1. Aristophanes: The Frogs

2. Comedy vs. Tragedy Aristotle, Poetics: Poetry is divided into two kinds. The first is Tragic Drama (Tragedy), which represents noble actions and noble persons; the second is Comic Drama (Comedy), which represents the actions of the ignoble Aristotle, Poetics: Poetry is divided into two kinds. The first is Tragic Drama (Tragedy), which represents noble actions and noble persons; the second is Comic Drama (Comedy), which represents the actions of the ignoble From Aristotle’s deductions, the division between the two dramatic forms can be seen to include the following characteristics… From Aristotle’s deductions, the division between the two dramatic forms can be seen to include the following characteristics…

3. Tragedy

4. The characters of Tragedy are kings, princes, or great leaders The characters of Tragedy are kings, princes, or great leaders

5. Tragedy deals with great and terrible actions Tragedy deals with great and terrible actions

6. Tragedy begins happily (or at least pleasantly), and progresses to a terrible ending Tragedy begins happily (or at least pleasantly), and progresses to a terrible ending

7. The style and language of Tragedy are elevated and sublime The style and language of Tragedy are elevated and sublime

8. Tragedy generally deals with mythological and historical subjects Tragedy generally deals with mythological and historical subjects

9. Tragedy deals with such lofty issues as exile, revenge, and bloodshed Tragedy deals with such lofty issues as exile, revenge, and bloodshed

10. Comedy

11. The characters of Comedy are humble and private citizens The characters of Comedy are humble and private citizens

12. Comedy deals with familiar and domestic situations Comedy deals with familiar and domestic situations

13. Comedy begins turbulently and ends joyfully, or in an upbeat way Comedy begins turbulently and ends joyfully, or in an upbeat way

14. The style and language of Comedy are humble and colloquial The style and language of Comedy are humble and colloquial

15. Comedy generally deals with ridiculous, invented situations Comedy generally deals with ridiculous, invented situations

16. Comedy deals with universals such as love/seduction, the generation gap, and the stubbornness of people Comedy deals with universals such as love/seduction, the generation gap, and the stubbornness of people

17. Aeschylus 525 – 456 BC

18. Generally regarded as the founder of Greek Tragedy Generally regarded as the founder of Greek Tragedy Born at Eleusis, 30 km northwest of Athens Born at Eleusis, 30 km northwest of Athens Actually fought at the Battle of Marathon (490). He also fought at Salamis (480), which is described in his play The Persians (472). Actually fought at the Battle of Marathon (490). He also fought at Salamis (480), which is described in his play The Persians (472). 484: Won his first victory in dramatic competition: was again successful with The Persians; In 458 had his last victory with the Oresteia trilogy 484: Won his first victory in dramatic competition: was again successful with The Persians; In 458 had his last victory with the Oresteia trilogy

19. He wrote between 80-90 plays, of which 7 survive: The Persians, Seven Against Thebes, The Suppliants, The Oresteia, and Prometheus Bound. He wrote between 80-90 plays, of which 7 survive: The Persians, Seven Against Thebes, The Suppliants, The Oresteia, and Prometheus Bound.

20. After his death, Aeschylus was honoured as a classic – even had the unique honour of having his plays staged posthumously After his death, Aeschylus was honoured as a classic – even had the unique honour of having his plays staged posthumously His innovations include introducing a second ‘character’, who was independent from the chorus His innovations include introducing a second ‘character’, who was independent from the chorus By diminishing the part of the chorus, he made true dialogue and dramatic action possible By diminishing the part of the chorus, he made true dialogue and dramatic action possible

21. Not so much his spectacle that deserves mention, as his grandeur of language, use of silence, and choreography Not so much his spectacle that deserves mention, as his grandeur of language, use of silence, and choreography Chose themes of utmost grandeur (as most Tragedy – topics from mythology – The Oresteia) and history (Persians) Chose themes of utmost grandeur (as most Tragedy – topics from mythology – The Oresteia) and history (Persians) Delighted in picturesque language and bold metaphors – lavishes epithets upon characters Delighted in picturesque language and bold metaphors – lavishes epithets upon characters Noble characters – must be beyond reproach Noble characters – must be beyond reproach

22. For many, Aeschylus’ religious and moral ideas give his drama a lasting significance For many, Aeschylus’ religious and moral ideas give his drama a lasting significance His most important dramatic component is poetry which evokes powerful emotion His most important dramatic component is poetry which evokes powerful emotion

23. Euripides 480 – 406 BC

24. Third of the great Attic tragedians (the other being Sophocles (496- 406 BC)) Third of the great Attic tragedians (the other being Sophocles (496- 406 BC)) Born on the same day of the Battle of Salamis Born on the same day of the Battle of Salamis Wrote between 80-90 plays, 18 of which survive, including Alcestis, Medea, Hippolytus, Trojan Women, Helen, Orestes, Bacchae, Hecuba and Andromache Wrote between 80-90 plays, 18 of which survive, including Alcestis, Medea, Hippolytus, Trojan Women, Helen, Orestes, Bacchae, Hecuba and Andromache

25. As a rule, the situations in his Tragedies involve violent stress – men and women in the grip of passion, torn by conflicting impulses: closer to everyday life than Aeschylus and Sophocles As a rule, the situations in his Tragedies involve violent stress – men and women in the grip of passion, torn by conflicting impulses: closer to everyday life than Aeschylus and Sophocles Euripides did not unquestioningly accept traditional religion and values: reflects the influence of the Sophists, who questioned old beliefs and criticised the old ways Euripides did not unquestioningly accept traditional religion and values: reflects the influence of the Sophists, who questioned old beliefs and criticised the old ways Made use of prologues Made use of prologues Clear, natural expression Clear, natural expression

26. Aristotle: “Sophocles presents men as they ought to be. Euripides presents them as they are.” Aristotle: “Sophocles presents men as they ought to be. Euripides presents them as they are.” Frequently ended his plays with a divine epilogue (similar to Jerry Springer), where gods tell of the character’s fates (again, like Springer, the god of Trash) Frequently ended his plays with a divine epilogue (similar to Jerry Springer), where gods tell of the character’s fates (again, like Springer, the god of Trash) Used the chorus as a lyrical interlude, taking attention away from the action Used the chorus as a lyrical interlude, taking attention away from the action c/f Aeschylus, whose choruses reflected on it c/f Aeschylus, whose choruses reflected on it

27. His characters are mere humans, who question the goodness and justice of the gods, who are presented as lazy, and might not do their duty His characters are mere humans, who question the goodness and justice of the gods, who are presented as lazy, and might not do their duty Euripides’ most potent aspect is his realism – see Electra: Orestes’ revenge: disillusioned and unhappy with the murders he has committed Euripides’ most potent aspect is his realism – see Electra: Orestes’ revenge: disillusioned and unhappy with the murders he has committed

28. The Bacchae

29. The Great Poetic Debate

30. Frogs, pp184 - 190 Xanthius and another slave explain that Aeschylus and Euripides are arguing about the ‘Chair of Poetry’ in Hades Xanthius and another slave explain that Aeschylus and Euripides are arguing about the ‘Chair of Poetry’ in Hades Aeschylus held it until Euripides’ death, but now the criminals have so loudly applauded Euripides’ argumentative skill that he is claiming it Aeschylus held it until Euripides’ death, but now the criminals have so loudly applauded Euripides’ argumentative skill that he is claiming it To settle the dispute, Pluto has ordained a trial in which each poet will argue his case. Dionysus will be the judge To settle the dispute, Pluto has ordained a trial in which each poet will argue his case. Dionysus will be the judge

31. Aeschylus and Euripides emerge bickering from the house. Dionysus urges quiet, telling them to pray. Aeschylus prays to Demeter (p.189), while Aristophanes plays upon Euripides’ agnosticism, and shows him praying to his “mind” and his “sentient nostrils!” Aeschylus and Euripides emerge bickering from the house. Dionysus urges quiet, telling them to pray. Aeschylus prays to Demeter (p.189), while Aristophanes plays upon Euripides’ agnosticism, and shows him praying to his “mind” and his “sentient nostrils!”

32. Frogs, pp.190-210 Euripides attacks Aeschylus: His characters use long silences; his choral passages are interminable; when his characters finally speak, they use verbose, bombastic language. Euripides attacks Aeschylus: His characters use long silences; his choral passages are interminable; when his characters finally speak, they use verbose, bombastic language. Euripides claims that in his plays everything is made clear in the prologue, and he uses realistic, everyday characters, and writes about familiar subjects. Euripides claims that in his plays everything is made clear in the prologue, and he uses realistic, everyday characters, and writes about familiar subjects. He has also taught men to examine all questions and speak their mind freely He has also taught men to examine all questions and speak their mind freely

33. Aeschylus replies (p.193ff) by saying that Euripides’ “realistic” characters are immoral and set bad examples, while noting his were “real heroes” Aeschylus replies (p.193ff) by saying that Euripides’ “realistic” characters are immoral and set bad examples, while noting his were “real heroes” He justifies his use of highly poetic language by holding it appropriate to lofty subject matter. He notes that the duty of the poet is to teach. He justifies his use of highly poetic language by holding it appropriate to lofty subject matter. He notes that the duty of the poet is to teach. Euripides, fluent in the speechmaking arts, has taught people to “babble and prate”, while Aeschylus inspires through presentation of lofty subjects Euripides, fluent in the speechmaking arts, has taught people to “babble and prate”, while Aeschylus inspires through presentation of lofty subjects

34. Frogs, p.197ff The focus then turns to the form of the plays: Euripides attacks Aeschylus for redundancy and wordiness The focus then turns to the form of the plays: Euripides attacks Aeschylus for redundancy and wordiness Aeschylus, with his “bottle of oil”, shows Euripides’ monologues to be repetitive and monotonous (p.199) Aeschylus, with his “bottle of oil”, shows Euripides’ monologues to be repetitive and monotonous (p.199) Euripides shows Aeschylus’ choral odes to be too dependant on exaggerated verbal noise (“crash”), and too reliant on the same rhythm (p.201) Euripides shows Aeschylus’ choral odes to be too dependant on exaggerated verbal noise (“crash”), and too reliant on the same rhythm (p.201) Euripides’ choruses are full of cheap and trivial effects, which Aeschylus notes, recall his “cheap” characters Euripides’ choruses are full of cheap and trivial effects, which Aeschylus notes, recall his “cheap” characters

35. Dionysus is confused. He decides to “weigh” their lines; Aeschylus wins due to his “heavier” content Dionysus is confused. He decides to “weigh” their lines; Aeschylus wins due to his “heavier” content Dionysus finally asks each poet how we would save Athens. He finds Aeschylus’ advice sensible (and clearer than Euripides’), and therefore chooses Aeschylus, whose plays present the “good old days”, and act as a cohesive, moral tool Dionysus finally asks each poet how we would save Athens. He finds Aeschylus’ advice sensible (and clearer than Euripides’), and therefore chooses Aeschylus, whose plays present the “good old days”, and act as a cohesive, moral tool

36. ALF