Lanval and Joseph
The story of Lanval is very similar to the story of Joseph and his encounter with Potipher's wife, yet also different in a very important way. Like Joseph, Lanval was in a position of honor: Joseph was in charge of all of Potipher's household and Lanval was knight of the king's court. Both Joseph and Lanval were well liked by almost everyone. Both of the character's were approached by their masters' wives,the Queen and Potipher's wife, and asked to have sexy times. Both refused and so the wives framed them. Joseph is sent to jail for years and years without trial, Lanval is put on trial. The real point of contrast between the two stories is the reason behind each man's refusal. Lanval refused the Queen, not because it would be a particularly evil act, but because he already had a lover who surpassed the queen in every way. The fact that she was the wife of the King is only briefly mentioned. Joseph, on the other hand, refuses the queen because she is married to that man he serves. He would not only be sinning against his master, but also against God in doing that "wicked thing." This shows how the Middle Age culture, at least in literature, how moral issues, such as being disloyal to ones spouse was not a real moral dilemma.
Salvation
I do not believe that there is great significance in Lanval's salvation by a woman. I believe the fact that she was a woman, in fact, was irrelevant to his salvation. When Lanval's lover appeared, her signficance did not lie in her gender, but in her mystical nature and in her beauty, both of which confirmed that Lanval was truthful. It is understandable that the entire kingdom was dazzled with the maiden when she appeared, she was a magical, beautiful faerie woman. It is important to remember that Lanval was not only saved from punishment by the appearence of (magical) woman, but that he was also put in danger because of a woman. While Lanval did also get his wealth from a woman, it is again important to remember that she was mythical. If the genders of the characters were switched, I do not think that it would have made a big difference to the importance of their love and each character's roles. In short, I do not think that this work was a feminist piece at all. But it is a medival work of literature that holds the emphasis of love and magic, not feminimity.
Sunday, September 27, 2009
Wednesday, September 23, 2009
9/24 Confessions #4B
Sin
In Augustine's Confessions, the author spends a lot of time telling his testimony of how he grew up and lived in sin. His view on the effects of his sin and God are much different than that of the Ancient Greeks. Augustine described, that in his childhood, his laziness in his education was one of his sins. He ignored the more important (in his opinion) fundamentals of learning and took more joy out of reading fictional stories like the Aenead and public speaking. His being taught these things (an evil on the educational systems part) and his laziness in subjects that he cared less for, were, according to him, sin. He also struggled with inappropriate sexual relationships in his later years. Augustine admits to ruining marriage and keeping several mistresses. In his later life, this was one of the sins that barred from fully accepting Christ into his life. But Augustine maintains that his sins and agonies were brought on solely by himself. He writes that our loving, all powerful God had only joy in store for him, but he chose to sin for the sake of evil without any external influence. This contrasts with what Ancient Greeks believed that fate unyielding over everything, sometimes giving out blessings and sometimes curses for no reason. To the Greeks, the gods did not particularly love them and that the gods were also under the power of fate. Augustine clearly does not hold these views.
Conversion
Augustine struggled with his own sexual sin at the time of his conversion. As he was trying to get away from the sin in his life, such as separating himself from his mistresses, he often slimmed into pitiable, but sinful think. He felt he that he could not accept Christ because his shame from the things in his life that he knew were sin. Augustine could not fix the sin in his life by himself, he needed Jesus. But his problems made him feel like he was not ready or not worthy, so he would say "just let it be," for his sin and faith. Augustine's thoughts and hindrances in accepting Christ parallel what many people today feel. It is understandable for those know God, but have not accepted his son into their hearts, to fear an unworthiness. We are inferior to God in every way, but as a Christian, I understand that He still wants to have a personal relationship with me. But I am sure many people today, like Augustine did, not worthy enough to enter into a relationship with Him.
In Augustine's Confessions, the author spends a lot of time telling his testimony of how he grew up and lived in sin. His view on the effects of his sin and God are much different than that of the Ancient Greeks. Augustine described, that in his childhood, his laziness in his education was one of his sins. He ignored the more important (in his opinion) fundamentals of learning and took more joy out of reading fictional stories like the Aenead and public speaking. His being taught these things (an evil on the educational systems part) and his laziness in subjects that he cared less for, were, according to him, sin. He also struggled with inappropriate sexual relationships in his later years. Augustine admits to ruining marriage and keeping several mistresses. In his later life, this was one of the sins that barred from fully accepting Christ into his life. But Augustine maintains that his sins and agonies were brought on solely by himself. He writes that our loving, all powerful God had only joy in store for him, but he chose to sin for the sake of evil without any external influence. This contrasts with what Ancient Greeks believed that fate unyielding over everything, sometimes giving out blessings and sometimes curses for no reason. To the Greeks, the gods did not particularly love them and that the gods were also under the power of fate. Augustine clearly does not hold these views.
Conversion
Augustine struggled with his own sexual sin at the time of his conversion. As he was trying to get away from the sin in his life, such as separating himself from his mistresses, he often slimmed into pitiable, but sinful think. He felt he that he could not accept Christ because his shame from the things in his life that he knew were sin. Augustine could not fix the sin in his life by himself, he needed Jesus. But his problems made him feel like he was not ready or not worthy, so he would say "just let it be," for his sin and faith. Augustine's thoughts and hindrances in accepting Christ parallel what many people today feel. It is understandable for those know God, but have not accepted his son into their hearts, to fear an unworthiness. We are inferior to God in every way, but as a Christian, I understand that He still wants to have a personal relationship with me. But I am sure many people today, like Augustine did, not worthy enough to enter into a relationship with Him.
Tuesday, September 22, 2009
9/22 Hesiod'a Theogony #4A
Myths
Hesiod's Theogony is the history of the Greek gods. It records the birth of the earth and the first gods, and follows through each generation and genealogy of gods. Through the Theogony, the Greeks could learn the ancient creation of their world, man, and gods. They could also learn the nature of their gods. The gods come across as solemn, strong and serious, unlike slightly less concerned gods in Homer’s Illiad. The gods in Hesiod’s work, while still emotional, rash at times, and prejudiced, are less so in the Theogony. They gods have a sense of right and wrong, as seen when the gods fight Ouranos and then Kronos for their unjust actions. Zeus is show as the epitome of a leader; he is strong, respected by the other gods, aware of what is going on around him, and has a sense of justice. The Greeks would have been able to see from Hesiod’s work what behavior was honored by the gods, what behavior was punished, and what virtues to hold.
Greek Values
Hesiod’s Theogony shows quite a few of the qualities that the Greeks valued, including honoring the gods and established government, and honesty. When the gods were dealing with Zeus, after he had established his authority, they were expected to follow his rule. Zeus was the god above all the gods, so if the gods disobeyed him, they were breaking the law. Just as show in Antigone and Oedipus Rex, when the characters were disobeying the law, many felt that they were disobeying the gods. Honoring the gods, as shown in the Theogony, meant being completely honest with them. When Prometheus, for example, wanted to honor Zeus and present him with a gift, to avoid punishment, he essentially tried to pull the wool over Zeus’ eyes. Prometheus gave Zeus a sacrifice that was not what it appeared to be and lied to Zeus about it. For that, Zeus punished him. The Greeks knew the importance of offering homage to the gods that was not a trick or less than what was required. Should they have not honored the gods, they were to be punished, as Creon was in Antigone when he did not honor the laws that the gods put in place concerning death.
Hesiod's Theogony is the history of the Greek gods. It records the birth of the earth and the first gods, and follows through each generation and genealogy of gods. Through the Theogony, the Greeks could learn the ancient creation of their world, man, and gods. They could also learn the nature of their gods. The gods come across as solemn, strong and serious, unlike slightly less concerned gods in Homer’s Illiad. The gods in Hesiod’s work, while still emotional, rash at times, and prejudiced, are less so in the Theogony. They gods have a sense of right and wrong, as seen when the gods fight Ouranos and then Kronos for their unjust actions. Zeus is show as the epitome of a leader; he is strong, respected by the other gods, aware of what is going on around him, and has a sense of justice. The Greeks would have been able to see from Hesiod’s work what behavior was honored by the gods, what behavior was punished, and what virtues to hold.
Greek Values
Hesiod’s Theogony shows quite a few of the qualities that the Greeks valued, including honoring the gods and established government, and honesty. When the gods were dealing with Zeus, after he had established his authority, they were expected to follow his rule. Zeus was the god above all the gods, so if the gods disobeyed him, they were breaking the law. Just as show in Antigone and Oedipus Rex, when the characters were disobeying the law, many felt that they were disobeying the gods. Honoring the gods, as shown in the Theogony, meant being completely honest with them. When Prometheus, for example, wanted to honor Zeus and present him with a gift, to avoid punishment, he essentially tried to pull the wool over Zeus’ eyes. Prometheus gave Zeus a sacrifice that was not what it appeared to be and lied to Zeus about it. For that, Zeus punished him. The Greeks knew the importance of offering homage to the gods that was not a trick or less than what was required. Should they have not honored the gods, they were to be punished, as Creon was in Antigone when he did not honor the laws that the gods put in place concerning death.
Thursday, September 17, 2009
9/17 The Republic #3B
The Divided Line and the Sun
In Plato's the Republic, Plato spends a lot of time discussing the sun in regards to his Divided Line and his Allegory of the Cave. He uses the sun to represent what Plato calls "the good" and the light that the sun produces in truth. It is only when one sees the sun (the good) that can fully understand forms and objects. For Plato, one must first start at the bottom of the divided line with images, objects, things we can perceive. Then one must work up the chain towards the good, and once the philosopher reaches the good, will the philosopher be able to see the higher reality and everything illuminated by that. Like in the Allegory of the Cave, once the philosopher has seen the sun, then he can truly understand what the shadows were in the cave. "The good," can be defined as, from the Divided Line and and Allegory of the Cave, that ultimate form or the highest reality. All things that are true come "the good."
Allegory of the Cave
The Allegory of the Cave illustrates the situation of man and the education of man. In Socrates' world of forms and "the good," all we, regular people, can see are reflections of these ultimate forms and truths. What we were taught to be true, isn't true at all, but a mere shadow of truth. Like the people who are trapped in the cave, they grew up knowing and identifying the shadows on the wall as what is real. But the philosopher who has left the cave and eventually seen the sun, understands that this not the case at all. His job is to go back to the cave with the people, and help them to understand what he has come to know. Socrates held that people should be ruled by "philosopher kings," in the Allegory of the Cave, the people who have seen the sun and returned to the cave are philosopher kings. According to Socrates, they should rule us and educate us so that we may what is real light, not just shadows.
In Plato's the Republic, Plato spends a lot of time discussing the sun in regards to his Divided Line and his Allegory of the Cave. He uses the sun to represent what Plato calls "the good" and the light that the sun produces in truth. It is only when one sees the sun (the good) that can fully understand forms and objects. For Plato, one must first start at the bottom of the divided line with images, objects, things we can perceive. Then one must work up the chain towards the good, and once the philosopher reaches the good, will the philosopher be able to see the higher reality and everything illuminated by that. Like in the Allegory of the Cave, once the philosopher has seen the sun, then he can truly understand what the shadows were in the cave. "The good," can be defined as, from the Divided Line and and Allegory of the Cave, that ultimate form or the highest reality. All things that are true come "the good."
Allegory of the Cave
The Allegory of the Cave illustrates the situation of man and the education of man. In Socrates' world of forms and "the good," all we, regular people, can see are reflections of these ultimate forms and truths. What we were taught to be true, isn't true at all, but a mere shadow of truth. Like the people who are trapped in the cave, they grew up knowing and identifying the shadows on the wall as what is real. But the philosopher who has left the cave and eventually seen the sun, understands that this not the case at all. His job is to go back to the cave with the people, and help them to understand what he has come to know. Socrates held that people should be ruled by "philosopher kings," in the Allegory of the Cave, the people who have seen the sun and returned to the cave are philosopher kings. According to Socrates, they should rule us and educate us so that we may what is real light, not just shadows.
Tuesday, September 15, 2009
9/15 Lysistrata #3A
Stereotypes
The women in Lysistrata are said to have many stereotypes, including being tricky, stupid, and bad money. Throughout the action of the play, the women are shown to indeed be tricky, but they are not shown to be rather smart and able to handle finances. The Greek women are quite clever and wily in Lysistrata, which is especially noteworthy in the scene in which Myrrhine tricks her husband. She teases him just to torture him somewhat and help the cause of the women. The men in Lysistrata, also accuse the woman of being stupid, or not smart enough to be able to sort out a political and international mess. The Magistrate even calls Lysistrata "brainless." However, Lysistrata is able to not only sort out the mess of the war and the women's revolt, but she also acts as a liaison between the Spartans and the Athenians towards the end of the play. Women are also thought to be, by the men in the play, unable to handle money. Lysistrata proves that she can not only take care of the money of the city, but she can also see that money is the real cause of the war, while the men are blind to that fact. In these ways, the women in Lysistrata go support and condradict stereotypes that men in the play, in in Greece, held about them.
A Woman in Power
Lysistrata displays three more masculine traits throughout the course of the play- bravery, leadership, and control- that helps her achieve her goals. First, Lysistrata displays great bravery. When the men threaten her with physical violence, she does not shirk away from the prospect, but instead threatens right back. She is ready to take any blows she recieves with a straight face, while many women would be expected to cower in a situation like that. Lysistrata is also shown to be a great leader. She is looked up to for guidance by the other women, and, as seen when some tried to leave the Akropolis, she was able to control them. Lysistrata's leadership qualities do not also extend to women, but to men as well. She helps with the negotiations between the Athenians and the Spartans, showing her level-headedness, intellect, and, again, control. Lysistrata is also able to obtain a great level of self-control, something viewed as very manly to the Greeks. She kept her words and feelings in check while many of the other characters let themselves get out of control. Lysistrata, although she was distressed, was able to stem her own bodily urges. In these ways, Lysistrata shows her more masculine traits that, in the end, help her to bring peace to Athens and Sparta.
Personal Response
I think it's great that the women took the city's situation in their owns and fixed it. My feminist side was very happy with Lysistrata and the Women's Leader as they were able to hold their own in the face of such violence and threats from the the men. However, the means in which the women fixed their polis' situation, many events, and the language of the play quite disgusting. It was far too crude for my tastes. It shows me how dark, sinful, and nasty much of the Greek culture was, considering their god and fertility rituals as well. Lysistrata was not a play that I enjoyed reading, but was quite eye-opening.
The women in Lysistrata are said to have many stereotypes, including being tricky, stupid, and bad money. Throughout the action of the play, the women are shown to indeed be tricky, but they are not shown to be rather smart and able to handle finances. The Greek women are quite clever and wily in Lysistrata, which is especially noteworthy in the scene in which Myrrhine tricks her husband. She teases him just to torture him somewhat and help the cause of the women. The men in Lysistrata, also accuse the woman of being stupid, or not smart enough to be able to sort out a political and international mess. The Magistrate even calls Lysistrata "brainless." However, Lysistrata is able to not only sort out the mess of the war and the women's revolt, but she also acts as a liaison between the Spartans and the Athenians towards the end of the play. Women are also thought to be, by the men in the play, unable to handle money. Lysistrata proves that she can not only take care of the money of the city, but she can also see that money is the real cause of the war, while the men are blind to that fact. In these ways, the women in Lysistrata go support and condradict stereotypes that men in the play, in in Greece, held about them.
A Woman in Power
Lysistrata displays three more masculine traits throughout the course of the play- bravery, leadership, and control- that helps her achieve her goals. First, Lysistrata displays great bravery. When the men threaten her with physical violence, she does not shirk away from the prospect, but instead threatens right back. She is ready to take any blows she recieves with a straight face, while many women would be expected to cower in a situation like that. Lysistrata is also shown to be a great leader. She is looked up to for guidance by the other women, and, as seen when some tried to leave the Akropolis, she was able to control them. Lysistrata's leadership qualities do not also extend to women, but to men as well. She helps with the negotiations between the Athenians and the Spartans, showing her level-headedness, intellect, and, again, control. Lysistrata is also able to obtain a great level of self-control, something viewed as very manly to the Greeks. She kept her words and feelings in check while many of the other characters let themselves get out of control. Lysistrata, although she was distressed, was able to stem her own bodily urges. In these ways, Lysistrata shows her more masculine traits that, in the end, help her to bring peace to Athens and Sparta.
Personal Response
I think it's great that the women took the city's situation in their owns and fixed it. My feminist side was very happy with Lysistrata and the Women's Leader as they were able to hold their own in the face of such violence and threats from the the men. However, the means in which the women fixed their polis' situation, many events, and the language of the play quite disgusting. It was far too crude for my tastes. It shows me how dark, sinful, and nasty much of the Greek culture was, considering their god and fertility rituals as well. Lysistrata was not a play that I enjoyed reading, but was quite eye-opening.
Monday, September 7, 2009
9/08 Antigone #2A
Moral Conflict
Hegel is right when he states that in Antigone, both sides, Antigone and Creon, are both equally right. Though both Creon and Antigone have opposing views that can both be equally right and supported, Sophocles favors Antigone in the end. To Antigone and the the gods she honors most, all are equal and all family, no matter what crimes they committed in life, should be treated with respect in death. She makes her position very clear to her sister at the beginning of the play. In line 87 she states that she would "rather please the dead that please the living here," because she would never "dishonor the laws the gods hold in honor." Creon, on the other hand, holds loyalty to the state more important than other things. In Creon's opening speech, he, as well, makes his position clear. That "never [...] will the traitor be honored above the patriot." He takes burying Polynices as direct insubordination to his rule and disloyalty to all of Thebes. He even says later that the king "must be obeyed, large and small, right and wrong." Both views could be considered right, because both are and were very important, especially to ancient Athenians. They held state position and power as very important, not to be gone against. But the also valued the laws of the gods that said that the dead must be properly honored. To disobey the state or to dishonor the dead would be to disobey the gods. Sophocles shows his support of Antigone, by in the end, revealing that she was right and that Creon was wrong, and he was punished severely for it.
To Regret or Not to Regret
Wrong doing and punishment are an important theme in Antigone. For Greeks, honoring the temperamental gods and working to the betterment of the state were a big part of their lives. For Creon and Antigone, they both reacted differently in the face of their punishments. In Antigone's case, her actions brought on a punishment that inflicted on her from outside force other than herself, Creon. For burying her brother and trying to revere the gods, she was sent to be locked away for life. In Creon's eyes, she disobeyed the highest order-the government in which the gods had put in place-and for that needed to die. This reflect how strongly the Greeks felt about loyalty and serving their city-states, many members of the audience at the time must have agreed with Creon's decision. However, as Antigone was being lead to her prison, she was mourning her fate. While she did not regret her actions, she did feel sorry that she was being punished so. Creon, on the other hand, strongly regrets his actions by the end of the play and insists himself that he be lead away, never to be seen again (as what happened to Antigone). He feels responsible for the death of his son and wife, caused by him being to stubborn and monarchical in his rule. While he does regret his action, like Antigone, he wallows in his sorrow as he is lead away.
Hegel is right when he states that in Antigone, both sides, Antigone and Creon, are both equally right. Though both Creon and Antigone have opposing views that can both be equally right and supported, Sophocles favors Antigone in the end. To Antigone and the the gods she honors most, all are equal and all family, no matter what crimes they committed in life, should be treated with respect in death. She makes her position very clear to her sister at the beginning of the play. In line 87 she states that she would "rather please the dead that please the living here," because she would never "dishonor the laws the gods hold in honor." Creon, on the other hand, holds loyalty to the state more important than other things. In Creon's opening speech, he, as well, makes his position clear. That "never [...] will the traitor be honored above the patriot." He takes burying Polynices as direct insubordination to his rule and disloyalty to all of Thebes. He even says later that the king "must be obeyed, large and small, right and wrong." Both views could be considered right, because both are and were very important, especially to ancient Athenians. They held state position and power as very important, not to be gone against. But the also valued the laws of the gods that said that the dead must be properly honored. To disobey the state or to dishonor the dead would be to disobey the gods. Sophocles shows his support of Antigone, by in the end, revealing that she was right and that Creon was wrong, and he was punished severely for it.
To Regret or Not to Regret
Wrong doing and punishment are an important theme in Antigone. For Greeks, honoring the temperamental gods and working to the betterment of the state were a big part of their lives. For Creon and Antigone, they both reacted differently in the face of their punishments. In Antigone's case, her actions brought on a punishment that inflicted on her from outside force other than herself, Creon. For burying her brother and trying to revere the gods, she was sent to be locked away for life. In Creon's eyes, she disobeyed the highest order-the government in which the gods had put in place-and for that needed to die. This reflect how strongly the Greeks felt about loyalty and serving their city-states, many members of the audience at the time must have agreed with Creon's decision. However, as Antigone was being lead to her prison, she was mourning her fate. While she did not regret her actions, she did feel sorry that she was being punished so. Creon, on the other hand, strongly regrets his actions by the end of the play and insists himself that he be lead away, never to be seen again (as what happened to Antigone). He feels responsible for the death of his son and wife, caused by him being to stubborn and monarchical in his rule. While he does regret his action, like Antigone, he wallows in his sorrow as he is lead away.
Thursday, September 3, 2009
9/03 Illiad #1B
Greek Gods
A major theme in the Illiad are the gods. Throughout the scenes, their actions and thoughts are often shown and are as important as the actions of Achilles and the Trojans. The gods are either aid the human characters or can choose to end them. At times during the Illiad, the gods seemed very interested in the goings-on of the characters, and at other times, mostly unconcerned. For example, Apollo (who was worshipped by Hector) was aiding Hector in running from Achilles around the city. Zeus liked Hector and did not want to see him killed, however, because Athena and Hera did not like the prince (instead the favored), Zeus condemned Hector. Athena then went down to Hector and ultimately tricked him and led him to his demise. While the gods liked Hector for the most part, they were more concerned with the approval of the others than they were of a human life.
The gods were powerful beings, able to go underwater and instantaneously transport themselves from Olympus to Troy and other placed, change their voice and appearance, and decide to give either blessings or death to a character. The human characters are different in the first two areas, but humans can also choose to bless a person or kill them. Achilles, for example, when Priam visited him, could have killed Priam on the spot (even though he would be disobeying Zeus), but instead he chose to protect him while near the Greek ships and let him take his son. The human characters, such as Priam, were often described as being godlike or having godlike qualities. Also, both the gods and humans clearly favored some while not favoring others. Athena clearly favored Achilles over Hector and Priam clearly favored Hector over his sons, whom he rebukes after Hector's death.
Achilles
Achilles comes off from the start as a very strong, determined warrior. He is not afraid of the gods wrath when he feels the need for revenge. He also was looking for glory, as seen when he was chasing Hector around the city walls and would not let the other Greek soldiers shoot him with their arrows. This also shows how controlling Achilles was. He took things into his own hands and did not let other question him after he had made up his mind. While Achilles was headstrong, he was also a very deeply man. His rage at Hector for killing Patroclus was unyielding and his grief at the loss of a friend was unabated for several days, long after revenge was received. He was also able to sympathize with Priam, his enemy, by thinking about his father. Achilles was a great symbol of a strong, god-minded, Greek leader.
A major theme in the Illiad are the gods. Throughout the scenes, their actions and thoughts are often shown and are as important as the actions of Achilles and the Trojans. The gods are either aid the human characters or can choose to end them. At times during the Illiad, the gods seemed very interested in the goings-on of the characters, and at other times, mostly unconcerned. For example, Apollo (who was worshipped by Hector) was aiding Hector in running from Achilles around the city. Zeus liked Hector and did not want to see him killed, however, because Athena and Hera did not like the prince (instead the favored), Zeus condemned Hector. Athena then went down to Hector and ultimately tricked him and led him to his demise. While the gods liked Hector for the most part, they were more concerned with the approval of the others than they were of a human life.
The gods were powerful beings, able to go underwater and instantaneously transport themselves from Olympus to Troy and other placed, change their voice and appearance, and decide to give either blessings or death to a character. The human characters are different in the first two areas, but humans can also choose to bless a person or kill them. Achilles, for example, when Priam visited him, could have killed Priam on the spot (even though he would be disobeying Zeus), but instead he chose to protect him while near the Greek ships and let him take his son. The human characters, such as Priam, were often described as being godlike or having godlike qualities. Also, both the gods and humans clearly favored some while not favoring others. Athena clearly favored Achilles over Hector and Priam clearly favored Hector over his sons, whom he rebukes after Hector's death.
Achilles
Achilles comes off from the start as a very strong, determined warrior. He is not afraid of the gods wrath when he feels the need for revenge. He also was looking for glory, as seen when he was chasing Hector around the city walls and would not let the other Greek soldiers shoot him with their arrows. This also shows how controlling Achilles was. He took things into his own hands and did not let other question him after he had made up his mind. While Achilles was headstrong, he was also a very deeply man. His rage at Hector for killing Patroclus was unyielding and his grief at the loss of a friend was unabated for several days, long after revenge was received. He was also able to sympathize with Priam, his enemy, by thinking about his father. Achilles was a great symbol of a strong, god-minded, Greek leader.
Tuesday, September 1, 2009
9/01 Oedipus #1A
Greek Values
Sophocles’ Greek tragedy Oedipus the King exhibits many beliefs that the Greeks held about fate, the gods, and about pride. Fate, to the Greeks, controlled everything on Earth and beyond, god and man alike. It was an unyielding force that drove everything. In Oedipus’ case, an oracle was revealed to him that he would kill his father and marry his mother. No matter the steps the king tried to take to keep this event from happening, it still did. This shows how Oedipus’ fate was written from the start, a way most Greeks felt about their lives (though, they still felt that held control). The nature and relationship between the Greeks and their gods is shown in Oedipus the King. In Oedipus, the play starts with the chorus and Oedipus seeking guidance and help from Apollo. They praise his name, along with other Greek gods. Oedipus is considered a man loved by the gods. However, at the end of the play, Oedipus seems to have disregard the hands of any gods in his life (save misery and death) and calls himself “the man the deathless gods hate most of all!” Oedipus’ downfall is also a good example of Greek beliefs. The ancient Greeks valued knowledge and reason. Oedipus also values knowledge and truth. Yet, during the events of the play, instead of stemming his lesser traits with reason that he did possess (shown when he defeated the Sphinx), Oedipus let his temper and pride blind to the truth and consequences of the situation. If Oedipus had held firmly to his reason, as the Greeks valued doing, and not judged his friends and comrades, he might have avoided the horrible consequences or maybe been less harshly punished.
Heroism
Oedipus met the definition of a tragic hero in Greek theater. Oedipus, like all Greek heroes, was of noble standing. He was not only royal, but a king. While he definitely was not perfect, Oedipus was a good man. He was a beloved king, very smart, and compassionate for his people. His faults included a big temper, stubbornness, and pride. Although his actions were rooted in good intentions, his “act of injustice,” as Aristotle called it, was accusing his loyal brother in law and an innocent prophet of treason, letting his temper get a hold of him, and (although he didn’t know it at the time) killing his father and sleeping with his mother. His fall from such a great height to someone blind and miserable from a respected king was basically his own fault. Due to his ignorance of the significance of the actions that lead to his downfall, the audience can feel pity for Oedipus. And like other tragic heroes, the punishment Oedipus received was not fully deserved, after all, he didn’t know.
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