GED117-Week 1 (1 of 2)

Summary

Professor 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

• 🎭 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.
• 🏆 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.
• 💃 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.
• 🗣️ 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.
• 📚 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.
• 🎭 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.
• 🌾 It's been conjectured that tragedy originated from fertility feasts to commemorate harvest, vintage, and the themes of death and renewal of life.
• 🤔 Greek tragedies often raise profound questions about human existence, suffering, morality, and the nature of justice, challenging traditional narratives and beliefs.
• 🔒 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.
• 📚 Aeschylus and other tragedians were pioneers in critically and creatively treating absolutes in sustained dramatic form, elevating the genre to explore human experience.
• 📘 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.
• 🌟 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.
• 🌱 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

00:00

🎭 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.

05:01

🤔 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.

Keywords

💡Tragedy

Tragedy is a form of drama that deals with serious, often somber themes and typically ends with the downfall of the main character. In the script, tragedy is discussed in the context of its origins in ancient Greece, its development through the ages, and its exploration of profound human issues such as suffering and moral dilemmas.

💡Tragoidia

Tragoidia, derived from the Greek 'tragus' (goat) and 'oiden' (to sing), is suggested as the etymological root of the word 'tragedy'. The script mentions that it could refer to a goat prize in early competitions, the dress of performers, or a sacrificial ritual, indicating the complex origins of the tragic form.

💡Aeschylus

Aeschylus is a renowned ancient Greek playwright known for his contributions to the development of tragedy. The script highlights his role in adding a second speaker to the dramatic form, thus creating dialogue and deepening the exploration of themes such as justice and human suffering.

💡Dionysus

Dionysus is the Greek god of wine, fertility, and theater. The script discusses the annual festivals in Athens celebrating Dionysus, where the goat was considered sacred, and tragedy may have originated as part of fertility feasts and rituals related to the harvest and the cycle of life and death.

💡Chorus

The chorus in Greek theater was a group of performers who danced and sang, commenting on the action of the play. The script explains that the chorus likely evolved from the role of the priest in rituals, becoming an integral part of Athenian drama and contributing to the high seriousness of tragic performances.

💡Orestia

The Orestia is a trilogy of plays by Aeschylus, including 'Agamemnon', 'The Libation Bearers', and 'The Eumenides'. The script uses the Orestia to illustrate Aeschylus's exploration of justice and moral dilemmas, such as the conflict between avenging one's father and the horror of matricide.

💡Prometheus Bound

Prometheus Bound is a play attributed to Aeschylus that deals with the myth of Prometheus, who stole fire from the gods and gave it to humans, incurring their wrath. The script mentions this play in the context of suffering at the hands of an unjust god and the moral questions it raises.

💡Human Existence

The concept of human existence in the script refers to the profound questions about why humans suffer, the nature of good and evil, and the struggle between freedom and necessity. Tragedy, as discussed in the script, serves as a medium to explore these existential issues.

💡Moral Force

Moral force in the script refers to the power of tragedy to convey moral lessons and provoke thought about human behavior and ethics. It is highlighted as a key element in the impact of Aeschylus's plays on the Greek notion of education and humanity.

💡Learning Through Suffering

Learning through suffering is a central theme in the script, suggesting that the tragic hero gains wisdom and understanding through enduring pain. This concept is exemplified in the script through the chorus in 'Agamemnon', emphasizing the potential for growth and knowledge despite adversity.

💡Theological

The term 'theological' in the script describes Aeschylus's focus on religious and divine themes in his tragedies. It is noted that Aeschylus has been called the most theological of the Greek tragedians, with his works often engaging with the gods and the nature of divine justice.

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]

you