GED117-Week 1 (1 of 2)
Summary
TLDRProfessor Willna Bantai explores the origins and development of Greek tragedy, its etymology, and its religious roots. Tragedy's connection to communal celebrations and rituals, the introduction of the speaker and chorus, and the evolution of the dramatic form are discussed. Aeschylus is highlighted for his contributions, particularly in questioning traditional myths and the nature of human suffering, which he presents as a source of knowledge and growth for the tragic hero. The moral impact of Greek tragedies on education and humanity is emphasized.
Takeaways
- đ The origins of tragedy and its development have been studied by various scholars, but the etymology of 'tragedy' remains conjectural, possibly deriving from 'tragoidia', meaning 'goat song' in Greek.
- đ The term 'tragedy' might have referred to a goat prize for winning dramatists, the costume of performers, or a ritual sacrifice, indicating the genre's deep roots in community celebrations and rituals.
- đ The dance was likely the initial and principal element of these early performances, with the speaker introduced later, possibly as an extension of the priest's role.
- đŁïž Aeschylus is often credited with adding a second speaker to the drama, thus inventing the form of tragedy, although it's unlikely that such a sophisticated form was developed by a single artist.
- đ Many early tragedies have been lost, with only seven of Aeschylus's 90 plays surviving, highlighting the importance of preservation in the history of drama.
- đ Dionysus, the god of vegetation and fertility, was central to Athenian drama, with plays held annually during the feasts in his honor, suggesting a connection between tragedy and fertility rituals.
- đŸ It's been conjectured that tragedy originated from fertility feasts to commemorate harvest, vintage, and the themes of death and renewal of life.
- đ€ Greek tragedies often raise profound questions about human existence, suffering, morality, and the nature of justice, challenging traditional narratives and beliefs.
- đ Aeschylus, in his works like the Oresteia and Prometheus Bound, persistently questions the justice and morality of actions dictated by the gods, contrasting with the Homeric stories where such actions were taken for granted.
- đ Aeschylus and other tragedians were pioneers in critically and creatively treating absolutes in sustained dramatic form, elevating the genre to explore human experience.
- đ Aeschylus's Prometheus has been compared to the Book of Job in the Bible for its structure and focus on the problem of suffering at the hands of a seemingly unjust god.
- đ Aeschylus emphasized the capacity to learn through suffering, suggesting that the tragic hero not only endures but also gains wisdom, which is a key characteristic of Greek tragic heroes.
- đ± The moral force of Aeschylus's plays had a significant impact on Greek education and the concept of humanity, influencing how the Greeks learned to be 'good Greeks' and contributed to a broader understanding of humanity.
Q & A
Who is Professor Willna Bantai and what does she specialize in?
-Professor Willna Bantai is a specialist in the Department of Arts and Letters, with a focus on the origins and development of tragedy in various cultures and ages.
What is the most generally accepted etymology of the word 'tragedy'?
-The most generally accepted etymology of the word 'tragedy' is from the Greek 'tragoidia', meaning 'goat song', derived from 'tragus' (goat) and 'oiden' or 'to sing'.
What could the term 'tragedy' have referred to in its early form?
-The term 'tragedy' could have referred to the prize goat awarded to winning dramatists, the golden skins worn by performers, or the goat sacrificed in rituals from which tragedy developed.
What role did the speaker play in the early rituals that led to the development of tragedy?
-In the early rituals, the speaker was likely introduced as an extension of the priest's role and established a relationship with the dancers, who later became the chorus in Athenian drama.
Who is credited with adding a second speaker to the tragedy form and why is this significant?
-Aeschylus is credited with adding a second speaker to the tragedy form, which is significant as it introduced dialogue and expanded the dramatic possibilities of the genre.
How many of Aeschylus' plays have survived out of the 90 attributed to him?
-Only seven of the 90 plays attributed to Aeschylus have survived.
What were the Dionysia and why were they significant in the development of tragedy?
-The Dionysia were annual festivals in Athens dedicated to Dionysus, the god of vegetation and divine merrymaking. They were significant in the development of tragedy as they provided a cultural context for the performance of plays, which were believed to be sacred to Dionysus.
What are the two elements of tragedy that have never been entirely lost?
-The two elements of tragedy that have never been entirely lost are high seriousness, which is fitting for matters of survival, and its development in the context of the entire community in matters of ultimate and common concern.
What questions did the Greeks develop in the tragic form?
-The Greeks developed questions about human existence, such as why humans must suffer, why they are torn between good and evil, freedom and necessity, truth and deceit, and where the causes of suffering lie.
What is the significance of the trilogy 'Oresteia' by Aeschylus?
-The 'Oresteia' is significant as it raises questions about justice, the nature of suffering, and the moral dilemmas faced by characters like Orestes and Prometheus, challenging traditional narratives and prompting a deeper exploration of human experience.
How did Aeschylus and his fellow tragedians treat the absolutes of ancient myths?
-Aeschylus and his fellow tragedians treated the absolutes of ancient myths critically and creatively, transforming them into a sustained dramatic form that questioned and explored the human condition.
What is the moral message conveyed by Aeschylus in his tragedies?
-Aeschylus conveys the moral message that suffering can be a source of knowledge and that through it, one can learn and grow in understanding of oneself, others, and the conditions of existence.
What impact did Aeschylus and his tragedies have on Greek education and the notion of humanity?
-Aeschylus and his tragedies had a profound impact on Greek education, shaping the Greek notion of education and contributing to a broader understanding and enlargement of humanity.
Outlines
đ Origins and Development of Greek Tragedy
Professor Willna Bantai discusses the origins of Greek tragedy, a subject of interest to various scholars. The etymology of 'tragedy' is traced back to 'tragoidia' or 'goat song', suggesting possible connections to rituals involving goats. The development of tragedy is linked to communal celebrations and the integration of the speaker, likely a priest, into the ritual, which later evolved into the chorus and dialogue in Athenian drama. Aeschylus is credited with adding a second speaker, thus creating the form of tragedy. The script also explores the religious and cultural significance of the goat in these rituals, suggesting that tragedy may have originated from fertility feasts symbolizing the cycle of life and death.
đ€ Philosophical Questions in Aeschylus' Tragedies
This paragraph delves into the philosophical and moral questions raised by Aeschylus in his tragedies, particularly in his famous works 'The Oresteia' and 'Prometheus Bound'. It contrasts the traditional acceptance of actions like patricide and Prometheus's punishment in Homer's stories with Aeschylus's critical approach. Aeschylus questioned the justice and necessity of suffering, introducing a new depth to the understanding of human existence. The paragraph also highlights Aeschylus's exploration of the tragic hero's capacity to learn through suffering, which is a key characteristic that distinguishes Greek tragic heroes. The summary concludes by emphasizing the lasting impact of Aeschylus and his fellow tragedians on Greek education and the concept of humanity, suggesting that their works played a significant role in shaping Greek identity and expanding the understanding of human nature.
Mindmap
Keywords
đĄTragedy
đĄTragoidia
đĄAeschylus
đĄDionysus
đĄChorus
đĄOrestia
đĄPrometheus Bound
đĄHuman Existence
đĄMoral Force
đĄLearning Through Suffering
đĄTheological
Highlights
Professor Willna Bantai discusses the origins of tragedy in Greece and its development in subsequent ages and cultures.
The etymology of 'tragedy' is traced back to the Greek 'tragoidia', meaning 'goat song'.
The prize goat, the dress of gold skins, and the goat sacrifice are considered possible origins of the word 'tragedy'.
The speaker in tragedy may have been introduced as an extension of the priest's role in rituals.
Aeschylus is credited with adding a second speaker to the drama, inventing the form of tragedy.
Hundreds of early tragedies have been lost, including 90 plays attributed to Aeschylus, with only seven surviving.
Four Dionysia festivals were held annually in Athens, celebrating the god Dionysus with plays.
Tragedy is conjectured to have originated in fertility feasts to commemorate the harvest and the vintage.
Tragedy retains elements of high seriousness and community concern in matters of ultimate issues.
Greek tragedians raised questions about human existence, suffering, and the forces of good and evil.
Aeschylus' works, particularly the Oresteia and Prometheus Bound, question the justice and morality of ancient myths.
Aeschylus challenged traditional views on justice and the actions of characters like Orestes and Prometheus.
Tragedy deals with absolutes and the questioning spirit necessary to elevate them to a higher level.
Aeschylus is considered the most theological of Greek tragedians, with works comparable to the Book of Job.
Aeschylus' dramas suggest that suffering can lead to learning and understanding of oneself and existence.
The tragic hero is characterized by the ability to grow through suffering and gain knowledge.
The moral force of Aeschylus and his fellow dramatists had a significant impact on Greek education and the notion of humanity.
Aeschylus set the tone for tragedy and established a model that continues to influence dramatic forms.
Transcripts
[Music]
[Music]
hi everyone i am professor willna bantai
of the department of arts and letters
origins in greece
the questions of how and why tragedy
came into being
and of the bearing of its origins on its
development in subsequent ages and
cultures
have been investigated by historians
philologists
archaeologists and even anthropologists
with results that are suggestive
but
conjectural
even the etymology of the word tragedy
is far from established
the most generally accepted source is
the greek tragoidia
or goat song
from tragus
which means goat and
aiden
or to sing
lord could have referred either to the
prize
a goat
that was awarded to the dramatists whose
place won the earliest competitions
or to the dress
the gold skins of the performers
or to the goat that was sacrificed in
the rituals from which tragedy developed
in these communal celebrations
a correct dance may have been the first
final element
and perhaps for centuries was the
principal element
the speaker was later introduced into
the ritual
in all likelihood as an extension of the
role of the priest
and i was established between him
and the dancers
who became the chorus in the athenian
drama
aeschylus is regarded usually as the one
who
realizing the dramatic possibilities of
the dialogue
first added a second speaker
and thus
invented the form of tragedy
that so sophisticated a form could have
been fully developed by a single artist
however
is scarcely credible
hundreds of early tragedies have been
lost including sunday as kittens himself
also 90 plays
attributed
to him
only seven had survived
four dionesia or pachanalian feast of
the great god dionysus
were held annually in athens
since dionysus once held plays as the
god of vegetation
and divine
merrymaking fertility in the theater
the goat was believed sacred to him
it has been conjectured that
tragedy originated in fertility feasts
to commemorate the harvest
and the vintage
and the associated ideas of the death
and renewal of life
the purpose of such rituals is to
exercise some influence over these vital
forces
whatever the original religious
connections of tragedy may have been
two elements have never entirely been
lost
one
is high seriousness
befitting matters in which survival is
an issue
and
its development of the entire community
in matters of ultimate and common
concern
as the greeks developed the tragic form
more than any other raise questions
about human existence
why must humans suffer
why must humans be forever torn between
seemingly reconcilable forces of good
and evil
freedom and necessity
truth and deceit
are the causes of surfing outside of
oneself in blind chance
in the evil designs of others
in the valleys of the gods
why is justice so elusive
it is this last question that aesculus
has most
insistently in his two most famous works
the oristia
a trilogy comprising agamemnon
coeffort and humanities
and prometheus bound
the first part of the trilogy of which
the last two parts have been lost
is it right that arrest is
a young man in no way responsible for
his situation
should be commanded by a god in the name
of justice
to avenge his father by
murdering his mother
was it right that prometheus in
befriending humankind with
the gifts of fire and the arts should
offend the presiding god zeus
and himself be horribly punished
aeschylus opened questions
whose answers in the homeric stories
have been taken for granted
in homer
arrest tests
patricide is regarded as an act of
filial piety
and prometheus's punishment is merely
the inevitable consequence of defying
the reigning gods
all of the materials of
tragedy all of its cruelty loss and
suffering
are present in homework
and the ancient myths
but are dealt with as absolutes
that is self-sufficient and without the
questioning spirit that was necessary to
raise them to the level of tragedy
it remained for eskilus and his fellow
tragedians first to treat these
absolutes
critically and creatively
in sustained dramatic form
they were indeed
true explorers of the human experience
aeschylus has been called the most
theological of the greek tragedians
this prometheus has been compared to the
book of job
of the bible both in its structure
that is the immobilized heroic figure
maintaining his cause in dialogues with
visitors
and in its preoccupation with the
problem of suffering
at the hands of a seemingly unjust god
excuse tended to resolve the dramatic
problem into some degree of harmony
as scattered evidence suggests
he did in the last two parts of the
promethean and as he certainly did in
the conclusion of
the aurestia
in his place
evil is inescapable
loss is irretrievable
suffering is inevitable
what the
say positively is that one can learn
through suffering
the chorus in agamemnon the first play
of the aristea says this twice
the capacity to learn through suffering
is a distinguishing characteristic of
the tragic hero
preeminently of the greek tragic hero
he has not merely courage
tenacity
and endurance but also the ability to
grow
by means of these qualities
into an understanding of himself
of his fellows
and of the conditions of existence
suffering says aeschylus need not be
ambitious
but can be a source of knowledge
the moral force of his place and those
of his fellow dramatists
can hardly be exaggerated
there were shaping agents in the greek
notion of education
it has been said that from homer
the greeks learned how to be good greeks
and from the tragedies
they learned and enlarged humanity
if it cannot be proved that aesculus
invented tragedy
it is clear that he at least set its
tone and established a model that is
still operative
[Music]
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