1. Get out your peer edits and rough drafts
Write down some questions you have.

2. intro to drama
Get ready to take notes!

3. Ancient and Modern Literature

4. Fundamental Differences Between Ancient and Modern Life
Organization of Society
Rights and Responsibilities of Individuals
Material Well-Being
Spiritual and Psychological Well-Being

5. Organization of Society
Ancient - Little social mobility. Social status, marital partners, and occupations are chosen by or inherited from parents and therefore determined at birth
Modern – Social status dependent on wealth, which is the reward for achievement valued by others. Therefore social status, marital partners, and occupations for most people are not determined at birth

6. Rights and Responsibilities of Individuals
Ancient – Few or no rights and not much concern for them. Concern is for responsibility to relatives, communities, overlords, or kings.
Modern – “ the right to life, liberty, and the pursuit of happiness.”

7. Material Well-Being
Ancient – Nobility uses wealth to maintain power and insulate themselves from such misfortunes as famine and plague. In addition, the authority of kings is bolstered by the role of religious traditions to discourage such threatening enterprises as science, technology, and trade (Creates a new social class)
Modern – A world of merchants, bankers, lawyers, doctors, scientists, and technicians.

8. Spiritual and Psychological Well-Being
Ancient – Little freedom but psychological comfort
Modern – Pursues his own material happiness but often at the expense of his psychological and spiritual well-being

9. Chief Irony of Modern life
The modern world is the only world in which ordinary individuals have ever assumed they all had the right to pursue their own happiness.
Problem is this pursuit has robbed modern man of his sense of identity, purpose, security, worth, and place.

10. Ancient and Modern Literature

11. Ancient

12. 18th & 19th Centuries

13. One Flew Over the Cuckoo’s Nest

14. Metamorphosis

15. ANCIENT MODERN Hero is a model of the ideal human type.
Odysseus Beowulf
Hero is tragic. His downfall is due to his own internal character flaws. He arouses terror and pity because such a great man has such a big fall.
Oedipus Creon
Hero is often a pitiful victim or mental patient.
McMurphy in One Flew Over the Cuckoo’s Nest
Hero is clearly pathetic. He is a victim of circumstances beyond his control. Often he is particularly pitiful.
Gregor Samsa in Kafka’s Metamorphosis

16. ANCIENT MODERN
Society is insane, absurd, pointless, and highly criticized.
Great Gatsby
Death of a Salesman
Crime and Punishment
Lord of the Flies
Fahrenheit 451
Heart of Darkness
A Clockwork Orange
Brave New World
1984
Society is never criticized. For example, warfare is a source of great tragedy in the Iliad, but it wouldn’t have occurred to Homer that a world without war could exist.
Odyssey
Antigone
Beowulf
Setting of Julius Caesar

17. ANCIENT MODERN Life basically makes
sense. You make mistakes, but can learn from them. That, or your tragedy serves as a lesson for others
Society clearly makes no sense.

18. Tragedy and Comedy

19. Four Assumptions
Perfect definitions and an airtight system of classification are impossible
It is unnecessary that we classify each play we read or see
The quality of experience furnished by a play may be partially dependent on our perception of its relationship to earlier literary forms, and therefore familiarity with traditional notions of tragedy and comedy is important for our understanding and appreciation of plays
Whether or not tragedy and comedy be taken as the two all-inclusive dramatic modes, they are certainly, as symbolized by the masks, the two principal ones

20. Tragedy

21. A literary tragedy presents courageous individuals who confront powerful forces within or outside themselves with a dignity that reveals the breadth and depth of the human spirit in the face of failure, defeat, and even death

22. Hamartia
The term Aristotle described as “some error or frailty” that brings about the protagonist’s misfortune is hamartia. This word has been frequently interpreted to mean that the protagonist’s fall is the result of an internal tragic flaw, such as an excess in pride, ambition, passion, or some other character trait that leads to disaster.

23. Hamartia
Maybe better to translate the word to mean “mistake.” The protagonist will mistakenly bring about his own downfall, not because he is sinful or morally weak, but because he does not know enough.

24. Reversal (peripeteia)
The point when the hero’s fortunes turn in an unexpected direction. Typically, a self-destructive action taken in blindness that leads to a diametrically opposed result from what was intended

25. Recognition (anagnorisis)
The protagonist recognizes the consequences of his actions – moves from ignorance to knowledge

26. Catharsis
Aristotle described catharsis as a purgation of the emotions of “pity and fear.” We are faced with the protagonist’s misfortune, which often seems out of proportion to his or her actions, and so we are likely to feel compassionate pity. Simultaneously, we may experience fear because the failure of the protagonist, who is so great in stature and power, is a frightening reminder of our own vulnerabilities.

27. Central Features of Archetypal Tragic Figure
The tragic hero is a man of noble stature
The tragic hero is good, though not perfect, and his fall results from his committing “an act of injustice” (hamartia) either through ignorance or from a conviction that some greater good will be served
The hero’s downfall, therefore, is his own fault, the result of his own free choice – not the result of pure accident or villainy or some overriding malignant fate
The hero’s misfortune is not wholly deserved – the punishment exceeds the crime
The tragic fall is not pure loss. Though it may result in the protagonist’s death, it involves, before death, some increase in awareness, some gain in self-knowledge
Though it arouses the emotions of pity and fear, when performed well, the audience should achieve a sense of emotional release, a catharsis, at the end of the play

28. Staple and KEEP it!
I will be calling you up, checking turn it in.com and discussing any issues.
Staple in the following order:
Rubric
Final essay
Graded rough draft
Peer edited rough draft

29. Comedy

30. The Comedic Ladder

31. Depiction of Human Nature
Tragedy emphasizes human greatness
Comedy delineates human weakness
Tragedy celebrates human freedom
Comedy points up human limitations
Tragedy: “What a piece of work is man! How noble in reason! How infinite in faculty! In form and moving how express and admirable! In action how like an angel! In apprehension how like a god!”Hamlet
Comedy: “Lord, what fools these mortals be!”Puck

32. Because comedy exposes human folly, its function is partly critical and corrective. Where tragedy challenges us with a vision of human possibility, comedy reveals to us a spectacle of human ridiculousness.

33. Greek Drama and Aeschylus

35. THEATER OF DIONYSOS

36. GREEK THEATER
skene
theatron
proskenion
parodos
chorus
orchestra

37. Three Main Tragedians Aeschylus 525-456 BC Sophocles 496-406 BC
Euripides BC

38. Oresteia Trilogy about Agamemnon and his family after the Trojan War.
Agamemnon, Libation Bearers (aka Choephoroe), and Eumenides
Written in 458 BCE, 2 years before Aeschylus’ death

39. Remember Agamemnon from The Iliad?
“Still I am willing to give her back, if such is the best way. / I myself desire that my people be safe, not perish. / Find me then some prize that shall be my own, lest I only / among the Argives go without, since that were unfitting” ( ).

40. Vocabulary Machiavel: marked by cunning, duplicity, or bad faith
Xenophobe: one unduly fearful of what is foreign and especially of people of foreign origin
Misogynist: a hatred of women
Pragmatist: a practical approach to problems and affairs
Regicide: the crime of killing a king or queen
Infanticide: the act of killing a baby
Patricide: the act of murdering your own father
Fratricide: the crime of murdering your own brother or sister

41. Essential Questions: The Oresteia
What is masculine/feminine?
What is the role of woman, wife, mother vs. man, ruler, father?
How are characters/people to choose between two rights or two wrongs?
How do we deal with vengeance?
How do we gauge true justice?
What is the problem with binary opposites?
How does Aeschylus shape the modern view of blood vengeance, woman, court systems?

42. Annotate for… Literary devices Elements of Tragedy Characterization
Lines dealing with the essential questions
Confusing and defined terms

43. "English? Who needs that? I'm never going to England!"
“Books are useless! I only ever read one book, To Kill A Mockingbird, and it gave me absolutely no insight on how to kill mockingbirds! Sure it taught me not to judge a man by the color of his skin but what good does that do me?”

44. Agamemnon Read Check Put phones in testing pockets.
Listen for your scantron
Bubble 51-75

45. Curse of the House Atreus

46. Curse of the House Atreus

47. Philosophical Chairs Take a position on an issue within Agamemnon.
Find several examples (mark in your text) to support your claim.
Prove your claim to the class using your examples.

48. The Topics to Debate Agamemnon is a victim.
Cassandra’s visions are pointless because the other characters cannot believe her.
Aegisthus was justified in his motivations.
Clytemnestra is the epitome of the stereotype of female irrationality.

49. Agamemnon is a victim.
True
False

50. Cassandra’s visions are pointless because the other characters cannot believe her.
True
False

51. Aegisthus was justified in his motivations.
True
False

52. Clytemnestra is the epitome of the stereotype of female irrationality.
True
False