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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]
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]
Aeschylus' work has a strong moral and religious emphasis. [48] The Oresteia trilogy concentrated on humans' position in the cosmos relative to the gods and divine law and divine punishment. [49] Aeschylus' popularity is evident in the praise that the comic playwright Aristophanes gives him in The Frogs, produced some 50 years after Aeschylus ...
Oedipus (UK: / ˈ iː d ɪ p ə s /, also US: / ˈ ɛ d ə-/; Ancient Greek: Οἰδίπους "swollen foot") was a mythical Greek king of Thebes.A tragic hero in Greek mythology, Oedipus fulfilled a prophecy that he would end up killing his father and marrying his mother, thereby bringing disaster to his city and family.
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]
She is the daughter and half-sister of Oedipus, king of Thebes, daughter and granddaughter of Jocasta, and sister of Antigone, Eteocles, and Polynices. She appears in several tragic plays of Sophocles: at the end of Oedipus Rex, in Oedipus at Colonus and in Antigone. She also appears at the end of Aeschylus' Seven Against Thebes.
Oedipus gradually established an image of superior intelligence. The Oedipodea may be a reference for the Oedipus Rex. The evolution of the image of Oedipus and Sphinx also reflects the face of Greek society at that time. To say, in the era of tragedy, civil society may put forward higher demands on the knowledge of the king rather than the force.
Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued.