By Sophocles

Some Essentials Structure is similar to all Greek Tragedy: Introduction of conflict, with rising action (complication) leading to (denouement) climax, and falling action ending in resolution of conflict. Parodos structurally signifies the beginning of the play Prologos presents the exposition Within the Prologos, the essential problem is revealed and the central characters are introduced The setting, the royal palace of Thebes is established The god to whom the Thebans turn to for help—Apollo, the god of light, music, archery, and prophesy—is identified Oedipus’ resolution of the riddle of the Sphinx and subsequent usurpation of the throne of Thebes are mentioned.

Continued… Greek tragedy relies on the ear more than the eye to reach its audience; debate was an accepted part of daily life. Greeks believed in moderation in all aspects of living; sought balance, order, and symmetry –ARETÊ “Nothing that is vast enters into the life of mortals without a curse.” (Sophocles, Antigone) “Man is the measure of all things.” (Protagoras, fifth century philosopher) Greeks believed that words meaning “boundless,” “infinite,” “unlimited,” and “indefinite” carried negative connotations.

Greek Terms HUBRIS—personality flaw in a character that causes him/her to commit their tragic mistake leading to their downfall; often this personality flaw is excessive pride or esteeming themselves as equal to or greater than the gods HAMARTÍA—the mistake or misjudgment made by a character that leads to their downfall; the word literally means something like "missing the mark" because usually one makes their fatal mistake based on an incomplete self knowledge CATHARSIS—the audience’s reaction at the end of the tragedy; the feeling of acceptance that while sad; it ended as it had to end; the audience recognizes their gratitude that they were not the one’s in the tragic hero’s shoes that day

Literary Terms Paradox: a seeming contradiction; sounds impossible, . Stichomythia: A poetic device originating in classical tragedy Character A is assigned one verse line, Character B takes the following line, Character A takes the next, and so on. (ping-pong line talk) Used for providing contrast to lengthy speeches and choral passages. Ordinarily occurs at moments of high tension or conflict between the characters. May present thesis and counter thesis, question and answer, or argument and refutation. The structure of the lines are nearly parallel, and cue words lead the thought from one speech to the next. Variation: antilabe, a single verse line is broken up between alternate speakers; even more dramatic effect. Irony: Verbal: words are used to suggest the opposite of their usual meaning Situational: an event occurs that directly contradicts the expectations of the characters, the reader, or the audience Dramatic: there is a contradiction between what a character thinks and what the reader or audience knows to be true N.B., Peripateia, the Greek word for a sudden reversal, is a characteristic form of situational irony. Reversals of intention and expectation

Anagnorisis – Revelation or Recognition – especially Recognition of Identity; occurs in both tragedy and comedy, with different effects!