COMPLETION ACTIVITY 3:

Topic: The Ethics of Tragedy, Part 3- Genres. Chapter 11, The Ethics of Greek Drama, pp.175-187
Reference: A companion to Greek Literature, Martin Hose (E-book)

2. “What accounts for the survival of Greek drama, and what accounts for our continued fascination? In
a word: ethics. Using the tragic play mentioned in the reading, illustrate how the plays of

a. Aeschylus ------Oresteia

Simon's understanding of the conventional difference between Greek misfortune and the more
mind-boggling innovations of Shakespearean exhibits his acknowledgment of the obligation he owes to
the Greeks, which is something other than a basic affirmation of a well-established sensational model.

We know that Aeschylus is phenomenal in diagnosing our carelessness here; we, not he, are the
passivist. We, not he, are the ones who masochistically desire and Erinys' damning force. We are in the
end the ones being perpetrate enduring and agony on our families, associates, and countrymen while
saying-just realizing that we must choose between limited options. Aeschylus uncovers and sticks our
insight simultaneously. We may conjecture that Aristophanes was riffling on this speculation and
sensational polyvalence in Frogs, where the Aeschylus we experience in the hidden world an extremely
gaudy cost. obviously, Aeschylus prevails upon Eurpides in their duel and how should he not, given that
the last is depicted as an irritable and salacious libertarian more worried. Dionysus may have gone to
Hades to get Euripides back in light of the fact that he was his top choice, yet he is a bozo like most of
them in light of the fact that regardless, he is a jokester like most of them.

b. Sophocles -------Oedipus Tyrannus (Oedipus Rex)

Think about Oedipus, Greek misfortune's most acclaimed deplorable saint. Oedipus Tyrannus by
Sophocles is the prototype articulation of man's a conflict with the limits of human insight. Sophocles'
aggressive and devastating design of Oedipus' revelations settles our endeavors to rise above, not to
mention grasp, the working of God and fate. We attempt, yet we actually fizzle. Sophocles needs us to
take note of these defects, misinterpretations, and future goofs. Investigate his last history exercise.
Oedipus, a Corinthian outcast, is a weird outsider in Thebes. To propose so a lot, regardless of whether
to Sophocles or to us is succumb to the very blunders and misconceptions that pushed Oedipus to the
brink of collapse. This is humanism as Sophocles advises us and Oedipus encounters it the most difficult
way possible.

Illustrate the tragic flaw and the downfall of the tragic hero. What accounts for the ethos of the two
tragic plays. Were the tragic heroes like Orestes in Oresteia and Oedipus in Oedipus Rex victims of the
Olympian gods or their fate or are they victims of their own circumstances? Discuss your points using
the facts in the readings.

We know that Aristotle depicted ethos as similar wellspring of a characters in his Poetics
treatment of misfortune. Nonetheless, he broadly subordinates ethos to praxis, contending that
character was showed by conduct. This may appear to be a minor contrast, yet it dismisses the
accentuation from brain research and into morals, regardless of whether it sounds good to us now. We
don't need to contemplate whether he was really burnt out on her pestering. It's something like an issue
of decision and outcome whichever reason he picks, the final product is that he walks to his grave.