesses a >aw in his character thatinevitably causes his downfall? this >aw isinevitably causes his downfall? this >aw isnot a vice but a weakness of characternot a vice but a weakness of character


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Tragic )lawTragic )law

The tragic hero possesses a tragic >awThe tragic hero possesses a tragic >awso he will not be a completely admirableso he will not be a completely admirableman, and thus a realistic character.man, and thus a realistic character.

The tragic >aw isThe tragic >aw is 7ubris7ubris which meanswhich meansoverwhelming pride in oneself.overwhelming pride in oneself.Because he is so proud of himself, theBecause he is so proud of himself, thetragic hero makes a mistake, which istragic hero makes a mistake, which is

calledcalled "te"te ..This mistake leads to his downfall orThis mistake leads to his downfall orretribution or punishment,retribution or punishment, @emesis@emesis ..


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The Aegend and the *layThe Aegend and the *lay

"s with any Greek tragedy,"s with any Greek tragedy,Oedipus 0e$ -the ing , is basedOedipus 0e$ -the ing , is basedon a legend. The task of theon a legend. The task of theGreek playwright is to give theGreek playwright is to give thecontinuing story! of the legend.continuing story! of the legend.2o listen closely and you will2o listen closely and you willhear the Aegend of Oedipus.hear the Aegend of Oedipus.-Introduction p. CA;CAII-Introduction p. CA;CAII

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Introduction to a Greek Tragedy