THE THEBAN PLAYS BY SOPHOCLES An Introduction

THE THREE PLAYS Section 1

SOPHOCLES Born to a wealthy family in Athens, Greece around 459 B.C. Highly revered playwright throughout his lifetime. Participated in the Festival of Dionysus multiple times, and won first place in many competitions. Other than being a playwright, he was also a politician and soldier at different points. He is most famous for the Oedipus trilogy.

PLAY #1: OEDIPUS REX Setting: Thebes King Laius and Queen Jocasta hear a prophecy that their son will kill him and marry her, so they abandon their son, Oedipus, in the woods. The prophecy is fulfilled by Oedipus later on, but he does so unknowingly. The prophecy is fulfilled by Oedipus later on, but he does so unknowingly. When it is discovered that the prophecy has been fulfilled, tragedy befalls the family. When it is discovered that the prophecy has been fulfilled, tragedy befalls the family.

PLAY #2: OEDIPUS AT COLONUS Setting: Colonus, northern Athens Led by one of his daughters, Antigone, Oedipus travels to Colonus. They are later joined by Ismene, Antigone’s sister. Oedipus’ sons, Polyneices and Eteocles, remain in Thebes fighting for the throne. Oedipus’ sons, Polyneices and Eteocles, remain in Thebes fighting for the throne. Oedipus’ brother-in-law, Creon, supports Eteocles’ claim. Oedipus’ brother-in-law, Creon, supports Eteocles’ claim. Once Oedipus dies, Antigone returns to Thebes, hoping to end the fighting between her brothers. Once Oedipus dies, Antigone returns to Thebes, hoping to end the fighting between her brothers.

PLAY #3: ANTIGONE Setting: Thebes Setting: Thebes The play begins after Antigone’s brothers have killed each other and Creon has taken power. The play begins after Antigone’s brothers have killed each other and Creon has taken power. Creon supported Eteocles, so he gives him a proper burial. However, he denies Polyneices a proper burial since he is a “traitor.” Creon supported Eteocles, so he gives him a proper burial. However, he denies Polyneices a proper burial since he is a “traitor.” Antigone disagrees with the new king’s decree. Antigone disagrees with the new king’s decree.

LITERARY DEVICES IN OEDIPUS REX Section 2

IRONY Verbal: words are used to suggest the opposite of their usual meaning 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 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 Dramatic: there is a contradiction between what a character thinks and what the reader or audience knows to be true

STICHOMYTHIA Stichomythia is a dialogue, especially of altercation or dispute, delivered by two actors in alternating lines Stichomythia is a dialogue, especially of altercation or dispute, delivered by two actors in alternating lines It is a sort of line for line verbal fencing match in which the characters’ lines play off each other. It is a sort of line for line verbal fencing match in which the characters’ lines play off each other. 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) 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) Ordinarily occurs at moments of high tension or conflict between the characters. 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. 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. The structure of the lines are nearly parallel, and cue words lead the thought from one speech to the next.

OTHER LITERARY DEVICES Simile: a comparison of two unlike things using the word “like” or “as” Simile: a comparison of two unlike things using the word “like” or “as” Metaphor: a comparison of two unlike things not using the word “like” or “as” Metaphor: a comparison of two unlike things not using the word “like” or “as” Personification: attributing human traits to something nonhuman Personification: attributing human traits to something nonhuman Paradox: a seeming contradiction; sounds impossible, yet is in fact possible. Paradox: a seeming contradiction; sounds impossible, yet is in fact possible. Foreshadowing: clues or hints to events that have yet to occur Foreshadowing: clues or hints to events that have yet to occur Imagery : descriptive language that appeals to the five senses Imagery : descriptive language that appeals to the five senses

ELEMENTS OF A GREEK TRAGEDY Section 3

THEATERS IN ANCIENT GREECE Greek tragedies and comedies were always performed in outdoor theaters. The major components of a Greek theater are: Orchestra: a circular stage where the acting would take place. Theatron: where the spectators sat, often wrapped around a large portion of the orchestra. Skene: the building directly behind the stage, which was usually decorated according to the needs of the play. It had at least one set of doors, and actors could make entrances and exits through them. Parodos: the paths by which the chorus and some actors made their entrances and exits.

MASKS IN THE THEATER There were typically three actors assigned to a playwright. Because most plays have more than two or three characters, all three actors played multiple roles. Since women were not allowed to take part in dramatic productions, male actors had to play female roles. This was possible by the use of masks, which prevented the audience from identifying the face of any actor with one specific character. The masks with subtle variations also helped the audience identify the sex, age, and social rank of the characters.

TRAGEDY: A DEFINITION Greek philosopher Aristotle defined the term “tragedy” as “an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation for these emotions.” Greek philosopher Aristotle defined the term “tragedy” as “an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation for these emotions.” Inspired by Aristotle, the definition we use today is a work of literature, especially a play, that tells of a catastrophe, a disaster or great misfortune, for the main character. Inspired by Aristotle, the definition we use today is a work of literature, especially a play, that tells of a catastrophe, a disaster or great misfortune, for the main character.

BASIC STRUCTURE OF A GREEK TRAGEDY Prologue: Spoken by one or two characters before the chorus appears. The prologue usually gives the mythological background necessary for understanding the events of the play. Parodos: This is the song sung by the chorus as it first enters the orchestra and dances. First Episode/Scene: This is the first of many "episodes,” when the characters and chorus talk. First Stasimon/Ode: At the end of each episode, the other characters usually leave the stage and the chorus dances and sings a choral ode. The ode usually reflects on the things said and done in the episodes, and puts it into some kind of larger mythological framework. For the rest of the play, there is alternation between episodes and odes, until the final scene, called the... Exodos: At the end of play, the chorus exits singing a processional song which usually offers words of wisdom related to the actions and outcome of the play.

ARISTOTLE’S THREE UNITIES Aristotle’s concept of the Three Unities is basically a formula for a perfect tragedy: Aristotle’s concept of the Three Unities is basically a formula for a perfect tragedy: Unity of Place: a play should be set in only one location. Unity of Place: a play should be set in only one location. Unity of Time: a play should only represent the happenings of one day; the events of the past are recounted by characters. Unity of Time: a play should only represent the happenings of one day; the events of the past are recounted by characters. Unity of Action: only actions and scenes relating to the main plot should be included; any unnecessary subplots should be omitted. Unity of Action: only actions and scenes relating to the main plot should be included; any unnecessary subplots should be omitted.

ARISTOTLE’S SIX ELEMENTS OF TRAGEDY Aristotle identified the following as the key elements of a tragedy: 1.Plot 2.Characters 3.Diction 4.Thought 5.Spectacle 6.Melody Plot and Characters are the most important of the elements.

TRAGIC HERO Usually of noble birth such as royalty; a leader of men Usually of noble birth such as royalty; a leader of men Has a hamartia (tragic flaw) such as a mistake in judgment or hubris (pride) which leads to his or her downfall Has a hamartia (tragic flaw) such as a mistake in judgment or hubris (pride) which leads to his or her downfall The peripetia (reversal of fortune) begins the tragic hero’s downfall The peripetia (reversal of fortune) begins the tragic hero’s downfall After the downfall, s/he gains self-awareness and knowledge After the downfall, s/he gains self-awareness and knowledge S/He must suffer, but does not necessarily die. S/He must suffer, but does not necessarily die.

THE GODS Either the gods themselves or prophets/oracles prevent the tragic hero from reaching the goal, or they attempt to tell the tragic hero for what he should be on the lookout. DEUS EX MACHINA – “god from the machine.” A god lowered from a crane at the end of the play (as if from heavens), usually creating a resolution for the play.

CHORUS A group of twelve or fifteen men, led by a Choragus, who would sing choral songs that dictated what was happening in the play and forced the audience to question what was going on in the tragedy.

CATHARSIS The idea is that the audience of a tragedy experiences a purification and purging (cleansing) of his or her emotions of pity and fear - the “thank God it’s not me” phenomenon. The idea is that the audience of a tragedy experiences a purification and purging (cleansing) of his or her emotions of pity and fear - the “thank God it’s not me” phenomenon. The tragedy should affect catharsis in the audience. The tragedy should affect catharsis in the audience.

SUMMARIZER: VENN DIAGRAM INSTRUCTIONS: Create a Venn Diagram which depicts the similarities and differences between an epic hero and a tragic hero. INSTRUCTIONS: Create a Venn Diagram which depicts the similarities and differences between an epic hero and a tragic hero. Epic Hero Tragic Hero Both