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"Electra" ( Sophocles ), 1997.
Feminist critique of Clytemnestra, Electra's evil mother.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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From the Paper
"The figure of Clytemnestra in Sophocles' tragic play Electra seems ready-made for a feminist critique, or for a critique from any school which seeks to advance a cause based on morality or integrity. Clytemnestra appears to embody every human sin, every human weakness, every human evil imaginable. As Meyer Reinhold writes, "Clytemnestra's character has been completely blackened by Sophocles in this play" (57). Reinhold adds that Clytemnestra is "delineated as completely evil" (59). Clytemnestra has taken part in the murder of her husband Agamemnon, has married Aegisthus, the other murdering conspirator, has mocked and made life hell for her daughter Electra because Electra will not let her mother forget her horrible crimes, and shows nothing but delight when she is tricked into believing that her son Orestes is dead. Clytemnestra believes that Orestes was the last real.."
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Shakespeare & Sophocles: Revenge & Moral Requirements, 1987.
Compares & contrasts Shakespeare's HAMLET with Sophocles' ELECTRA. Focuses on the theme of revenge & the moral requirements placed on the protagonists.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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From the Paper
"The central issue in both Hamlet by William Shakespeare and Electra by Sophocles is revenge and the moral requirement placed in the protagonist to seek revenge. Hamlet is charged with seeking revenge by the Ghost of his murdered father. Electra and her brother, Orestes, seek revenge for the murder of their father as well, and they are carrying out a revenge that is expected of them as a moral act to make things right once more. In both cases, the kingdom that had been ruled by the father was in turmoil precisely because the ruler had been murdered, and the act of revenge will also have the effect of returning the kingdom to a state of peace.
Both plays are examples of tragedy and represent examples of that form of drama, and the tragic hero in each case fulfills the norms set down by Aristotle. Tragedy in this conception finds the (...)"
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A Comparative Study of Aeschylus and Sophocles, 2008.
A comparative analysis of the dramatic art of the Greek tragedians, Aeschylus and Sophocles.
4,055 words (approx. 16.2 pages), 9 sources, MLA, $ 109.95
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Abstract
This paper presents a comparative and parallel study of the dramatic art of the most prominent Greek dramatists Aeschylus and Sophocles. The writer discusses the similarities and differences between the two tragic poets, both in terms of style and content, and explains how each dramatist uses the chorus. The writer also explains that where the dramatic art of Sophocles is characterized by accomplished symmetry and harmonious grace, that of Aeschylus is hard, grand and severe, and Aeschylus (referred to as the 'Master of the Grotesque') is rightly acknowledged as the inventor of scenic pomp and hyperbole. The writer believes that Sophocles' art of characterization is more complex than Aeschylus and explains how Sophocles uses the third actor to place the audience in a position to judge the chief character from at least three points of view. The writer further asserts that unlike Aeschylus, who is simple and direct, Sophocles carries an explicit irony in his plays and he presents not only the problems, but suggests the solutions also to the intricacies of human life in relation to the cosmic and social order. The writer concludes that, as a modern reader, Sophocles is the greater of the two dramatists.
From the Paper
"Of the precious and inexhaustible treasure of the Greek endeavours in the realm of tragedy, very little has come down to the readers. We are aware of the names of a few tragedians with Aeschylus, Sophocles and Euripides being the being the most prominent. And with these three too, a very little of the whole number of works is left. The extant dramas are those that had been selected by the Alexandrian critics for the study of Greek literature. The reason for being their choice by the critics was their affordability as the best illustration of the various styles of tragic art. Regarding Aeschylus and Sophocles, (the two subjects of this term paper) we are left with seven pieces remaining of each."
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Sophocles and "Antigone", 2001.
A discussion of the use and role of mythology in Ancient Greece with emphasis on Sophocles a Greek dramatist, and a discussion of his play "Antigone."
2,000 words (approx. 8.0 pages), 7 sources, $ 63.95
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Abstract
An analysis of the use of mythology by Sophocles. The author discusses the use of myths in Ancient Greece to define gods and their laws, showing the terrible consequences of disobeying them and forming the structure of society and politics. The author discusses Sophocles, a Greek dramatist and his use of myths and religious rituals. Included is an analysis of Sophocles' play "Antigone".
From the Paper
"Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action Greek dramatists often based their plots on myths, which are believed to reflect the national identity and various historic periods. Besides serving as lyric entertainment stories, myths were used to persuade and enlighten citizens in matters of politics, religion, and customary rituals (Bremmer, 58)."
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| Term Paper # 61257 |
temporarily unavailable
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Sophocles and Brecht, 2005.
Examines and compares Sophocles' "Antigone" and Brecht's "The Good Woman of Setzuan".
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
Sophocles and Brecht were playwrights separated not only by millennia of time but also by the radically different cultural and social contexts of classical Greece and 20th century Europe. This being said, the paper shows that one of the striking elements of a comparison and contrast of Sophocles' "Antigone" and Bertolt Brecht's "The Good Woman of Setzuan" is how similarly they depict the forces that constrict and define women's identities in society. The paper argues that while the primary focus of both works is not specifically related to issues of gender and women's identities, both plays represent challenges to social codes.
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Sophocles' Theban Plays, 2008.
This paper discusses the merits of reading Sophocles' Theban play cycle, "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order.
1,323 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
The paper argues that reading the three plays "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order gives us more insight into Sophocles' narrative skill. The paper explains that one is able to fully savor the strange fusion of character and destiny that Sophocles manages to pull off as a playwright and storyteller. The paper argues further that although the play cycle has occasional lapses in chronology and internal inconsistencies, the plays also show us how certain characters, in particular, Creon, are able to radically transform themselves over time.
From the Paper
"Sophocles composed the Theban plays during a thirty-six year span. The three plays were actually not composed in chronological order; Antigone was penned first, followed by Oedipus the King, and finally, Oedipus at Colonus, shortly before Sophocles's death. As such, the three plays are rife with inconsistencies that come out when one reads them closely in chronological (i.e. sequential) order. Most notably, at the end of Oedipus the King, Creon has emerged as the undisputed King. He decides to expel Oedipus from Thebes after consulting with Apollo. Creon is then asked to look after Antigone and Ismene, the two daughters of Oedipus, which he agrees to do. In the subsequent plays, however, the two daughters are found wandering about on their own, either having fled with Oedipus or actively campaigning against Creon, who is supposed to be looking after them."
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Euripides, Sophocles and Aeschylus, 2006.
This paper examines how Euripides, Sophocles and Aeschylus set the foundations of drama today.
1,575 words (approx. 6.3 pages), 6 sources, $ 62.95
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Abstract
The paper discusses how Euripides, Sophocles and Aeschylus are the three most significant Greek playwrights that have affected the development of modern drama. Aeschylus, the oldest of the playwrights existing in the Greek period, gave modern drama the actor, the scenery and the dialogue that is significant to how theatrical works have been constructed throughout the history of theatre. Sophocles added the third actor and then set about transforming the dialogue of the play in a manner that allowed theatrical work to develop with dramatic movement for the characters and the spectators. Euripides created the prologue to allow the audience to comprehend the world that had been created on the stage. However, the paper explains that Euripides also changed the manner in which gender was viewed in theatre and he gave women strength that affected not only the drama of his time, but the drama of the modern world as well.
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Use of Mythology by Sophocles, 2001.
A look at Sophocles' use of myth in his writings.
2,000 words (approx. 8.0 pages), 0 sources, $ 63.95
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Abstract
An examination of Sophocles' use of mythology to enlighten matters of politics, religion and rituals. Included is an analysis of Sophocles' "Antigone".
From the Paper
"Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action."
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Order and Chaos in Homer, Sophocles and Aeschylus., 2002.
A discussion of philosophical texts of Homer, Sophocles and Aeschylus on the subjets of order and chaos.
1,650 words (approx. 6.6 pages), 9 sources, $ 62.95
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Abstract
This paper discusses how Homer, Sophocles and Aeschylus were all writing about life, essentially, in which chaos and order are to be found in almost equal measure. Art, adhering as it does itself to some general rules, seems to be, like science and religion, a means of providing the world with some kind of moral order and of keeping chaos at bay.
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Kafka?s ?The Metamorphosis? and Sophocles? ?Oedipus Tyrannus", 2002.
This paper contends that both Franz Kafka?s short story, ?The Metamorphosis," and
Sophocles?s drama, ?Oedipus Tyrannus", focus on the protagonist as a classical Greek tragic hero, who is a victim of fate, and the absence of freewill.
1,600 words (approx. 6.4 pages), 0 sources, $ 52.95
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Abstract
This paper discusses that, although both the protagonists, Sophocles?s Oedipus the King and Kafka's Gregor Samsa, are victims of fate and paternal jealousy, both men emerge as preeminent heroes in the world of literature. The author states that Gregor Sarnsa and Oedipus the King are both tragic heroes, victims of their father?s fate and of their own, who are not in control of their destinies. The paper demonstrates that both Oedipus the King and Gregor Samsa assume the roles of their fathers, which contribute to their downfall as heroes.
From the Paper
"Laius tried to kill his infant son by leaving him to die on the side of a mountain; similarly, Gregor?s father successfully kills his son by throwing apples at him. Because of the prophesy that his son was going to murder him, Laius acted in self-defense. Oedipus usurps his father?s power inadvertently, but he does rise to power and becomes a hero because he killed his father. Gregor rose to power and became the head of his family because his father was disabled. Like Laius, Gregor?s father felt that he acted out of self-defense when he killed his son."
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Sophocles?s and Thoreau, 2004.
This paper discusses the theme of civil obedience in Sophocles?s ?Antigone? and Thoreau?s ?On the Duty of Civil Disobedience?.
1,045 words (approx. 4.2 pages), 2 sources, APA, $ 36.95
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Abstract
This paper explains that ?Antigone? and ?On the Duty of Civil Disobedience? share a common theme that civil disobedience is valid and agreeable for individuals to conduct because the moral law and the conscience take precedence in a human?s priority over legal laws imposed by ?mortals? only. The author points out that the function of literature as the mirror of the society is illustrated effectively in the most popular and well-known literary work of Sophocles, the play ?Antigone?. The paper relates that Henry David Thoreau?s discourse on the nature of government and its functions and dysfunctions in the society is discussed thoroughly in ?On the Duty of Civil Disobedience?.
From the Paper
"People do not only experience governments and the political state of societies, because political institutions are also illustrated and mirrored effectively through literature. Although considered an art form, literature also provides people with insights and subjective reflections of individuals about specific issues that the author deems important not only for him/her, but also for the society s/he lives in. More than anything, literature is an effective medium through which irregularities and conflicts that happen between the government and society or individual is reflected and informed to other people as an issue of public interest."
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Sophocles and Milton, 2004.
A comparison of the issue of religion in the literature of Sophocles and Milton.
2,172 words (approx. 8.7 pages), 2 sources, MLA, $ 67.95
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Abstract
This paper looks at the concepts of religion, Satan, and the fear of God in Sophocles's "Oedipus the King" and John Milton's "Paradise Lost." It compares the two writers' attitudes towards religion, despite the centuries that separated their work.
From the Paper
"Another difference between the final reaction of Satan and Oedipus is that after their respective falls, they had different places in the community. Oedipus cut himself off from his companions, and they cut themselves off from him as well. He did not want to pervert anyone else, and his well-deserved self-loathing made it so that even his friends said ?O thy despair well suits thy desperate case. / Would I had never looked upon thy face? (Sophocles) Oedipus longed to go into exile and die alone on a deserted mountain for his sins -- and this is what he should have done, because those who have fallen past all redemption need to avoid infecting others until they have reached a point of redemption. Satan, on the other hand, actively attempts to pervert others, and all his friends and followers remain loyal to him despite his ill deeds. ?Millions of Spirits for his fault amerc't / Of Heav'n, and from Eternal Splendors flung / For his revolt, yet faithful how they stood, / Their Glory witherd.? (Milton, book 1) Where Oedipus had only enemies, Satan had loyal friends that he would continue to lead astray."
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"Antigone" by Sophocles, 2005.
This paper is about the play "Antigone" by Sophocles.
675 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
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Abstract
This paper discusses the play "Antigone" by Sophocles. It is not a plot summary; instead it examines one of the central themes, the relative importance of divine law and man's laws. The paper also discusses the consequences of arbitrary laws.
From the Paper
"According to an essay by Frederick Kluth on his website, the action of the play begins with Antigone asking her sister Ismene to help her bury their brother Creon. The king of Thebes has announced his decision to outlaw the burial of Polynices because he is a traitor and an enemy. Ismene is afraid of King Creon and refuses so Antigone goes herself to bury Polynices."
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"Antigone" by Sophocles, 2006.
A review of the play "Antigone", written by Sophocles in 442 BCE.
1,010 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
This paper studies the Sophocles play "Antigone" from 442 BCE. The author explores the play's dialogue, which is checkered with metaphors, similes and analogies, as was common for many works of Greek literature and mythology. In particular, the paper looks beyond the play's main storyline to its universal messages about life, people, beliefs and fate.
From the Paper
"In the early part of the play, Antigone and her sister, Ismene, are discussing a burial for their brother Polyneices. During this discussion Ismene is astounded that Antigone would even consider defying Creon's edict and performing burial rites for Polyneices. To her sister's refusal to be involved in such a deed, Antigone responds by declaring she will obey the gods before she will obey the earthly rule of Creon. The gods have allowed for a respectful burial of the dead regardless of earthly mandates, and by burying the dead you honor the gods."
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