I have already explained above, p. For it required no study of generations, no growth of new light and learning, to comprehend the clear and pointed utterances of the poet. He was recognised as a master of style even by Aristophanes, and we may thank Euripides, together with the orator Lysias, for overthrowing the hard crabbed conciseness of writing which we see in Thucydides and Antiphon, and which often mars even the dialogue of Sophocles. We know that the dithyrambic poets, on the other hand, indulged in such exuberance as was destructive of all clearness of thought and chastity of taste, and to this also the deep clear stream of his lyrical diction was the best antidote.
Success is determined by the important decisions one makes in life. These decisions are often well thought out and rationally taken. On the other hand there are also numerous times when impetuous decisions have led to downfall. The works, Euripides' Medea and Sophocles' Antigone, bring out such flaws in decisions of particular characters that led these characters to tragedy.
In Sophocles' Antigone, the critical decisions taken by Antigone to refute Creon's laws and bury her dead brother becomes the pivot around which the play revolves. In Euripides' Medea, acute decisions taken by Medea to avenge Jason's betrayal by going against her own family and the kingdom becomes the defining moment of the play.
One of the similarities that we come across in both the plays is the result of the decisions made by few of the characters. In the play Antigone one such decision is taken by Haemon.
He is positioned as the prince of Thebes who is in love with Antigone.
His presence is very crucial due to the fact that he is the only common negotiating character between the antagonist and the protagonist in the story. This aspect is highlighted when a circumstance urges him to choose between his love and family. Haemon chooses Antigone and defends her morals unlike the authority of his father, King Creon.
While he supports Antigone at one level, he also voices out the thoughts of the public to Creon. His attempt to help Creon understand his people was dispassionately disregarded, a flawed decision which Creon later regretted.
Creon's hurt ego and adamant nature impels him to ignore Haemon's advice. Haemon walks out fiercely saying "No, she will not die in my presence, don't even imagine it. Nor will you ever set eyes on my face again".
Though he is on the path of justice and righteousness, there is nobody to listen to him. His attempt to save his father and his lover is thwarted that he takes the irrational decision to commit suicide. Defeat blinds him thus that he is unable to see the light.
The people he exhibits his utmost concern for do not listen to him. This desertion triggers the feeling of helplessness and urges him to give up on life. In an effort to enhance Antigone's heroism, Sophocles finds Haemon's suicide a very helpful tool.
But we cannot forget that the flaw in Creon's decision led to his son's death. Hence, we figure that the flaw in Creon's decision led to his son's death. Likewise for personalities like Medea, respect and status is an irreplaceable jewel. Her main concern is to retain her self-esteem before the royal family of Corinth.
In no case does she want to end up becoming a mockery before the whole kingdom. This fear instilled in her guides her to take vindictive steps in an act of vengeance against Jason and the royal family.
The desperation of revenge has even repelled her away from the tender, maternal feelings of a woman. Such is the strength of emotions brought forth by Euripides. She says that she can endure the most unholy of crime, the murder of her dearest sons; "but [she] cannot endure the mockery of [her] enemies" The fear of being shamed and disgraced is one of Medea's driving motivations to find her revenge.
In this case Medea's immature decision shows a lack of presence of mind. Surrendering herself to anger unleashes the devil in her that results in such a preposterous spree of killings.This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers.
New introductions for each play offer essential information about its first production, plot. irrational in this play Sophocles can be argued to examine the differences between Aristotle’s philosophy of the golden mean and the Sophists philosophy that “man is the measure of all things,” and show the audience, through the actions, statements, and tragic resolutions of the main characters.
Euripides was a Greek tragedy playwright and poet and best known as one of only three playwrights of the time in ancient Greece whose work has survived. The other two were Sophocles and Aeschylus. Euripides was born in approximately BC on Salamis Island to Mnesarchus, his father, a .
There are chapters on Euripides the playwright, the structure and themes of the work, the Medea myth and the work's contribution to it, problems, other versions of the Medea myth and its life after Euripides' version, the full review.
Froma I. Zeitlin - - 6. The anagnorisis itself: Temporally speaking, it takes place almost at the begin- ning of the drama in the Choephoroi; in Euripides it happens about one-third of the way through, staged over a space of lines or more, and for Sophocles, only in the final third of the play.
Comparison of Sophocles' and Euripides' portrayal of humanity. Sophocles' is said to have portrayed men as they ought to be, while Euripides is said to have portrayed men "as they are".
(, December 05).