In Classical Greek drama, the existence of a Chorus strikes the modern audience as odd. Why is there a Chorus? What role does it play? Where did the Chorus come from? The origin of the word "khoros" is cloaked in mystery, however it has been suggested by modern scholars that the word references an open dance … Continue reading What is the Chorus in Greek Tragedy?
theatre
Euripides and the Gods: Ion
Ion is an odd play for a Euripidian tragedy. Unlike many of his other works, Ion prominently features the gods, including a closing scene in which Athena resolves the impending conflict of the play. Apollo, though silent throughout the play, is portrayed in an unflattering light, while Athena is cast as all-knowing, not unlike the Athena … Continue reading Euripides and the Gods: Ion
Aristotle, Oedipus, and Greek Tragedy
There is a rigorous debate among scholars that has perpetuated for hundreds of years, dating back to Aristotle, about whether or not the purpose, or telos, of a tragedy is to determine a particular character flaw of the central protagonist. That is, to inquire about whether or not Oedipus is, indeed, a flawed human being who has, somehow, … Continue reading Aristotle, Oedipus, and Greek Tragedy
Oedipus and Greek Tragedy
Often in ancient Greek tragedy we find protagonists committing the sin of hubris, extreme pride or arrogance. Recall in Aeschylus's Agamemnon that Agamemnon returns home with a stolen concubine from Ilium, and also he fails to foresee the extent to which Clytemnestra holds a grudge against his decision to sacrifice Iphigenia. In another case, consider the … Continue reading Oedipus and Greek Tragedy
Notes on Aeschylus
Often called the "father of tragedy", Aeschylus is known for taking the tragic art to new heights by introducing a creative new approach to ancient theatron. Prior to Aeschylus, drama typically included one protagonist and a chorus, however Aeschylus minimizes the role of the chorus and introduces a crop of new characters. Aristotle later noted the importance … Continue reading Notes on Aeschylus
Thoughts on Aeschylus
Agamemnon, the first play of the Oresteia trilogy begins much like other great plays, such as Hamlet, on the walls of the city with a a lone watchman who bemoans the state of affairs, waiting for a light showing that Agamemnon, his king, is returning home from the Trojan War. Upon spotting the foreboding beacon, he … Continue reading Thoughts on Aeschylus
The Oresteia: An Affirmation of the Noble Lie
In Aeschylus's The Libation Bearers, we are first introduced to Orestes, the son of the late and betrayed Agamemnon. He appears, hidden, before the grave of his father as his sister Electra is making libations in her father's honor. This second part of the trilogy takes place an unknown number of years after the murder … Continue reading The Oresteia: An Affirmation of the Noble Lie
Dialectic in Agamemnon
The central dialectic of the first part of Aeschylus's famous trilogy occurs between the infamous Clytemnestra, a queen rivaled only by Lady Macbeth, and the Chorus of older men of the city of Mycenea. Both are skeptical of each others' motivations and ambitions. In considering an historical example, recall the feud between King John of Lackland … Continue reading Dialectic in Agamemnon
As You Like It, Act II
Scene 1 In Act II, the longest of the five Acts in the play, we are redirected to (presumably) the Forest of Arden where Duke Senior praises the innocence of the noblemen's new idyllic life. He calls it "sweet", "free from peril", and without the "penalty of Adam". He hearkens a golden age, but not … Continue reading As You Like It, Act II
As You Like It, Act I
Scene 1 At the outset, we encounter Orlando, an English spelling of the French hero named Roland (of Chanson de Roland, or the "Song of Roland", the great French heroic poem from the reign of Charlemagne) bemoaning his state of affairs to the family servant Adam in an orchard. The setting is far from the … Continue reading As You Like It, Act I
