When debating how dangerous the moral and social issues of a typical Ancient Greek play may be to an audience, it is imperative that the discussion includes comparisons between its effects on the original audience and on a contemporary audience. The focus of this debate is the issue of incest, which is a key component in typical Ancient Greek plays and a major topic regarding morality. The issue of related persons sharing sexual experiences has been debated since the BC age. When discussing this ethical issue it is necessary to observe that the moral implications of the plays inner meaning may affect its audiences through the ages in different degrees, depending on the social decorum of the time. A general example, Ellen Pollak (2003) has acknowledged incestuous relations within English novels that appeared between the late seventeenth and the early nineteenth century. A contemporary society finds this surprising due to this period of time’s identification as an era of sexual repression and the emphasis on strict protocol and etiquette.
I wish to uncover how far the two renowned Greek plays, Euripides’ Hippolytus and Sophocles’ Oedipus Rex, were treated as plays with delicate central subjects, what were the aims of the playwrights for writing about such moral matters and if the authorities of the time were worried about its effect on the masses. The portrayal of incest within a play also is debated because Greek plays did not show action on the stage but had a smaller role to describe to the Chorus, who acted as the voice of the spectators, what the off-stage action entailed. With this detached style of playwriting, how far can one presume that incest is a dangerous subject for an audience to watch?
In Oedipus Rex (1998), the audience is exposed to many taboo subjects. For example, there are elements of death, suicide, murder, violence, starvation alongside a more physical set of taboo ingredients such as blood, fluids, poison, burning incense, pus and disease. Because of these components, the play is a gruesome account of a historical event. Sophocles adapted his play from an already existent and well-known story. With this in mind, the audience would already know the denouement of the story and would be spectators of the way the ending was procured. (...)
Table of Contents
1. Assessment 1: How far should Greek Tragedy be regarded as a dangerous genre?
2. Ancient Greek play moral and social issues
3. Oedipus Rex and taboo subjects
4. Comparison with contemporary societal views
5. Aristotle’s Poetics and the role of the Tragic Hero
6. Miscommunication and the instigation of Tragedy
Research Objectives and Key Themes
The primary research objective is to analyze whether Ancient Greek tragedies, specifically Euripides’ Hippolytus and Sophocles’ Oedipus Rex, should be classified as dangerous genres based on their portrayal of taboo subjects like incest and their impact on both ancient and contemporary audiences.
- The moral implications of taboo subjects in Greek theatrical performance.
- The cathartic role of tragedy according to Aristotle’s Poetics.
- Comparative analysis of the social decorum and religious beliefs across historical periods.
- The function of miscommunication and bad advice as drivers of tragic plot development.
- The evolution of audience perception regarding moral transgressions and societal norms.
Excerpt from the Book
Ancient Greek play moral and social issues
When debating how dangerous the moral and social issues of a typical Ancient Greek play may be to an audience, it is imperative that the discussion includes comparisons between its effects on the original audience and on a contemporary audience. The focus of this debate is the issue of incest, which is a key component in typical Ancient Greek plays and a major topic regarding morality. The issue of related persons sharing sexual experiences has been debated since the BC age. When discussing this ethical issue it is necessary to observe that the moral implications of the plays inner meaning may affect its audiences through the ages in different degrees, depending on the social decorum of the time. A general example, Ellen Pollak (2003) has acknowledged incestuous relations within English novels that appeared between the late seventeenth and the early nineteenth century. A contemporary society finds this surprising due to this period of time’s identification as an era of sexual repression and the emphasis on strict protocol and etiquette.
I wish to uncover how far the two renowned Greek plays, Euripides’ Hippolytus and Sophocles’ Oedipus Rex, were treated as plays with delicate central subjects, what were the aims of the playwrights for writing about such moral matters and if the authorities of the time were worried about its effect on the masses. The portrayal of incest within a play also is debated because Greek plays did not show action on the stage but had a smaller role to describe to the Chorus, who acted as the voice of the spectators, what the off-stage action entailed. With this detached style of playwriting, how far can one presume that incest is a dangerous subject for an audience to watch?
Summary of Chapters
1. Assessment 1: How far should Greek Tragedy be regarded as a dangerous genre?: This section introduces the research question, exploring the potential moral dangers of Ancient Greek drama regarding incest and societal norms.
2. Ancient Greek play moral and social issues: Discusses the necessity of comparing historical and contemporary audience reactions to taboo themes within the context of changing social decorum.
3. Oedipus Rex and taboo subjects: Examines the specific use of gruesome imagery and taboo subjects in Sophocles' work and how it functions as a historical account.
4. Comparison with contemporary societal views: Analyzes shifts in gender roles and sexual morality from Ancient Greece to the present, questioning the modern relevance of archaic taboos.
5. Aristotle’s Poetics and the role of the Tragic Hero: Explains how the concept of catharsis serves to purge the audience of dangerous emotions without necessitating real-world harm.
6. Miscommunication and the instigation of Tragedy: Explores how plot progression in Greek tragedy is often driven by miscommunication and flawed advice rather than simple malice.
Keywords
Greek Tragedy, Oedipus Rex, Hippolytus, Incest, Aristotle, Poetics, Catharsis, Taboo, Morality, Social Decorum, Sophocles, Euripides, Miscommunication, Drama, Ethics
Frequently Asked Questions
What is the central focus of this academic paper?
The paper examines whether the portrayal of taboo subjects, particularly incest, in Ancient Greek tragedies renders the genre "dangerous" for the audience, comparing ancient and modern interpretations.
Which specific plays are analyzed in this research?
The study centers on Sophocles’ Oedipus Rex and Euripides’ Hippolytus.
What is the primary research question?
The paper seeks to determine how far Greek Tragedy should be regarded as a dangerous genre and how audiences across different eras perceive its moral impact.
Which theoretical framework is utilized?
The author utilizes Aristotle’s Poetics, specifically the concept of catharsis, to explain how tragedy allows audiences to experience intense emotions safely.
How is the "danger" of these plays evaluated?
The author evaluates danger by contrasting the intended moral lesson or dramatic purge against the societal values and restrictions of the time the play was written versus contemporary views.
What are the main thematic keywords associated with this work?
Key themes include Greek Tragedy, the function of the Chorus, the influence of the Gods, the role of miscommunication, and the evolution of sexual taboos.
Why is the concept of "catharsis" central to the author's argument?
Catharsis is used to argue that witnessing tragedy provides a safe emotional release, effectively neutralizing the danger of the taboo subjects depicted on stage.
How does the author relate modern literature to Ancient Greek themes?
The author cites the screenplay An Awfully Big Adventure to demonstrate how modern tragedy still utilizes the same foundational taboos as ancient Greek plays.
What role does the "Chorus" play in the author's analysis?
The author highlights the Chorus as the voice of the spectators, which allows for a detached style of storytelling that mitigates the potential for danger by keeping graphic actions off-stage.
- Citation du texte
- Felicity Sanford (Auteur), 2008, How far should Greek Tragedy be regarded as a dangerous genre?, Munich, GRIN Verlag, https://www.grin.com/document/118146
