3/25/15
Do Now:
- Take out your “True” tragic hero response
- Take out your Antigone books and any
Antigone resources (notes/quiz)
Homework:
- Study for “Quest” tomorrow
- “True” tragic hero response
Content Objective: Students will review the characters, plot and conflicts in Antigone.
Language Objective: Students will complete the graphic organizer in order to help review
Antigone.
Agenda:
Looking
Ahead:
Yesterday: Tragic hero
Antigone and Creon Tragic Hero Response
Directions: Based the work you did completing the graphic organizer,
who is the “true” tragic hero of Antigone? Creon or Antigone? You
must choose one character and explain how they are the “true” tragic
hero of the play Antigone. You must use at least two quotes to
support your argument.
Today: Review for quest
Thursday: Quest on Antigone/Greek
Theater.
Friday: Revisit anticipation guide
TragicAgenda:
Hero Notes:
Aristotle's ideas about tragedy were recorded in his book of literary theory titled Poetics. In it, he has a great deal to say about the structure,
purpose, and intended effect of tragedy. His ideas have been adopted, disputed, expanded, and discussed for several centuries now.
The following is a summary of his basic ideas regarding the tragic hero:
1. The tragic hero is a character of noble stature and has greatness. This should be readily evident in the play. The character must occupy a
"high" status position but must ALSO embody nobility and virtue as part of his/her innate character.
2. Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the rest of us--mere mortals--would be unable to identify
with the tragic hero. We should see in him or her someone who is essentially like us, although perhaps elevated to a higher position in
society.
3. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or villainy or some overriding,
malignant fate. In fact, the tragedy is usually triggered by some error of judgment or some character flaw that contributes to the hero's lack
of perfection noted above. This error of judgment or character flaw is known as hamartia and is usually translated as "tragic flaw" (although
some scholars argue that this is a mistranslation). Often the character's hamartia involves hubris (which is defined as a sort of arrogant pride
or over-confidence).
4. The hero's misfortunate is not wholly deserved. The punishment exceeds the crime.
5. The fall is not pure loss. There is some increase in awareness, some gain in self-knowledge, some discovery on the part of the tragic hero.
6. Though it arouses solemn emotion, tragedy does not leave its audience in a state of depression. Aristotle argues that one function of
tragedy is to arouse the "unhealthy" emotions of pity and fear and through a catharsis (which comes from watching the tragic hero's terrible
fate) cleanse us of those emotions. It might be worth noting here that Greek drama was not considered "entertainment," pure and simple; it
had a communal function--to contribute to the good health of the community. This is why dramatic performances were a part of religious
festivals and community celebrations.
Antigone
Characteristics of a Tragic Hero
1. A tragic hero is of noble
birth, meaning that he is
royalty.
AND/OR
A tragic her has a noble
disposition, meaning that
he is a good person at
some point in the play.
2. A tragic hero suffers a
reversal of fortune,
meaning that he has
everything at one point in
the play and then loses it.
3. A tragic hero recognizes
the consequences of his
actions.
4. A tragic hero has a tragic
flaw, a defect in his
character (i.e. hubris) that
leads to his downfall.
5. The audience watches the
actions of the tragic hero
and is moved to pity and
fear (catharsis).
Quote:
“Direct
quote from
the play”
Explanation:
Your analysis
and
explanation
Agenda:
“Quest”
Outline:
Format:
- All multiple choice
- Two passages and text-based questions
Content:
- Some Greek theater
- Antigone (plot, characters, conflict,
quotes)
- Vocabulary
Agenda:
Videos:
1)Aeschylus (525- 455 BC)
2)Sophocles (496-406 BC)
2)Euripides (480-406 BC)
Aeschylus (525- 455 BC)
- known as the “Father of Tragedy”
- Introduced the second actor;
until then drama was just a
circular dance around a sacred
object
- Only 7 of his 90-120 plays survived
- According to Aeschylus, when he dozed
off, Dionysus appeared to him in a dream
and ordered him to write tragedies.
Sophocles (496-406 BC)
- Added a third speaking actor
- Actors also played more than
one
role which was indicated by
a
change in masks
- Created characters with psychological character
traits because he was interested in the motivations
of characters; this resulted in characters who are
more complex and fully developed
- Wrote the 3 great tragedies we are studying:
Oedipus Rex, Oedipus at Colonus, and Antigone
a.k.a. The Oedipus Cycle
Euripides (480-406 BC)
- Credited for modernizing theater
closer to what we know today
- Wrote about 95 plays, but only
18 or 19 have survived
- Stylistically eloquent: scholars ask: Are we
reading the lines of a poet or the speeches of
an orator?
- incorporated humor in his plays because he
often satirized the Greek gods
Agenda:
Oracle:
Oracle: Back in ancient times, an
oracle was someone who offered
advice or a prophecy thought to have
come directly from a divine source. In
modern usage, any good source of
information can be called an oracle.
Agenda:
The Oracle
at Delphi:
Dating back to 1400 BC, the Oracle of Delphi was the most important shrine
in all Greece, and in theory all Greeks respected its independence. Built
around a sacred spring, Delphi was considered to be the center of the world.
People came from all over Greece and beyond to have their questions about
the future answered by the Pythia, the priestess of Apollo. And her answers,
usually cryptic, could determine the course of everything from when a farmer
planted his seedlings, to when an empire declared war.
Arguments over the correct interpretation of an oracle were common, but the
oracle was always happy to give another prophecy if more gold was provided.
The lack of a strict religious dogma associated with the worship of Greek gods
also encouraged scholars to congregate at Delphi, and it became a focal point
for intellectual enquiry, as well as an occasional meeting place where rivals
could negotiate.
Agenda:
Terms
to Know:
Fate: that which is inevitably
predetermined; destiny.
Hubris: (in Greek tragedy) excessive
pride (arrogance) toward or defiance
of the gods, leading to nemesis.
Nemesis: an inescapable situation that
causes misery and death.
Structure of Greek Tragedy
Some tragedies have one more or one less episode and stasimon.
•
•
•
•
•
•
•
•
•
•
•
Prologue
Parodos
First Episode (or Scene)
First Stasimon (or Ode)
Second Episode
Second Stasimon
Third Episode
Third Stasimon
Fourth Episode
Fourth Stasimon
Exodos
(Antigone actually has 5 Episodes )
In Antigone, the episodes are called scenes & the stasimons are referred to as odes.
Movement of the Chorus:
as seen in the odes that follow each scene
• Strophê (Turn): A stanza in which the chorus
moves in one direction (usually clockwise).
• Antistrophê (Counter-Turn): Chorus moves in
the opposite direction (usually counterclockwise).
• Epode (After-Song): Chorus stands still.
Structure of Greek Tragedy
•Episode: A scene of dialogue in which one or more
actors take part.
•Stasimon: (Stasima=plural) A choral ode that often
reflects on the dialogue and events of the preceding
episode. It is a lyric poem usually of some length and
has an elevated style and a formal stanzaic structure.
•Exodos: A processional song sung by the chorus at
the end of the play offering words of wisdom related
to the actions and outcome of the play.
Structure of Greek Tragedy
Greek Tragedies have a set structure or
format that is characteristic of this type of
play. In this type of play, scenes of dialogue
alternate with choral songs, or odes.
This arrangement allows the chorus to
comment in its song in a general way on
what has been said and/or done in the
preceding scene.
Purpose of each Component:
•Prologue: A monologue or dialogue that
takes place before the chorus enters the stage.
The prologue presents background
information; it is the exposition of the play.
•Parodos (Entrance Ode): The entry chant of
the chorus. Like the odes, it is elevated in
language and its purpose is to offer
commentary on the events in the play.
THE ROLE OF THE GREEK CHORUS
• Gives advice, expresses opinions, and asks questions
about the play’s events
• Establishes an ethical and/or social commentary on
the action and events
• Serves as an ideal spectator/observer of the action;
in Antigone, they represent the elder wise statesmen
of Thebes.
• Adds movement, spectacle, song, and dance
•The choragus is the leader of the dramatic chorus;
his dialogue is set apart from the others in the chorus.
Richa
Jay
Amina
Leah
Isabella
William
Julie
Angel
Jason
Brad
Kevin
Emily
Nick
Dani
Sophie
Julia
Mark
Vito
Will
Period 8
Allen
Brianne
Anthony
Cynthia
Alissa
Diego
Angie
Andrew
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