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Early Greek Plays, 2002.
A look at the plays of Sophocles, Euripides and Aeschylus.
3,400 words (approx. 13.6 pages), 2 sources, AU$ 180.95
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Abstract
This paper discusses how early Greek plays often portrayed tragedy through the use of royal characters; moreover, there are varying attitudes, ethics, and character-type portrayals among Sophocles', Euripides', and Aeschylus' writings.
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Greek Plays, 26.
A look at two different issues in ?Oedipus the King? by Sophocles and Plato?s play ?Apology?.
1,325 words (approx. 5.3 pages), 0 sources, AU$ 64.95
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Abstract
This paper answers two important questions in connection with two different Greek plays. The first part of the paper focuses on the character of Creon, who appeared in the play ?Oedipus the King? by Sophocles, while the second part discusses the meaning and significance of the term ?gadfly? in the speeches of Socrates. These speeches appeared in Plato?s play ?Apology? which revolves around the trial of Socrates in the court of Athens.
From the Paper
"In the play ?Oedipus the King? by Sophocles, we notice that the apart from the protagonist, the author has introduced several important characters who have been assigned important roles in the play in order to protect them from getting overshadowed by the presence of Oedipus. In this connection apart from some female characters and priests, the most important role is played by Creon who was the brother-in-law of Oedipus. It is important to mention here that the character of Creon occupies central position in the pay along with the protagonist himself, because he helps in advancing the play and in carrying the story further. Creon is shown to be a humble and innocent man who refuses to think ill of the hero even after he is accused of conspiring against the king. Oedipus believes that Creon wants to kill him in order to take his place as the king of Thebes. But the reality is far different from what Oedipus assumes it to be. Not only Creon is a faithful friend and advisor to the king; he is also a financially very stable person. This is revealed in the end when it is found that Creon possesses one-third share of the kingdom and thus was not power-hungry."
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The Role of the Chorus in Greek Plays, 2004.
Looks at the role of the chorus in Euripides's play, "Medea", and Aeschylus's play, "Agamemnon".
1,169 words (approx. 4.7 pages), 4 sources, MLA, AU$ 58.95
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Abstract
This paper explains how the chorus in the plays, "Medea" and "Agamemnon", enhance the audience's experience as they watch the plays and contemplate their opinions of the actual character and the character as reflected by the chorus.
From the Paper
"Euripides play, Medea, has created astonishing results since the time it was written, 2400 years back and was first performed in 431 BC. The play originates from the ancient myths of Jason and Medea, while it, ?investigates the psychology of revenge and betrayal?.( Euripides? Medea ?ICFI?, reviewed by: Stephen Griffiths http://www.wsws.org/arts/1998/aug1998/med-a04.shtml ). Euripide, though a male writer has been able to view a females? mind emerging with power and great intensity. He was the first Athenian to use the chorus as a commentator, in order to interpret human sufferings without the wisdoms of the gods. Parallel to Medea, Aeschylus? Agamemnon narrates a similar myth of Agamemnon and his queen, Clytemnestra in a play, which was written in Greek in the fifth century B.C. Aeschylus was known to be the first playwright and the father of Western Drama."
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Three Greek Plays, 2003.
Examines sibling relationships.
2,475 words (approx. 9.9 pages), 8 sources, AU$ 126.95
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Abstract
Examines Euripides's "The Bacchae", and Sophocles's Theban plays, including "Oedipus the King", "Oedipus at Colonus", and "Antigone". Discusses the structure of sibling ties in the plays, how they function, and how the relationships are affected by the meanings of the play.
From the Paper
"This research examines how sibling relationships function in the action of Euripides' The Bacchae and Sophocles' Theban plays, Oedipus the King, Oedipus at Colonus, and Antigone. The research will set forth the pattern of ideas surrounding the structure ..."
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Sophocles' Theban Plays, 2002.
A comparative analysis of Sophocles' plays "Oedipus the King", "Oedipus at Colonus" and "Antigone".
2,400 words (approx. 9.6 pages), 5 sources, AU$ 128.95
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Abstract
This paper will discuss the plays of Sophocles: Oedipus the King, Oedipus at Colonus, and Antigone and describe, for each of them, a brief description, their characters and plot, their modern performances being produced and detail about how they are being made in the modern spectrum of theatre. By revealing the way that these plays function, we can see how they were created in the great spirit of the Greek tragedy and can tell us how the Greeks lived within their times through this medium. Also, we can learn how these plays function within our society at present and tell us how times have changed, but themes such as these are still purveying within this scope.
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"Prometheus Bound" and "Oedipus Rex", 2003.
An examination of how the Greek plays, "Prometheus Bound" and "Oedipus Rex" interpret the ideas of fate and free will.
1,095 words (approx. 4.4 pages), 2 sources, MLA, AU$ 55.95
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Abstract
This paper identifies the "Moment of Revelation" or the "Reversal and Recognition" in each of these plays and discusses what they imply about the relationship between fate and free will in the Greek mind. This paper provides a summary of the Greek plays, "Oedipus Rex" and "Prometheus Bound" to identify these specific moments, followed by a discussion of what they imply about the relationship between fate and free will in the Greek mind. A summary of the research is provided in the concluding paragraph.
From the Paper
"The debate over whether mankind is possessed of free will that allows for individual decisions in the "Great Scheme of Things," or the view that humanity is merely "puppets on a god-string" has been the source of much controversy over the millennia. The ancient Greeks explored some serious thoughts about the concept of humanity's free will in the face of what must be considered destiny, and the tragic moral dilemmas that resulted in their plays concerning mankind's encounters with a preordained divine wall provided them with both a source of entertainment as well as some perplexing moral questions that provide some insights into how people have come to view these issues today."
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Greek Mythology: Women in Greek Life, 2002.
Examining the way in which women were depicted in classic Greek mythology.
1,025 words (approx. 4.1 pages), 5 sources, MLA, AU$ 52.95
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Abstract
This paper introduces, discuss and analyzes the topic of Greek mythology. Specifically, it contains an analysis of the role of women in Greek life as depicted in literature. It discusses how women underwent a tremendous change between the time of Homer and that of Aristophanes four hundred years later, as five different plays clearly illustrate. Early Greek women were one-dimensional and needy, while four hundred years later they were feminists complaining about their sex lives.
From the Paper
"Women in Greek life are portrayed in a wide variety of ways, and they did indeed change between Homer's type and Aristophanes' time. Homer often portrays women as scheming to keep men from performing their duty, such as how Calypso holds Ulysses on her island in "The Odyssey," attempting to keep her with him rather than allow him to return to his home and family. "This daughter of Atlas has got hold of poor unhappy Ulysses, and keeps trying by every kind of blandishment to make him forget his home, so that he is tired of life, and thinks of nothing but how he may once more see the smoke of his own chimneys" (Odyssey, Book I). In the Iliad, Homer continues to portray women as one-dimensional beings without feelings when he has Chryseis, the daughter of Chryses given as a war prize to Agamemnon as his share of the looting and subsequently ransomed by her father."
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Relationship Between Humans and Nature, 2003.
Explores relationships through analysis of two Greek plays.
1,575 words (approx. 6.3 pages), 4 sources, AU$ 80.95
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Abstract
Analyzes two Greek plays: "Oresteia" by Aeschylus and "Antigone" by Sophocles. Discusses the beginnings of theatre in Greece as appeasement of the gods by humans. Examines the use of the force of nature in both plays as metaphor.
From the Paper
"The ancient Greeks understood that there was an intimate relationship between humans and nature, a certain give and take that needed to happen for the humans to get what they needed to survive. For them, appeasing nature so that they could ..."
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Class Status and Feminist Identity in Sophocles' Plays, 2006.
In this literary study the theme of feminist identity is presented in relation to the public identity of women and that of how they are represented within classical Greek drama.
900 words (approx. 3.6 pages), 3 sources, AU$ 51.95
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Abstract
This paper explains that the basis of feminist identity in Sophocles' "Oedipus the King" and "Antigone" is directly related to class status and the power that women wield in the royal courts. Virginia Woolf observes the power differential between the powerful women of Sophocles, and the reality of women being subjected to the patriarchal values of British society. In many ways, Jocasta and Antigone represent the rare and powerful voices of women from the royal family who were allowed to speak their minds.
From the Paper
"The heroine in the works of Sophocles represent the upper class strata of Grecian society, explaining the reasons why women have more power on the stage. Contrary to the "common woman" on differing levels of society, one can realize that feminist identity is greatly subdued according to wealth and class. In essence, the feminist identity in Oedipus the King and Antigone by Sophocles represent women of power in the upper classes, while woman from different classes are treated differently due to their lesser power and wealth in British society."
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Lysistrata, 2001.
This paper looks at the ancient Greek play "Lysistrata".
2,000 words (approx. 8.0 pages), 4 sources, AU$ 91.95
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Abstract
This paper analyzes the Ancient Greek play of" Lysistrata" and compares it to modern artistic productions. The claim is that this play addressed very contemporary issues. A summary of the play is provided, the characters are analyzed and a historical description of Ancient Greek artistic trends are described.
From the paper:
"Lysistrata is both the name of a woman and the name of one of the most famous comedies of ancient Greece. The name of Lysistrata has become a watchword for feminists and pacifists alike, for reasons a brief synopsis of the play will shortly disclose. Yet this paper will contend that rather than being an pre-modern, non-musical version of the popular musical ?Hair? for ancient Athens, where common societal sexual and military mores are brushed away, ?Lysistrata bears? far more resemblance to a kind of classical version of ?I Love Lucy.? In the play ?Lysistrata,? clever yet silly women try to twist their husbands around their little fingers to achieve their ends, to great comic effect, perhaps, but not in any fashion that permanently undoes the social mores of the time in a real and lasting fashion."
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Oedipus Rex, 2007.
An analysis of the story of "Oedipus Rex" by discussing Pier Paolo Pasolini's movie "Oedipus the King" and the original Greek play by Sophocles.
1,167 words (approx. 4.7 pages), 2 sources, MLA, AU$ 58.95
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Abstract
This paper analyzes the story of "Oedipus Rex" by looking at the movie by Pier Paolo Pasolini and the original Greek play by Sophocles. It highlights and explains the reasons for the discrepancies between the movie and the play. The writer discusses irony which is a constant theme that runs throughout both the play and the movie. The writer also looks at the psychoanalytic concept introduced by Freud - the "Oedipus Complex" and its importance in the story. The writer concludes that even though Pasolini adds a epilogue to the end of his version of the story, the audience leaves with the same feeling from both works of art.
From the Paper
"In Pasolini's 1967 film adaptation of "Oedipus the King", the filmmaker mostly stays faithful to the main plot of the story. The differences in the movie, "Oedipus Rex" and the play "Oedipus the King" mostly have to do with the way the story is presented visually and a few tweaks with theme. Sophocles used far more dialogue in his version of the story. That was an important aspect of the ancient Grecian plays. In the movie, Pasolini is able to use more modern set designs, scenery, and facial expression to tell the storyIn Pasolini's 1967 film adaptation of "Oedipus the King", the filmmaker mostly stays faithful to the main plot of the story. The differences in the movie, "Oedipus Rex" and the play "Oedipus the King" mostly have to do with the way the story is presented visually and a few tweaks with theme. Sophocles used far more dialogue in his version of the story. That was an important aspect of the ancient Grecian plays. In the movie, Pasolini is able to use more modern set designs, scenery, and facial expression to tell the story."
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Women in Ancient Tragedy and Comedy, 2005.
Examines the way women were portrayed in ancient Greek theatre by looking at the plays "Medea" (Euripides) and "Lysistrata" (Aristophanes).
1,224 words (approx. 4.9 pages), 4 sources, MLA, AU$ 60.95
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Abstract
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. The paper shows that both are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy feature strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. The paper also shows that both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy'-or the non-Greek or non-Athenian, in a fairly positive and humane fashion.
From the Paper
"Medea's act of infanticide is far more shocking than any allegations in Aristophanes about the positive aspects of Greek unity. Unlike the withholding of sexual favors in the private sphere, Medea's act is a public act, in a world such as Greece where "women had no power: they were excluded from politics; from the army, navy, and war; from the law courts; from the Olympic and other Games; from agriculture and trade. In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land."
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Sophocles and "Antigone", 2001.
A discussion of the use and role of mythology in Ancient Greece with emphasis on Sophocles a Greek dramatist, and a discussion of his play "Antigone."
2,000 words (approx. 8.0 pages), 7 sources, AU$ 91.95
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Abstract
An analysis of the use of mythology by Sophocles. The author discusses the use of myths in Ancient Greece to define gods and their laws, showing the terrible consequences of disobeying them and forming the structure of society and politics. The author discusses Sophocles, a Greek dramatist and his use of myths and religious rituals. Included is an analysis of Sophocles' play "Antigone".
From the Paper
"Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action Greek dramatists often based their plots on myths, which are believed to reflect the national identity and various historic periods. Besides serving as lyric entertainment stories, myths were used to persuade and enlighten citizens in matters of politics, religion, and customary rituals (Bremmer, 58)."
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?Oedipus the King?, 2004.
A short analysis of this Greek play by Sophocles.
753 words (approx. 3.0 pages), 0 sources, AU$ 38.95
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Abstract
This paper discusses the theme of fate in "Oedipus the King" by the ancient Greek playwright, Sophocles. The paper discusses the storyline of the play and the messages promoted by this work.
From the Paper
"The blind soothsayer, Tiresias, also tries to thwart fate. When Oedipus asks him who killed Laius, he answers that he knew but wished he did not. Finally he wrings the truth out of the old blind man, and is outraged at what he hears. He cannot believe it could be true, and so assumes that his brother in law Creon and Tiresias are plotting to overhrow him. Once again, Oedipus is avoiding his fate."
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Sophocles' ?Oedipus the King?, 2002.
This paper analyzes the Greek play by Sophocles' ?Oedipus the King?.
1,560 words (approx. 6.2 pages), 3 sources, MLA, AU$ 74.95
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Abstract
The author states Oedipus is one of the most famous names in Greek mythology. He believes that Oedipus was not an unwitting victim but rather had a clear hand in his own demise. Although the author thinks that one might curse the stars, he finds that the sense of doom ultimately has its origination in the nature of the human character. In this paper the author also explains why he feels that the term 'Oedipus complex' is an inappropriate reading of the play.
From the Paper
"The ?back story? the play provides to the opening image is also indicative of Oedipus? arrogance as well. Oedipus? first dialogue with his brother-in-law reveals that the plague has its roots in the murder of the original King of Thebes, Laius. Oedipus reacts with horror to this news. But as the prophet Tiresias later says, ?So, / you mock my blindness? Let me tell you this. / You with your previous eyes, you?re blind to the corruption of your life, / to the house you live in, those you live with?who are your parents? (Lines 468-470)."
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Oedipus, 2008.
A review of the theme of "sight and blindness" depicted in the Greek play, "Oedipus the King" by Sophocles.
1,600 words (approx. 6.4 pages), 1 source, APA, AU$ 75.95
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Abstract
The paper discusses Sophocles' "Oedipus the King" the tragedy of a king who, in the very attempt to flee his fate, brings about his destiny. The paper states that throughout the play, themes of sight and blindness occur in a number of variations. The paper describes that sight therefore could be seen to be symbolic of truth, while blindness represents hidden truths or outright lies. The paper states that at the end of the play, Oedipus blinds himself in a striking attempt to regain the innocence of his previous lack of full knowledge.
Outline:
Sight and Blindness: Oedipus
Sight and Blindness: Creon
Sight and Blindness: Jocasta
Conclusion: Free Will and Destiny
From the Paper
"In this, the Oracle and the Chorus represent sight. They warn Oedipus against searching for the truth, as it can only lead to disaster, which ultimately it does. His desire for truth and honesty however will not let him remain blind to the true state of affairs. As Oedipus moves from his symbolic blindness to finally shedding light upon the ugly truth, he cannot handle finally seeing, and blinds himself. This literal blindness and concomitant pain now takes the place of the blissful sightlessness that he has experienced throughout his life. Oedipus journey therefore comes full circle: from blindness to sight to blindness again."
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