...There are steps in the retaining wall that lead up to the temple and may in fact be the “holy stairs of Brauron” that Euripides wrote of. The temple is thought to have been built around 500 BCE. Pottery fragments found inside the temple and the pavement suggest that the temple was built upon an earlier shrine. Like the stoa, the columns are of the Doric order. Little remains of the temple due to later construction. The temple consisted of a closed interior room in the center with an inner sanctum to the west and an open entrance to the east. Colored terracotta, bronze mirrors, and jewelry are among the pieces found inside the temple. Details of offerings can be found on marble slabs which were also excavated from the temple (Clark). The slabs detail what offerings were made to Artemis and Iphigenia as well as the name of the woman making the offering after they delivered her child. Several centuries later a small church dedicated to Saint George was built over the remains of the Temple of Artemis. Evidence of an earlier pagan altar exists under the church that now stands in its place (Papadimitriou 113). According to myths of ancient Greece, the Temple of Artemis in Brauron is where Orestes brought Iphigenia after she was saved from the sacrifice in Aulis by Artemis. Because of this myth, a festival would take place every four years in which girls...
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...and The Globe b. Tamburlain the Great and King of Persia c. Hamlet, Richard III, Much Ado About Nothing, and Romeo and Juliet d. None of the Above e. Both b and c 3. All are considered American realist playwrights except: a. August Wilson b. Tennessee Williams c. Eugene Ionesco d. Arthur Miller 4. Which of the following was NOT mentioned as non-realism: a) Expressionism. b) Symbolism. c) Theatre of cruelty. d) Pradaism. 5. The 3 Greek Tragedian playwrights’ discussed in Chapter 3 of Theatre are: a. Plautus, Terence, and Machiavelli b. Aristotle, Aristophanes, and Aeschylus c. Sophocles, Euripides, and Aeschylus d. Medea, Iphigenia, and Socrates d) e) Futurism. f) None of the above. 6. Which of the following is NOT a form of Japanese theatre: a) Kabuki. b) Xiqu. c) Bunraku. d) Noh theatre. 7. Cornerstone Theatre Company… a. Founded by two Harvard graduates in 1986 b. Adapt classical works c. Involves local community within their projects. d. All of the above. 8. Nora in Ibsen's A Doll's House… a. leaves her husband Sven for another man. b. gives her former lover a gun and then shoots herself. c. leaves her children and husband to go on a journey of self-discovery. d. bemoans her existence as a small town...
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...The Dominance of Fate Fate was of great concern to the Greeks, and its workings resonate through many of their myths and texts. We see countless characters who go to great lengths in attempts to alter fate, even if they know such an aim to be futile. The inability of any mortal or immortal to change prescribed outcomes stems from the three Fates: sisters Clotho, who spins the thread of life; Lachesis, who assigns each person’s destiny; and Atropos, who carries the scissors to snip the thread of life at its end. These three divinities pervade all the stories of Greek myth, whether they be stories of gods, goddesses, demigods, heroes, or mortals and regardless of the exploits recounted. Nothing can be done to alter or prolong the destiny of one’s life, regardless of the number of preparations or precautions taken. This inflexibility applies just as much to Zeus as to the lowliest mortal, as we see in Zeus’s hounding of Prometheus to divulge the name of the woman who will bear the offspring that one day will kill him. Though this lesson is somewhat consoling—the way of the world cannot be bent to match the whims of those in authority—it is also very disturbing. The prospect of free will seems rather remote, and even acts of great valor and bravery seem completely useless. The myths provide an interesting counterpoint to this uselessness, however. In virtually all the stories in which a character does everything in his power to block a negative fate, and yet falls prey to it,...
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...Throughout all of history people have been writing about the temptations of mankind and their rise to glory and honour, which can ultimately lead to their demise. Through the three plays Agamemnon by Aeschylus, Oedipus the King by Sophocles and Hippolytus by Euripides, there are three prevalent themes. These are the role of the gods, the difference between good and evil and human responsibilities. All three of these tragedies reveal the importance of the role the gods play to mankind. The gods have control over mankind and sometimes use them as pawns to achieve their ambitions; the gods also ensure that each individual’s fate is secured. The tragedies also reveal to the audience the difference between good and evil; quite often the individual’s good intentions are misconstrued and in turn cause them to do evil. Another common theme in the tragedies is the responsibility of humanity; although often tempted or controlled by the gods individuals need to learn to control their emotions and take responsibility for their own actions. The role the gods play is an essential part of the Greek tragedies and without them the stories would be drastically different. The role of the gods is to watch over the people and ensure that they fulfill their destiny. In the ancient times, they believed that each person’s life was determined by destiny or fate, which they could not escape; no matter what a person does to avoid their fate, the gods made sure that their destiny was fulfilled. An individual’s...
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...Comparing the Women in Greek Tragedies If I compare “Jocasta” of Sophocles’ Oedipus Tyrannus with “Clytemnestra” and “Helen” of Aeschylus’ Agamemnon and “Electra” of Euripides’ Electra, I see their roles as black and white. There is a great contrast between their characters and the roles they play in these tragedies. “Jocasta” seems to represent the typical Patriarchal society where men tend to dominate and women play a passive role. She does play a passive role in Oedipus Tyrannus as she is the queen who must marry whoever becomes the king. Oedipus was able to solve the riddle of Sphinx and was offered to marry Jocasta by the Theban elders. As an embodiment of the patriarchal values, she remains under the control of her husband, Oedipus. Jocasta is a typical woman with fairly ordinary desires of a queen. She wanted to raise a family and revel in its pleasures. She was happy and contented when she married Oedipus and he was able to provide her with four children. She does love him, prays for his well being, tries to pacify him while he is in great conflicts but her suggestions and advises are not given much priority by Oedipus. Oedipus keeps on investigating about Laius’ murder and his own parentage even when Jocasta expresses her distrust regarding the prophecies and advises him not to go into the depth of the things. She tries her best to stop Oedipus from seeking the truth but she is not paid any heed by Oedipus and he continues with his inquires. This...
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...L OE B CLASS ICAL LIBR ARY 2013 Founded by JAMES LOEB 1911 Edited by JEFFREY HENDERSON NEW TITLES XENOPHON Volume IV. Memorabilia. Oeconomicus. Symposium. Apology AND SALLUST Volume I. The War with Catiline. The War with Jugurtha TRANSLATED BY J. C. ROLFE REVISED BY JOHN T. RAMSEY Sallust, Gaius Sallustius Crispus (86–35 BC), a Sabine from Amiternum, acted against Cicero and Milo as tribune in 52, joined Caesar after being expelled from the Senate in 50, was restored to the Senate by Caesar and took part in his African campaign as praetor in 46, and was then appointed governor of New Africa (Numidia). Upon his return to Rome he narrowly escaped conviction for malfeasance in office, retired from public life, and took up historiography. Sallust’s two extant monographs take as their theme the moral and political decline of Rome, one on the conspiracy of Catiline and the other on the war with Jugurtha. For this edition, J. C. Rolfe’s text and translation of the Catiline and Jugurtha have been thoroughly revised in line with the most recent scholarship. Vol. I. ISBN 978-0-674-99684-7 LCL TRANSLATED BY E. C. MARCHANT O. J. TODD REVISED BY JEFFREY HENDERSON This volume collects Xenophon’s (c. 430 to c. 354 BC) portrayals of his associate, Socrates. In Memorabilia (or Memoirs of Socrates) and in Oeconomicus, a dialogue about household management, we see the philosopher through Xenophon’s eyes. Here, as in the accompanying Symposium, we also obtain insight on life...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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