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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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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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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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Sophocles' "Antigone", 2005.
This paper discusses the roles of the Greek chorus in Sophocles' "Antigone".
1,445 words (approx. 5.8 pages), 4 sources, MLA, $ 47.95
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Abstract
This paper explains that the roles of the Greek Chorus in Sophocles' "Antigone" are its technical functions as the logical division of the play into sequential parts and as the representation of the characters and the Chorus' own role as an autonomous entity in the plot of the play. The author explains that the Chorus as a character in the play appears as a single entity, thus using the first person singular body, "I", and acts as a lyrical commentator. The paper relates that the Chorus creates the connection between Sophocles' "Oedipus Rex" and "Antigone".
From the Paper
"The typical technical characteristics of the Greek Chorus are generally maintained in Antigone. The Chorus sings as it enters onto the stage--the parodos--shortly after the first scene and unfolds the exposition of the play, i.e., the events that took place before the time of the play itself. In the exposition of Antigone [704-706, lines 117-179], the Chorus tells us about the great war of "the seven against Thebes" and, by that, provides the missing details such as the cause of death of Antigone's brother, the general atmosphere in the city (the aftermath), and the reasons that back and nourish Creon's unquestionable leadership as well as his blasphemous acts."
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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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Sophocles?s "Antigone", 2004.
Analysis of the main characters, Antigone and Ismene, in Sophocles's story, "Antigone".
1,101 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
This paper looks at how Sophocles depicts the sharply contrasting female characters in his story, "Antigone", by creating a situation where both the characters have identical interests and must deal with the same life challenges. The paper analyzes and compares the responses of each sister to the difficult life situation imposed upon her and describes their characters based upon this analysis.
From the Paper
"Sophocles? Antigone is a story that has several strong characters, each set up cleverly in order to demonstrate the role that personality traits and the strength of conviction in ideals plays in determining individual decisions. Thus, if Creon?s son Haemon serves as a contrast of wisdom to his own display of pride and arrogance, Antigone?s sister Ismene acts as a foil in defining Antigone?s character and strength of conviction in her ideals."
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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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Sophocles' "Oedipus Tyrannus", 2008.
Reviews the play Sophocles' "Oedipus Tyrannus", especially the theme of fate and free will.
1,320 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper explains that Sophocles' play "Oedipus Tyrannus" asks the question whether Oedipus could have used free will to stop the fulfillment of the prophesy concerning his life and, if not, whether he deserved his self-imposed fate at the end of the play. The paper points out that one of the central flaws in Oedipus' character is his confidence, stubbornness and pride in himself, which led to his fate in the end. The paper concludes that Oedipus cannot be regarded as guilty but rather a victim of forces outside of his control.
Table of Content:
Character
Fate vs. Free Will
Oedipus' Guilt
From the Paper
"The audience is not presented with the impression that Oedipus' fate is the direct result of any flaw in his character. Indeed, the people of Thebes love and respect him. He also shows his integrity in dealing with those seeking his downfall. Creon for example seeks a private audience with Oedipus, but Oedipus refuses this in the interest of disclosure in matters regarding his people. He also shows himself to be a good king, in placing the interests of his people before his own."
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Sophocles' Antigone and Jean Anouilh's Remake, 2002.
This paper discusses Sophocles' Antigone and Jean Anouilh's remake of the Greek tragedy.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
The paper shows that Anouilh's remake subordinated the themes connected to the duty to the divine -- which were so integral to Greek culture. Remaking the play in the context of World War II France, Anouilh focused more on the issues of integrity and political freedom. Disinterested in the notion of human rebellion again divine principle (which was Sophocles' preoccupation), Anouilh focused on the heroism of individual courage.
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Family vs. State in Sophocles' "Antigone", 2002.
An analysis of the characters in Sophocles' "Antigone".
1,086 words (approx. 4.3 pages), 0 sources, $ 37.95
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Abstract
The paper analyzes the play "Antigone" by ancient Greek writer and poet, Sophocles. The paper argues the position that the play emphasizes the meaning of family over the meaning of state, which are represented in the characters of Creon and Antigone.
From the Paper
"With multiple perspectives on the matter, even the Chorus of the play shows partiality to the oikos as well. After Antigone speaks of her imminent death, the Chrous replies by saying, ?And so you go with honor and praise below to the caverns of the dead; no sickness wasted you away, you do not pay the wages of the sword, but will go to death a law unto yourself? (795). The Chorus raises up honor and praises to Antigone for her support of the oikos, confirming that the Chorus does indeed support Antigone?s decisions. Shortly after, the Chorus once again raises the idea that the legacy of Antigone?s oikos may be the reason for her sorrow by saying, ??great has been your fall. Perhaps you are paying the price of your father?s sin? (825). Sophocles is employing yet another tool to associate the play with the importance of family."
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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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Sophocles?s ?Oedipus, the King?, 2004.
This paper analyzes the structure of Sophocles?s, ?Oedipus, the King?.
1,085 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
This paper explains that the play, Sophocles?s ?Oedipus, the King?, has a more episodic structure than a climactic one because of flashbacks and prophecies introduced as episodes throughout. The author points out that the ?rising action? is when Oedipus threatens that he will have Creon killed or exiled for conspiring with Tiresias. The paper contends that tragedy is better as a work to be read than as a drama to be performed and watched on stage. The reason given by the writer is because there is much more to perceive and understand from the reading than in the watching and listening, although visuals and sounds enhance or intensify the underlying messages in the play.
From the Paper
"The setting is Thebes around the fifth century. The "inciting incident" right away turns up with the plague that now afflicts the citizens, whom King Oedipus calls the ?new blood of ancient Cadmus.? Cadmus was the founder of the mythological Thebes. These citizens crowd at the king?s palace for his action on the feared plague, and as was the custom at the time, the king has already sent his brother-in-law, Creon, to consult with the Oracle (or diviner/fortune-teller) at Delphi (Sophocles c 430 BC) for advice and he tells this to the people. Creon returns to relay the Oracle?s message to Oedipus that the plague will end only if the murderer of the former king of Thebes, Lauis, is caught and driven out. The message also says that the murderer is still in Thebes. King Lauis was killed by thieves while on the way to consult an oracle.To pacify the people and bring peace to Thebes, Oedipus promises to find that murderer and drive him out. This part represents the "point of attack".
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Sophocles' Theban Plays, 2002.
A comparative analysis of Sophocles' plays "Oedipus the King", "Oedipus at Colonus" and "Antigone".
2,400 words (approx. 9.6 pages), 5 sources, $ 89.95
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Abstract
This paper will discuss the plays of Sophocles: Oedipus the King, Oedipus at Colonus, and Antigone and describe, for each of them, a brief description, their characters and plot, their modern performances being produced and detail about how they are being made in the modern spectrum of theatre. By revealing the way that these plays function, we can see how they were created in the great spirit of the Greek tragedy and can tell us how the Greeks lived within their times through this medium. Also, we can learn how these plays function within our society at present and tell us how times have changed, but themes such as these are still purveying within this scope.
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