oedipus rex & antigone sophocles. the structure of greek drama prologos: opening portion, sets...

44
Oedipus Rex & Oedipus Rex & Antigone Antigone Sophocles Sophocles

Upload: camron-moore

Post on 18-Jan-2016

218 views

Category:

Documents


2 download

TRANSCRIPT

Page 1: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Oedipus Rex & Oedipus Rex & AntigoneAntigone

SophoclesSophocles

Page 2: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

The Structure of Greek The Structure of Greek DramaDrama

Prologos:Prologos: opening portion, sets the opening portion, sets the scene, contains scene, contains exposition (essential (essential problem of the play is revealed.problem of the play is revealed.

Parados:Parados: entrance song of chorus- entrance song of chorus- 11stst Ode. (Exposition.) Ode. (Exposition.)

Episodes:Episodes: scenes action of drama scenes action of drama performed by actors (Conflict/Rising performed by actors (Conflict/Rising Action)Action)

Page 3: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Structure Cont’dStructure Cont’d

Stasimons:Stasimons: Odes performed by the Odes performed by the chorus- alternate with episodes. chorus- alternate with episodes. (Climax/Falling Action)(Climax/Falling Action)

Exodos:Exodos: Concluding section of Concluding section of tragedy, ends with chorus singing tragedy, ends with chorus singing final lines as they exit. (resolution)final lines as they exit. (resolution)

Page 4: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Exposition- OedipusExposition- Oedipus

Location: Prologue, ParadosLocation: Prologue, ParadosPeople plead to Oedipus to end the People plead to Oedipus to end the

plague. Oedipus curses the murderer plague. Oedipus curses the murderer whom he blames for Thebes’ problems. whom he blames for Thebes’ problems. The people plead to the gods for mercy.The people plead to the gods for mercy.

Page 5: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ConflictConflict

the central conflict that moves the plot the central conflict that moves the plot forward.forward.

Can be the protagonists’ struggle against Can be the protagonists’ struggle against fate, nature, society, or another person.fate, nature, society, or another person.

Location: Scene 1, Ode 1Location: Scene 1, Ode 1Teiresias identifies Oedipus as the murderer. Teiresias identifies Oedipus as the murderer.

Oedipus rejects the accusation. The people Oedipus rejects the accusation. The people are confused: should they believe Oedipus are confused: should they believe Oedipus (their King) or Teiresias (the prophet)?(their King) or Teiresias (the prophet)?

Page 6: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Rising ActionRising Action

The early part of the narrative, which The early part of the narrative, which builds momentum and develops the builds momentum and develops the narrative’s major conflict.narrative’s major conflict.

Location: Scene 2, Ode 2Location: Scene 2, Ode 2 Oedipus discovers that Laios was killed where Oedipus discovers that Laios was killed where

3 roads meet and that the servant who 3 roads meet and that the servant who witnessed the death left the house of Laios witnessed the death left the house of Laios when Oedipus became king. The people warn when Oedipus became king. The people warn against rejecting oracles.against rejecting oracles.

Location: Scene 3, Ode 3Location: Scene 3, Ode 3 Oedipus discovers he was adopted by Polybos; Oedipus discovers he was adopted by Polybos;

that he was found as an infant on Mt. Kithaironthat he was found as an infant on Mt. Kithairon

Page 7: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ClimaxClimax

The moment of highest tension; the The moment of highest tension; the conflict comes to a head.conflict comes to a head.

Location: Scene 4Location: Scene 4Oedipus discovers that he was Laio’s Oedipus discovers that he was Laio’s

son, left on the mountain as an infant to son, left on the mountain as an infant to die.die.

Page 8: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Falling ActionFalling Action

The latter part of the narrative, where The latter part of the narrative, where the protagonist responds to the events the protagonist responds to the events of the climax and various plot elements of the climax and various plot elements introduced in the rising action are introduced in the rising action are resolved.resolved.

Location: Ode 4, ExodosLocation: Ode 4, ExodosThe people bemoan Oedipus’ fate, The people bemoan Oedipus’ fate,

devastated that one so great could fall so devastated that one so great could fall so far. Jocasta hangs herself; Oedipus blinds far. Jocasta hangs herself; Oedipus blinds himself.himself.

Page 9: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ResolutionResolution

An ending that satisfactorily answers An ending that satisfactorily answers all the questions raised over the all the questions raised over the course of the plot.course of the plot.

Location: ExodosLocation: ExodosOedipus exiles himself from Thebes Oedipus exiles himself from Thebes

after reflecting on the curse he brings after reflecting on the curse he brings upon his children. The people caution upon his children. The people caution that no one should take the comfort of that no one should take the comfort of their lives for granted. their lives for granted.

Page 10: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

The Greek TheatresThe Greek Theatres

Orchestra- circular “dancing Place,” where the chorus performed.

Theatron: “seeing place,” where stone benches were constructed for the audience to sit.

Parados: extending from the orchestra to each side of the theatron, 2 broad aisles where the chorus entered and exited.

Often located in or around sanctuaries to the god’s.Skene: rectangular building with 3 doors in front, providing backdrop for the action of the polay, as well as an arena where actors entered and exited.

Proskenion: small platform errected to give actors more visibility; separate them fro chorus & orchestra

Page 11: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Important Definitions: Important Definitions: ComedyComedy

Greeks and Romans confined the word Greeks and Romans confined the word "comedy" to descriptions of stage-"comedy" to descriptions of stage-plays with happy endings. Aristotle, in plays with happy endings. Aristotle, in the Poetics, states that comedy the Poetics, states that comedy originated in Phallic songs and the light originated in Phallic songs and the light treatment of the otherwise base and treatment of the otherwise base and ugly. He also adds that the origins of ugly. He also adds that the origins of comedy are obscure because it was comedy are obscure because it was not treated seriously from its inception. not treated seriously from its inception.

Page 12: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Three Types of Comedy:Three Types of Comedy:

FarceFarce: a humorous play involving : a humorous play involving characters in unlikely and ridiculous characters in unlikely and ridiculous situations situations

RomanticRomantic: a popular genre that depicts : a popular genre that depicts burgeoning romance in humorous burgeoning romance in humorous terms, and focuses on the foibles of terms, and focuses on the foibles of those who are falling in love. those who are falling in love.

SatiricalSatirical: use ironic comedy to portray : use ironic comedy to portray persons or social institutions as persons or social institutions as ridiculous or corrupt, thus alienating ridiculous or corrupt, thus alienating their audience from the object of humortheir audience from the object of humor

Page 13: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

TragedyTragedy

A drama or literary work in which the main A drama or literary work in which the main character is brought to ruin or suffers extreme character is brought to ruin or suffers extreme sorrow, especially as a consequence of a tragic sorrow, especially as a consequence of a tragic flaw, moral weakness, or inability to cope with flaw, moral weakness, or inability to cope with

unfavorable circumstances.unfavorable circumstances. Aristotelian- a great person who Aristotelian- a great person who

receives a reversal of fortune.receives a reversal of fortune.Hegelian- G.W.F Hegel, German Hegelian- G.W.F Hegel, German

PhilosopherPhilosopherRevengeRevenge

Page 14: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Critical Terms to Know:Critical Terms to Know:

Anagnorisis- revelation or recognition Anagnorisis- revelation or recognition “knowing again,” “knowing back.”“knowing again,” “knowing back.”

Hamartia- “mistake” “error”Hamartia- “mistake” “error”Hubris- “excessive pride”Hubris- “excessive pride”Nemesis- “divine retribution”Nemesis- “divine retribution”Peripateia-reversal of circumstances, Peripateia-reversal of circumstances,

or turning point or turning point Catharsis- “purification”Catharsis- “purification”

Page 15: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

"The heroes of ancient classical tragedy encounter "The heroes of ancient classical tragedy encounter situations in which, if they firmly decide in favor of situations in which, if they firmly decide in favor of the one ethical pathos that alone suits their finished the one ethical pathos that alone suits their finished character, they must necessarily come into conflict character, they must necessarily come into conflict with the equally justified ethical power that with the equally justified ethical power that confronts them. Modern characters, on the other confronts them. Modern characters, on the other hand , stand in a wealth of more accidental hand , stand in a wealth of more accidental circumstances, within which one could act this way circumstances, within which one could act this way or that, so that the conflict which is, though or that, so that the conflict which is, though occasioned by external preconditions, still occasioned by external preconditions, still essentially grounded in the character. The new essentially grounded in the character. The new individuals, in their passions, obey their own individuals, in their passions, obey their own nature...simply because they are what they are. nature...simply because they are what they are. Greek heroes also act in accordance with Greek heroes also act in accordance with individuality, but in ancient tragedy such individuality, but in ancient tragedy such individuality is necessarily... a self-contained ethical individuality is necessarily... a self-contained ethical pathos...In modern tragedy, however, the character pathos...In modern tragedy, however, the character in its peculiarity decides in accordance with in its peculiarity decides in accordance with subjective desires...such that congruity of character subjective desires...such that congruity of character with outward ethical aim no longer constitutes an with outward ethical aim no longer constitutes an essential basis of tragic beauty..." essential basis of tragic beauty..."

Page 16: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

““Popular in England from the 1590s to the 1630s, Popular in England from the 1590s to the 1630s, following the success of Thomas Kyd's sensational following the success of Thomas Kyd's sensational play play The Spanish TragedyThe Spanish Tragedy ( (c.c. 1589). Its action is 1589). Its action is typically centered upon a leading character's typically centered upon a leading character's attempt to avenge the murder of a loved one, attempt to avenge the murder of a loved one, sometimes at the prompting of the victim's ghost; sometimes at the prompting of the victim's ghost; it involves complex intrigues and disguises, and it involves complex intrigues and disguises, and usually some exploration of the morality of usually some exploration of the morality of revenge. Drawing partly on precedents in Senecan revenge. Drawing partly on precedents in Senecan tragedy, the English revenge tragedy is far more tragedy, the English revenge tragedy is far more bloodthirsty in its explicit presentation of bloodthirsty in its explicit presentation of premeditated violence, and so the more gruesome premeditated violence, and so the more gruesome examples such as Shakespeare's examples such as Shakespeare's Titus AndronicusTitus Andronicus are sometimes called ‘tragedies of blood’. Notable are sometimes called ‘tragedies of blood’. Notable examples of plays that are fully or partly within examples of plays that are fully or partly within the revenge tradition are Christopher Marlowe's the revenge tradition are Christopher Marlowe's The Jew of MaltaThe Jew of Malta, and Shakespeare's , and Shakespeare's HamletHamlet.” .”

Page 17: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Elements of Tragedy Elements of Tragedy (Aristotle)(Aristotle)

‘‘Tragedy is an imitation of Tragedy is an imitation of an action that is serious, an action that is serious, complete, and of a certain complete, and of a certain magnitude; in language magnitude; in language embellished with each kind embellished with each kind of artistic ornament, the of artistic ornament, the several kinds being found in several kinds being found in separate parts of the play; in separate parts of the play; in the form of action, not of the form of action, not of narrative; through pity and narrative; through pity and fear effecting the proper fear effecting the proper purgation of these purgation of these emotions.”emotions.”

Page 18: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Aristotle’s AnalysisAristotle’s Analysis

The writer imitates a serious and The writer imitates a serious and complete action, represented on stage complete action, represented on stage by what characters say and do.by what characters say and do.

““Action” is the motivation/purposeAction” is the motivation/purposeThe element of “pathos” is essentialThe element of “pathos” is essentialPlot is arranged with carefully selected Plot is arranged with carefully selected

and sequenced tragic incidents to and sequenced tragic incidents to represent one complete actionrepresent one complete action

Page 19: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Plots vary:Plots vary:Ethically motivated v. pathetically motivated Ethically motivated v. pathetically motivated Complex v. simpleComplex v. simple

Complex has reversal AND recognition.Complex has reversal AND recognition.

Plot consists of parts/types of incidents:Plot consists of parts/types of incidents:Most importantly: Most importantly: reversal of situation, reversal of situation,

recognition (ignorance to knowledge), recognition (ignorance to knowledge), pathos (scene of suffering)pathos (scene of suffering)

Page 20: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Story seems probableStory seems probable Plot has 2 parts: complication and unraveling.Plot has 2 parts: complication and unraveling. The chorus represents the action/prupose of The chorus represents the action/prupose of

the play.the play. Dialogue reveals the action from Dialogue reveals the action from

characters/thoughts.characters/thoughts. Tragic hero is ruler/leader, whose character is Tragic hero is ruler/leader, whose character is

good and whose misfortune is brought on by good and whose misfortune is brought on by some error.some error.

Language is elevated and in verse; Language is elevated and in verse; persuasive.persuasive.

Page 21: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Elements of Tragic HeroElements of Tragic Hero

A mighty figureA mighty figureSuffers reversal of fortuneSuffers reversal of fortuneEndures uncommon sufferingEndures uncommon sufferingRecognizes the consequences of his Recognizes the consequences of his

actionsactionsHero’s plight ennobles audience.Hero’s plight ennobles audience.

Page 22: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Role of the ChorusRole of the Chorus

CharacteristicsCharacteristics Group of about 15 menGroup of about 15 men Sang lyric poetry and danced to musical Sang lyric poetry and danced to musical

accompanimentaccompaniment Were unpaid, drawn from the citizenry at largeWere unpaid, drawn from the citizenry at large Performing in the chorus was regarded as a Performing in the chorus was regarded as a

civic dutycivic duty Were trained and costumedWere trained and costumed Wore the dress of the people they represented Wore the dress of the people they represented

and wore light masks.and wore light masks.

Page 23: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Functions of the Greek Functions of the Greek ChorusChorus

Provided link from audience to Provided link from audience to actors, responding to the play in a actors, responding to the play in a manner the playwright hoped the manner the playwright hoped the audience would respond.audience would respond.

Provided tension releaseProvided tension releaseReflected upon what has happened, Reflected upon what has happened,

pondered what might happen, asked pondered what might happen, asked questionsquestions

At times advised central charactersAt times advised central characters

Page 24: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Greek Chorus Cont’dGreek Chorus Cont’d

Often functioned as the conscience Often functioned as the conscience of the people, establishing an ethical of the people, establishing an ethical perception from which to view the perception from which to view the actionaction

Helped to establish mood and to Helped to establish mood and to heighten the dramatic moments heighten the dramatic moments throughout movement and song.throughout movement and song.

Added theatricality to performanceAdded theatricality to performance

Page 25: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Helped establish important pacing of the Helped establish important pacing of the play, pointing moments at which the play, pointing moments at which the audience should reflect upon what has audience should reflect upon what has occurred and what must yet transpireoccurred and what must yet transpire

Could be in the play or outside of it, by Could be in the play or outside of it, by either participating in the action of by either participating in the action of by commenting on the action as an observercommenting on the action as an observer

Separated scene of action from anotherSeparated scene of action from anotherUsually through a leader as spokesperson, Usually through a leader as spokesperson,

could interact with the central characters.could interact with the central characters.

Page 26: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

AntigoneAntigone

a tragedy by Sophocles written a tragedy by Sophocles written before or in 442 BC. Chronologically, before or in 442 BC. Chronologically, it is the third of the three Theban it is the third of the three Theban plays but was written first. The play plays but was written first. The play expands on the Theban legend that expands on the Theban legend that predated it and picks up where predated it and picks up where Aeschylus' Seven Against Thebes Aeschylus' Seven Against Thebes ends. ends.

Page 27: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ANTIGONE,ANTIGONE,

in Greek mythology, daughter of Oedipus, king of in Greek mythology, daughter of Oedipus, king of Thebes, and Queen Jocasta. Antigone accompanied Thebes, and Queen Jocasta. Antigone accompanied her father into exile but returned to Thebes after her father into exile but returned to Thebes after his death. In a dispute over the throne her his death. In a dispute over the throne her brothers, Eteocles and Polynices, killed each other. brothers, Eteocles and Polynices, killed each other. The new king, Creon, gave Eteocles an honorable The new king, Creon, gave Eteocles an honorable burial but ordered that the body of Polynices, burial but ordered that the body of Polynices, whom he regarded as a traitor, remain where it whom he regarded as a traitor, remain where it had fallen. Antigone, believing divine law must had fallen. Antigone, believing divine law must take precedence over earthly decrees, buried her take precedence over earthly decrees, buried her brother. Creon condemned her to be buried alive. brother. Creon condemned her to be buried alive. She hanged herself in the tomb, and her grief-She hanged herself in the tomb, and her grief-stricken lover, Haemon, Creon's son, killed himself. stricken lover, Haemon, Creon's son, killed himself. Antigone was the subject of plays by the ancient Antigone was the subject of plays by the ancient Greek playwright Sophocles and the 20th-century Greek playwright Sophocles and the 20th-century French playwright Jean Anouilh.French playwright Jean Anouilh.

Page 28: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Themes in Antigone:Themes in Antigone:

FamilyFamilyPortrayal of the godsPortrayal of the godsCitizenshipCitizenshipCivil disobedienceCivil disobedienceNatural lawNatural lawState controlState control

Page 29: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Oedipus the King- Classic Oedipus the King- Classic Dramatic example of TragedyDramatic example of Tragedy

5th century B.C.5th century B.C.Classic- Greek Society: a listening Classic- Greek Society: a listening

culture.culture.Greeks conducted their civic affairs in Greeks conducted their civic affairs in

open, formal debate.open, formal debate.Public choices were based on the Public choices were based on the

persuasive effectiveness of orators.persuasive effectiveness of orators.

Page 30: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

II. ExpectationsII. Expectations

Ancient Greeks sought balance, Ancient Greeks sought balance, order, symmetry in all things: art, order, symmetry in all things: art, architecture, literature.architecture, literature.

Page 31: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

III. Religious Rituals III. Religious Rituals ImportantImportant

Plays grew out of tradition of Plays grew out of tradition of ritualistic celebration of Olympian ritualistic celebration of Olympian gods, legendary heroes, and kings.gods, legendary heroes, and kings.

Attendance/participation in drama Attendance/participation in drama (and festivals) considered a civic (and festivals) considered a civic duty.duty.

Plays needed to be instructional, Plays needed to be instructional, entertaining.entertaining.

Page 32: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ImageryImageryRepeated references to sight, sound, Repeated references to sight, sound,

or other reminders of the physical or other reminders of the physical world.world.

Underscores, reinforces the actionUnderscores, reinforces the actionSuggests direction of plot itselfSuggests direction of plot itselfExamples from play…..?????Examples from play…..?????

Page 33: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Mt. KithaironMt. Kithairon

Mountain climb to self awareness.Mountain climb to self awareness.

Page 34: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Light v. dark & day v. nightLight v. dark & day v. night

What do they signify?What do they signify?Cite other examples from literature, what do Cite other examples from literature, what do

these suggest about the universality of these suggest about the universality of certain images?certain images?

Page 35: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Sight v. blindnessSight v. blindness

Find 10 examples.Find 10 examples.What is ironic about the blind prophet, What is ironic about the blind prophet,

Teiresias?Teiresias?How does Sophocles distinguish between How does Sophocles distinguish between

sight and sight and ininsight?sight?Speculate upon Oedipus’ blinding himself Speculate upon Oedipus’ blinding himself

following the final revelation of truth.following the final revelation of truth.

Page 36: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ParadoxParadox

A seeming contradiction: what A seeming contradiction: what sounds impossible is, in fact, sounds impossible is, in fact, possible.possible.

Similar to oxymoronSimilar to oxymoronOften provide theme: poet shows life Often provide theme: poet shows life

is not what is seems.is not what is seems.Example from play….?????Example from play….?????

Page 37: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

IronyIrony

The contrast between what appears The contrast between what appears to be and what actually exists.to be and what actually exists.

Three types:Three types:Verbal ironyVerbal irony: character says one thing, : character says one thing,

means another.means another.Situational IronySituational Irony: what happens is : what happens is

different from what is expected.different from what is expected.Dramatic IronyDramatic Irony: audience knows, : audience knows,

characters unaware.characters unaware.

Page 38: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Irony can…Irony can…

Heighten suspenseHeighten suspenseAdd humorAdd humorAssist in developing depth of Assist in developing depth of

charactercharacterExpress themeExpress themeAssist in foreshadowing Assist in foreshadowing

Page 39: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Examples of IronyExamples of Irony

Oedipus’ lack of awareness of Oedipus’ lack of awareness of involvementinvolvement

Messenger saved Oedipus from Messenger saved Oedipus from deathdeath

TeiresiasTeiresias

Page 40: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

ArchetypesArchetypes

See Handout #23See Handout #23

Page 41: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

Antigone Antigone BCR’SBCR’SChoose 3 of the following and answer in 5-8 sentences by Monday April 27th. Choose the three BCR’s you understand the best, as all of these will go in your

portfolios. You may work on these in class or at home, time permitting. #2 la.e11.10.01

Explain the specific structural elements that identify Antigone as a Greek play/drama

#21 la.e11.10.06bExplain the relationship between the character motivations, actions, and development as it relates to the experiences, emotions, moral dilemmas, and ambiguities in ANTIGONE.

#22 la.e11.10.06dAnalyze the contribution of the CHORUS to the development of the character, plot, and/or theme in ANTIGONE.

#25 la.e11.10.06hDescribe how the ARCHETYPE drawn from myth and tradition contributes to the theme of ANTIGONE.

Page 42: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

OdeOde

Any exalted, complex lyric, written Any exalted, complex lyric, written for a specific purpose, that develops for a specific purpose, that develops one dignified theme.one dignified theme.

Appeals to imagination and intellect Appeals to imagination and intellect and often commemorates an event and often commemorates an event or praises a person or an element of or praises a person or an element of nature.nature.

Page 43: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

OdeOde

In structure, an ode is divided into In structure, an ode is divided into stanzas that may be identical in form stanzas that may be identical in form or that may show patterned or that may show patterned variations in form.variations in form.

Page 44: Oedipus Rex & Antigone Sophocles. The Structure of Greek Drama Prologos: opening portion, sets the scene, contains exposition (essential problem of the

OdeOde

In its original Greek form, an ode was a In its original Greek form, an ode was a choral work; it was associated with choral work; it was associated with movementmovement

Members of the chorus would sway from Members of the chorus would sway from one side to the other to emphasize the rise one side to the other to emphasize the rise and fall of emotion.and fall of emotion.