1. Classical Theatre: The Birthplace of Tragedy AP English Literature

2. Poetics Authored by Aristotle (340 B.C.E.) Authored by Aristotle (340 B.C.E.) Early attempt at literary criticism Early attempt at literary criticism Response to Plato’s The Republic (c. 380 B.C.E.)—Plato banishes poet from ideal state Response to Plato’s The Republic (c. 380 B.C.E.)—Plato banishes poet from ideal state –Poets are imitators of things (two removes from Platonic reality) –Works are directed by our emotions –Poetry arouses emotions of pity and fear

3. The Argument Plato argues poetry, including tragedy, is harmful and has no place in the ideal state. Plato argues poetry, including tragedy, is harmful and has no place in the ideal state. Aristotle’s work refutes that claim and demonstrates his position. Aristotle’s work refutes that claim and demonstrates his position. Aristotle addresses Aristotle addresses –Plato’s objection to the arousal of pity and fear –Purpose of tragedy is to cause a catharsis  A cleansing, purification, purgation  A catharsis is a “safe” purging of the emotions of pity and fear

4. Timeline Poetics was penned long after Sophocles’ death (406 B.C.E.) Poetics was penned long after Sophocles’ death (406 B.C.E.) Aristotle considered Oedipus the King the perfect tragedy, and his analysis fits the play perfectly. Aristotle considered Oedipus the King the perfect tragedy, and his analysis fits the play perfectly.

5. Tragedy An imitation of a single, unified action that is serious, complete and probable, and of a certain magnitude An imitation of a single, unified action that is serious, complete and probable, and of a certain magnitude Presented in the form of action, not narrative Presented in the form of action, not narrative Plot is the “first principle,” the most important feature of tragedy Plot is the “first principle,” the most important feature of tragedy

6. 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 (Bedford, 1423). 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 (Bedford, 1423). The protagonist should be extraordinary rather than typical. The protagonist should be extraordinary rather than typical.

7. Tragic Protagonist Man or woman (preferably male), who is preeminent or better than average in some way Man or woman (preferably male), who is preeminent or better than average in some way Must undergo a reversal of fortune or fall from his/her position Must undergo a reversal of fortune or fall from his/her position For the proper emotions to be aroused, the protagonist must not be excessively good OR evil. For the proper emotions to be aroused, the protagonist must not be excessively good OR evil. The reversal of fortune must come about not through wickedness but through hamartia The reversal of fortune must come about not through wickedness but through hamartia  Hamartia: mistake or error in judgment

8. Other terms The reversal of fortune will be brought about by a peripeteia or an unexpected turn of events and should include an anagnorisis or recognition. The reversal of fortune will be brought about by a peripeteia or an unexpected turn of events and should include an anagnorisis or recognition. Anagnorisis: the discovery or recognition that leads to the reversal Anagnorisis: the discovery or recognition that leads to the reversal Peripeteia: reversal; protagonist’s fortune turn in an unexpected way. In tragedy, it is the “fall.” Peripeteia: reversal; protagonist’s fortune turn in an unexpected way. In tragedy, it is the “fall.”  Aristotle felt the peripeteia and the anagnorisis should occur together

9. Terms Hubris: overweening pride or ambition Hubris: overweening pride or ambition Pathos: “suffering” Pathos: “suffering” Dramatic irony: the meaning of a character’s words is understood by the audience but not by the character Dramatic irony: the meaning of a character’s words is understood by the audience but not by the character

10. Greek Drama Tragedy in Ancient Athens Tragedy in Ancient Athens –Developed in Athens in 5 th century B.C.E.(Golden Age of Greece) –Plays categorized as tragedies by their form and time and place, not by the “sadness” of their plots. Plot has to be serious –Plots were drawn from myths/legends –Celebrate courage and dignity in the face of defeat/portrays the grandeur of the human spirit.

11. City Dionysia Festival to honor the god Dionysus/held in late March Festival to honor the god Dionysus/held in late March Tragedians submitted requests to compete Tragedians submitted requests to compete (3) were accepted and performed, competing against one another (3) were accepted and performed, competing against one another –Each playwright entered 3 tragedies (trilogy) plus a 4 th satry play (modern word “satire”). Burlesque portrayal, presented gods and heroes in comic situations.  One of Euripides satyr plays has survived.

12. Origins Tragedy (tragoidia) means most nearly“goat song.” Tragedy (tragoidia) means most nearly“goat song.” Plays were originally a series of hymns and prayers led by a priest and a large chorus (choir) Plays were originally a series of hymns and prayers led by a priest and a large chorus (choir) Developed out of choral performances of songs and dances Developed out of choral performances of songs and dances Thespis (Thespians) added an actor to the chorus Thespis (Thespians) added an actor to the chorus Aeschylus added a 2 nd actor, Sophocles a 3rd Aeschylus added a 2 nd actor, Sophocles a 3rd

13. Performances Held outside in amphitheaters Held outside in amphitheaters Began at dawn and continued throughout the day Began at dawn and continued throughout the day Scholars estimate 14, 000 attended Scholars estimate 14, 000 attended Plays were performed once. Plays were performed once. No private theatres/companies No private theatres/companies Financed by the state with the help of wealthy citizens Financed by the state with the help of wealthy citizens

14. Greek Theatre All actors were men All actors were men Chorus, led by a flute player, enters singing the parados. One actor stands apart as leader Chorus, led by a flute player, enters singing the parados. One actor stands apart as leader No intermission No intermission No curtain/formal division of scene No curtain/formal division of scene Only 3 actors (with Sophocles) Only 3 actors (with Sophocles) Actors wore masks with cone-shaped projection (like a megaphone) Actors wore masks with cone-shaped projection (like a megaphone)

15. Long, graceful robes Long, graceful robes Costumes of symbolic color (green=mourning, purple=royal) Costumes of symbolic color (green=mourning, purple=royal) No artificial lighting No artificial lighting Little, if any, scenery Little, if any, scenery Despised physical violence on stage Despised physical violence on stage  We learn of these things through a messenger’s speech.

16. The Chorus Greek for “dance” Greek for “dance” 12-15 members (Sophocles increased number to 15) 12-15 members (Sophocles increased number to 15) Set mood/use of flute/poetic songs Set mood/use of flute/poetic songs Added beauty Added beauty Provides background information Provides background information May side with a character May side with a character Presents central themes Presents central themes Reflects on events/actions Reflects on events/actions

17. Not to be confused with the playwright’s opinions Not to be confused with the playwright’s opinions They function as a dramatic element They function as a dramatic element Shows the communal background of the action Shows the communal background of the action Assumes no life is entirely private Assumes no life is entirely private

18. Aristotle’s Unity of Time, Place, and Action Time: within a single day Time: within a single day Place: no scene change Place: no scene change Action: no subplots, one basic story Action: no subplots, one basic story

19. The Great Tragedians Aeschylus (7/90) Aeschylus (7/90) Sophocles (7/123) Sophocles (7/123) Euripides (18/90) Euripides (18/90) ***there were many great tragedians but few works have survived. Only 32 are extant (existing) out of the thousands written in 5 th century B.C.E.

20. Why is this play relevant? While Sophocles’ play is ancient, our concern about what it means to be human in a world that frequently runs counter to our desires is still prevalent. While Sophocles’ play is ancient, our concern about what it means to be human in a world that frequently runs counter to our desires is still prevalent.