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The trilogy containing Oedipus Rex took second prize in the City Dionysia at its original performance. Aeschylus's nephew Philocles took first prize at that competition. [13] However, in his Poetics, Aristotle considered Oedipus Rex to be the tragedy which best matched his prescription for how drama should be made. [14]
Aeschylus' work has a strong moral and religious emphasis. [49] The Oresteia trilogy concentrated on humans' position in the cosmos relative to the gods and divine law and divine punishment. [50] Aeschylus' popularity is evident in the praise that the comic playwright Aristophanes gives him in The Frogs, produced some 50 years after Aeschylus ...
Seven Against Thebes (Ancient Greek: Ἑπτὰ ἐπὶ Θήβας, Hepta epi Thēbas; Latin: Septem contra Thebas) is the third play in an Oedipus-themed trilogy produced by Aeschylus in 467 BC. The trilogy is sometimes referred to as the Oedipodea. [2]
One of these plays, Prometheus Bound, however, may actually be the work of Aeschylus's son Euphorion. [33] Seven works of Sophocles have survived, the most acclaimed of which are the three Theban plays, which center around the story of Oedipus and his offspring. [34] The Theban Trilogy consists of Oedipus the King, Oedipus at Colonus, and ...
However, the most popular version of the legend comes from the set of Theban plays by Sophocles: Oedipus Rex, Oedipus at Colonus, and Antigone. Oedipus was the son of Laius and Jocasta, king and queen of Thebes. Having been childless for some time, Laius consulted the Oracle of Apollo at Delphi. The Oracle prophesied that any son born to Laius ...
Aeschylus, in Seven Against Thebes, assigns each of the Seven to one of the seven gates of Thebes, as do Euripides in The Phoenician Women, and Apollodorus. [33] While the names of the gates are similar among these sources, there is little agreement with respect to the assignments. Aeschylus further assigns a Theban defender to each gate. [34]
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Aeschylus Sophocles Euripides Ancient Greek tragedies were most often based upon myths from the oral traditions, exploring human nature, fate, and the intervention of the gods. They evoke catharsis in the audience, a process through which the audience experiences pity and fear, and through that emotional engagement, purges these emotions.