DOCSLIB.ORG

Index: Names and Subjects

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Index: Names and Subjects INDEX: NAMES AND SUBJECTS Acheloos 209 Athetein (ἀθετεῖν) 80–81 Aeneas 144 Attribution 50 aigis 157 False 86n36, 90n, 244, 259 Agenda 88, 172 To Alexandrians 90 Agrippa 251 To Ἀστραψοῦχος 258 Alexandrians 79–81, 90–91, 209, 256 To Demetrius of Magnesia 67 see also Aristophanes of Byzantium; To Democritus 249f, 251 Callimachus; Aristonicus To Epic Cycle 152 Ambivius Turpio 132–133 To Euripides 80n21 ambiguitas 220 To Jacob 257 Ambiguity xx, 18, 65, 67, 110, 227 To Leon the Academic 86n37 and New Critics 219–220 To Moses 249, 255f and Poststructuralists 220 To Nonnus 59, 65f Quintilian’s definition of 220 To Panaetius 83 Ambroton eidos (ἄμβροτον εἶδος) 151 To Petosiris 251n55 amphibolía 129, 220 To Plato 77n17, 78 Anderson, Graham 198n17, 199 To Protagoras 50f, 53 Annotation 3, 6, 9, 38n72, 41, 175, 240 To Pythagoras 249f Annotationes in Syntaxin 241 To Simmias 207ff Incorporated 32 To Speusippus 77 marginal 35, 214 Double 250 (pseudo-) feminist xxi Authority viii, xvi, xxf, 8, 43–57, 91, 95f, Readers’ 20, 27 99f, 148, 165–168, 180, 183, 219, 229, 243, Antenor 155f, 159n 245n9, 253, 257f, 272f. Antonius Diogenes Cultural 265 The incredible things beyond Thule 180 Magical 243–259; see also a list under Antylus 149 magical authorities Apocryphal texts xv, 1–14, 59, 66–68, 192 Religious 243f, 257–259, 264, 272 Apollobex of Coptos 181 sophos’ 270 Apuleius 129, 199n20, 244, 245n13, Authorship viii, x, xxi, xxii, 6, 43, 47, 56, 248n36, 253, 256 65, 74, 76, 79, 81, 84f, 88, 90, 95–100, aporthetos polis 146, 159 110, 113, 118, 122, 164, 180,193 Aristonicus 81 Alternative 76, 86, 88, 110 Aristophanes of Byzantium 73–75, 79–80 Epictetus’ 199 Artemidorus’ papyrus 60f Euripides’ 80n21 Arctinos 145, 148 Lucian’s 197, 199 Arts Lucretius’ 22n28 liberal 231 Azara, José Nicolás de 11 visual 143, 151, 158 written 235 Bayle, Pierre 7, 9 Asclepius (Asklepios) 83–85, 181–3 Bacchides Assaon 215 Comparison w. Greek model 125, 134 Athena 143–161 Dramatic illusion in, break of 129 Attributes doru, elakate, atraktos 157 hamartia, comic 136 Athenaeus 250, 268 hubris, comic 136, 139 Athens xi, 20f, 60, 82, 87, 104, 126, Intrigue 135–140 152n25 Irony, comic 138 As center of sophistic movement 277 Line 1009 125, 134–140 292 index: names and subjects Lines 208–217 128–134 Dialectical ix, 51, 55, 179, 274 Lines 1096–1098 140 pseudo-dialectical 52 Marriage contract, temporary 135–136 Dialectics of reading 179 Non-Plautine passages, signals of Didascaliae 128–129, 140 Design 131–132 onomasti kômôidein 130, 133 didascalic records 90 Props 130, 133 Plautus’ 130, 131n, 132 Synopsis 125–8 Terence’s 131–132 Barbaros (βάρβαρος) 280 Dindorf, Wilhelm 60–61, 196 Bekker, Immanuel 196 Diogenes Laertius 62, 65, 67, 74, 75, Bolus of Mendes 180–1 77–78, 83, 250 Borges, Jorge Luis 12 Diodorus Siculus, 180n, 251, 268 Bourdieu, Pierre Diomedes see Odysseus Cultural sociology of 266 Diopetes, diipetes (Διι-/Διο-πετές) 144, 148–9, 152 Callimachus 63, 65, 67, 79–80 doll 157 Canfora, Luciano 24n35, 60n3, 62 dominus 227–229 Catalogues gregis 131 Aeschylean 82 double 158–9 Alexandrian 61, 65, 79 daemonic 264 Callimachus’ 79f letter 134 Geographical 166, 216 negative 279 Hippias’ 166 passages 29n48 Magicians 244 work 67 Platonic writings 76 See also attribution Cervantes Saavedra, Miguel de 12 doublets 24, 30n51, 205, 222f Choragus 134 Dictys 152, 155, 159n, 179f Cloacina grammar 240 Dionysius Skytobrachion 180 Cobet, Carel Gabriel 197 Doxography Code of Euric 10 Definition of 266 Commodification of wisdom 270 Corpus Hippocraticum, see Hippocratic Egyptian priests 182–3 Corpus Eichstaedt, Heinrich Karl Abraham 2 correptio epica 210 Electra 157–8 Courier, Paul-Louis 196 enthusiasmos 213n32 Critics vii, x, xvi, 5, 16f, 21, 51–55, 68, epiphany 154, 183 78n, 86, 173, 197 Epithet Alexandrian 80 Archaic 209 Ancient 77, 86, 88 fixed 153 Contemporary 167 formulaic 144, 155 New 219 γνήσιοι 75 Cyprian, Saint 95, 96, 105,106 hesiodic? 209 Osiris’ 246 Dall’Aglio, Corradino 3 Pejorative 269n25 Dares 179, 180 Simias’ 210 Dardanus of Phoenicia 181, 244, 251, 259 Euclides 43–48, 56f, 57 Decker, Johann 4, 6, 10 Eudocia 95–107 Demetrius Eusebius 256n89, n90 On Namesake Poets and Writers 67–68 Democritus 181, 244, 249–252n, 259, 276 Faber, Tanaquil 195, 205 [Ps.]-Demosthenes 188–193 Falsification techniques x, 3–12, 165–177, Derkyllos 154, 159n 179 Diabole (διαβολή) 270–271 Fernández Mallo, Agustín 12.
Load more

Recommended publications
  • The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
    The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century.
    [Show full text]
  • Tragedy, Euripides, Melodrama: Hamartia, Medea, Liminality
    Vol. 5 (2013) | pp. 143-171 http://dx.doi.org/10.5209/rev_AMAL.2013.v5.42932 TRAGEDY, EURIPIDES, MELODRAMA: HAMARTIA, MEDEA, LIMINALITY BRIAN G. CARAHER QUEEN’S UNIVERSITY BELFAST, NORTHERN IRELAND [email protected] Article received on 29.01.2013 Accepted on 06.07.2013 ABSTRACT This article examines socio-historical dimensions and cultural and dramaturgic implications of the Greek playwright Euripides’ treatment of the myth of Medea. Euripides gives voice to victims of adventurism, aggression and betrayal in the name of ‘reason’ and the ‘state’ or ‘polity.’ Medea constitutes one of the most powerful mythic forces to which he gave such voice by melodramatizing the disturbing liminality of Greek tragedy’s perceived social and cultural order. The social polity is confronted by an apocalyptic shock to its order and its available modes of emotional, rational and social interpretation. Euripidean melodramas of horror dramatize the violation of rational categories and precipitate an abject liminality of the tragic vision of rational order. The dramaturgy of Euripides’ Medea is contrasted with the norms of Greek tragedy and examined in comparison with other adaptations — both ancient and contemporary — of the myth of Medea, in order to unfold the play’s transgression of a tragic vision of the social polity. KEYWORDS Dramaturgy, Euripides, liminality, Medea, melodrama, preternatural powers, social polity, tragedy. TRAGEDIA, EURÍPIDES, MELODRAMA: HAMARTÍA, MEDEA, LIMINALIDAD RESUMEN Este artículo estudia las dimensiones sociohistóricas y las implicaciones culturales y teatrales del tratamiento que Eurípides da al mito de Medea. Eurípides da voz a las víctimas del aventurerismo, de las agresiones y de las traiciones cometidas en nombre de la ‘razón’ y del ‘estado’ o el ‘gobierno’.
    [Show full text]
  • Response: Hamartia in Greco-Roman Context
    “Go and sin no more”? Brad Jersak QUESTION: In your blogpost, Missing What Mark? you mentioned that the traditional understanding of the Greek word translated “sin” is missing the mark. You suggested that the mark in question is not moralistic perfection. Instead, you said, the mark, goal or telos of humanity is union with God. Therefore, sin is not so much law-breaking behavior, but rather, turning away from the loving care of God. Repentance, then, would essentially involve turning from alienation and returning to the Father’s house and reconciling ourselves to his loving care. If I’ve understood you, does this approach still align with the literal sense of hamartia? RESPONSE: First, yes, you’ve understood me perfectly. And simply put, my approach to missing the mark is within the semantic range of hamartia since the word does literally mean missing the mark or to err. The thing is, hamartia never specifies what the mark refers to. A recipe of original context and our preferred theology determine what mark we’ve missed. As for hamartia or any other foreign term, we need to remember that when we translate ancient words, we aren’t using ancient dictionaries. We explore how the word is used in context—or rather, its various contexts over time, since the word may be used in different ways in different times and places. Hamartia is complex because it has multiple uses both within the Bible and elsewhere in Greek and Roman literature. I did some further fact-checking, which itself always warrants double- checking in the primary sources.
    [Show full text]
  • Tragedy After Darwin by Manya Lempert a Dissertation Submitted In
    Tragedy after Darwin by Manya Lempert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Dorothy Hale, Chair Professor Ann Banfield Professor Catherine Gallagher Professor Barry Stroud Summer 2015 Abstract Tragedy after Darwin by Manya Lempert Doctor of Philosophy in English University of California, Berkeley Professor Dorothy Hale, Chair Tragedy after Darwin is the first study to recognize novelistic tragedy as a sub-genre of British and European modernism. I argue that in response to secularizing science, authors across Europe revive the worldview of the ancient tragedians. Hardy, Woolf, Pessoa, Camus, and Beckett picture a Darwinian natural world that has taken the gods’ place as tragic antagonist. If Greek tragic drama communicated the amorality of the cosmos via its divinities and its plots, the novel does so via its characters’ confrontations with an atheistic nature alien to redemptive narrative. While the critical consensus is that Darwinism, secularization, and modernist fiction itself spell the “death of tragedy,” I understand these writers’ oft-cited rejection of teleological form and their aesthetics of the momentary to be responses to Darwinism and expressions of their tragic philosophy: characters’ short-lived moments of being stand in insoluble conflict with the expansive time of natural and cosmological history. The fiction in this study adopts an anti-Aristotelian view of tragedy, in which character is not fate; character is instead the victim, the casualty, of fate. And just as the Greek tragedians depict externally wrought necessity that is also divorced from mercy, from justice, from theodicy, Darwin’s natural selection adapts species to their environments, preserving and destroying organisms, with no conscious volition and no further end in mind – only because of chance differences among them.
    [Show full text]
  • Theatre I Ms. Vernon Catharsis, Hubris, Hamartia, and the Tragic
    Theatre I Ms. Vernon Catharsis, Hubris, Hamartia, and the Tragic Flaw Catharsis – the cleansing of emotion – usually tragic – through the artistic experience Catharsis was described by Aristotle in The Poetics. It is the reason we go to scary movies, the reason we are interested in tragedies including murder mysteries and crime shows, is that we need to deal with these emotions. Of course, we’d rather not have to deal with them in real life, so the artistic experience allows us to go through the fear or pity or grief or anger and let it wash through us. We come out as a clean slate after. Hubris – proud behavior in excess; this arrogant behavior indicates a blindness to one’s own flaws Hubris is usually associated with “pride goeth before a fall.” This means that undue pride, the kind that is overboard or blinds you to yourself or others, usually leads to a bad end. In ancient Greek myth Icarus ignored his wise father’s warning and flew to close to the sun and died. That’s hubris Hamartia – the error in judgment that leads to the tragic flaw; an unwitting mistake Hamartia is more complex than hubris. In the twentieth century the tragic flaw began to replace it but there are subtle differences. Hamartia can be traced to a specific moment in which the wrong choice was made - someone doesn’t listen to good advice or trusts the wrong person – and then that leads to the tragic events. Usually the error in judgment is closely related to character, so hamartia and tragic flaw and really intertwined.
    [Show full text]
  • Action and Hamartia in Aristotle's Poetics
    E – L O G O S ELECTRONIC JOURNAL FOR PHILOSOPHY/2008 ISSN 1211-0442 Action and Hamartia in Aristotle’s Poetics. Philip Tonner Abstract In what follows we outline Aristotle’s philosophy of tragedy in his Poetics paying particular attention to his account of action and hamartia. We situate his account of tragedy in terms of his ethical philosophy and philosophy of action generally. We argue that tragedy is disclosive of the frailty of the human situation in its precarious contingence. By this, we link Aristotle’s philosophy of tragedy to twentieth century aesthetic, ethical and European philosophy. 1 Introduction. Aristotle’s account of tragedy is intimately connected with his theory of action and his ethical theory. His Poetics was intended to form a central part of his extended inquiry into the nature of human action and happiness. It was his view that in tragedy, the tragic hero falls into misery through a hamartia, a mistake or error, that results in irreparable damage to the life of the protagonist and/or the lives of their loved ones. Hamartia or ‘tragic error’ brings to the fore the fragility and contingence of human flourishing. Thus, in addition to being read as a work of aesthetics the Poetics can be usefully read in terms of Aristotle’s ethical theory and thus ultimately in terms of his account of what it is to be a flourishing human being. If this reading of the Poetics is plausible then Aristotle intended his aesthetics to follow naturally from his ethics. Ethics, for Aristotle, had a much wider determination than it tends to accrue in some contemporary philosophical debate.
    [Show full text]
  • Plato's Phaedo: Tragedy, Philosophy, and Backstabbing
    Anthós (1990-1996) Volume 1 Number 2 Article 2 1991 Plato's Phaedo: Tragedy, Philosophy, and Backstabbing Melody Wilson Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Philosophy Commons Let us know how access to this document benefits ou.y Recommended Citation Wilson, Melody (1991) "Plato's Phaedo: Tragedy, Philosophy, and Backstabbing," Anthós (1990-1996): Vol. 1 : No. 2 , Article 2. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss2/2 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. PLATO'S PHAEDO: TRAGEDY, PHILOSOPHY, AND BACKSTAl3BING Melody Wilson Oncf! a thing is committed to writing it circulates equally among those who understand the subject and those who have no business with it; a writing cannot distinguish between suitable and unsuitable reg-ders. (Socrates, Phaedrus 275c.) lthough he wrote poetry and tragedies A as a youth, upon joining Socrates Plato burned all of his manuscripts (Lesky, 507). As a philosopher, Plato can be made to say that the written word could convey the depth of meaning necessary to the understanding of the subject of philosophy. Perhaps in response to the assertions of contemporary philosophers, Plato asserted that, "no treatise by me concerning [philosophy] exists or ever will exist" (Cushman, 304). He did ultimately write, but using a form that did not violate this principle.
    [Show full text]
  • Shakespeare's Many Much Ado's
    Brief Chronicles Vol. I (2009) 109 Shakespeare’s Many Much Ado’s: Alcestis, Hercules, and Love’s Labour’s Wonne Earl Showerman wentieth century scholarship has largely disputed the possibility that Shakespeare employed Greek dramatic sources in writing his plays. The Tconsensus has been that most of the Greek canon, including the works of Aeschylus, Sophocles, and Euripides, had not been translated or printed in England by Shakespeare’s time, and as Greek poetry was not included in the curriculum of English grammar schools, the author could not have been directly influenced by the Attic tragedians. In his 1903 Classical Mythology in Shakespeare, Yale University Professor Robert Kilburn Root voiced the opinion on Shakespeare’s ‘lesse Greek’ that presaged a century of scholarly neglect: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.”1 One hundred years later A. D. Nuttall, in “Action at a distance: Shakespeare and the Greeks,” published in Martindale and Taylor’s Shakespeare and the Classics (2004), succinctly summarized the continued prevailing opinion on the author’s use of Greek sources: That Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept. A case can be made – and has been made – for Shakespeare’s having some knowledge of certain Greek plays, such as Aeschylus’ Agamemnon, Euripides’ Orestes, Alcestis, and Hecuba, by way of available Latin versions, but this, surely, is an area in which the faint occasional echoes mean less than the circumambient silence.
    [Show full text]
  • Antigone Vs Creon Tragic Hero Examining the Traits Listed Below, Find Textual Evidence Throughout the Play That Proves This Character’S Status As a Tragic Hero
    Antigone vs Creon Tragic Hero Examining the traits listed below, find textual evidence throughout the play that proves this character’s status as a tragic hero. 1. A person of high estate 2. Suffers because of hamartia 3. Experiences strong emotions and comes to a breaking point 4. Faces a horrible truth (catastrophe) 5. Reversal of fortune (paripateia) 6. The fall and the revelation 3rd Period Antigone 1. A person of high estate “You would think we had suffered enough for the curse of Oedipus”* (Prologue) - Get connection to Oedipus (remember, original audience would know the Oedipus myth) - Princess of Thebes 2. Suffers because of hamartia “Ismene, I am going to bury him…Creon is not strong enough to stand in the way”* - Overconfident, does not think Creon can stop her 3. Experiences strong emotions and comes to a breaking point “Then let me go since all of your words are bitter” (scene iv) - See her fearing death, asking for pity (conflicts with what we saw in scene 2) - Chorus offers her no pity; she did it of her own free will “That must be your excuse I suppose because for me I must bury the brother I love” - Initially wants to bury him out of respect, but now that Ismene refuses to do it, it is a mission for her. Her breaking point because now she is even more determined to break the law. “She had made a noose of her fine linen veil and hanged herself” (exodus) - Her death could also be the breaking point because she committed suicide; she took matters into her own hands; didn’t want to suffer.
    [Show full text]
  • Aristotle: Hamartia and Catharsis
    Vol-3 Issue-3 2017 IJARIIE-ISSN(O)-2395-4396 ARISTOTLE: HAMARTIA AND CATHARSIS Dr. P. Jeyalakshmi Assistant Professor (English) AEC&RI, Kumulur TNAU “Aristotle’s analysis of tragedy is by far the most well-known section of the Poetics. It remained influential for many centuries and was not seriously challenged until for many centuries…. It is in this treatment of tragedy that the connections between the foregoing notions – imitation, action, character, morality, and plot – emerge most clearly.” - M. A. R. Habib. 54, A History of Literary Criticism and Theory From Plato to the Present. Aristotle defines the essence of tragedy in his Poetics: “Tragedy is…imitation of an action that is serious, complete and a of a certain magnitude – by means of language enriched with all kinds of ornament, each used separately in the different parts of the play: it represents men in action and does not use narrative, and through pity and fear it effects relief to these and similar emotions” (Poetics, VI. 2-3. qtd. in M. A. R. Habib. 54, A History of Literary Criticism and Theory From Plato to the Present). Tragedy is the imitation of an action that entails a change of fortune that excites pity and fear. Ingram Bywater explores into the cardinal quintessence of a tragedy: “The Plot in fact should be so framed that, even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity at the incidents; which is just the effect that the mere recital of the story in Oedipus would have on one” (52, Aristotle: On the Art of Poetry, 1977).
    [Show full text]
  • Ancient Greece, Antigone, Oedipus, Sophocles, Etc
    Ancient Greece, Antigone, Oedipus, Sophocles, etc. You will need paper, a pen or pencil, and your iPad. *All info on these slides = fair game for a quiz either tomorrow or next week :) Goal: to explore the significant elements of Ancient Greek society such as beliefs in death and the afterlife and important theatre terminology in order to better inform our reading of Oedipus and Antigone. DP Curriculum (quarters 1&2) Pedro Paramo by Juan Rulfo Antigone by Sophocles Persepolis by Marjane Satrapi IB Assessment = World Lit Paper (25%) Antigone Interactive Oral Topics Sophocles - THE MAN Ancient Greek beliefs in death and the afterlife Ancient Greek Theatre Chorus Sparta vs. Athens Imagine that the Sphinx is ravaging your city due to some ancient crime. She kills anyone who cannot answer her riddle. The only way to save yourself and your town is to correctly answer her riddle. Let’s see if you can do it... What travels on four feet in the morning, two at midday, and three in the evening? Let’s review the myth of Oedipus. Greece was roughly the size of Texas. Sparta Used force to rule Very war-like people Slavery was commonly accepted. Spartan females were taught to be fit, brave, and patriotic. ALL Spartan males were expected to be lifelong warriors. Athens Democratic and forward thinking Education -The male members of the society had access to good education and were free to pursue any of the arts or sciences. Women had few rights. Only men were considered citizens. Slavery was commonly accepted. Mexico’s beliefs in death Ancient Greek beliefs an intro to Ancient Greek beliefs in death..
    [Show full text]
  • Influences of Athenian Society on Greek Theatre Review: Athenian Audience
    Influences of Athenian Society on Greek Theatre Review: Athenian Audience ● The audience of Greek plays were usually exclusively males ● Roles of characters were all played by male actors ● In Antigone we see how the most respected people in the Athenian society were Male elders ● Women were usually forbidden to be among the audience members Presentation of Gods & Oracles Oracles of Delphi- The most important shrine in all Greece ● Respected by all Greeks - Was the center of the World ● People come from all over the Greece to have their questions about their future answered by the priestess of Apollo ● Teiresias was the prophet of Apollo in Antigone ○ Warned Creon that god is displeased and he will be punished Gods took parts in plays during Ancient Greek Theatre ● Were the motivation for creating Greek Plays ● Greek Gods usually resolved the play’s chaos ● “For my part, God is my witness, who sees all, always” (202-203) Religious Beliefs Religious beliefs (especially regarding Olympian Gods), growing cynicism of Sophocles’ time – reflected in play? Influences attitudes towards the gods evident in play? ● Accepted Greek mythology ○ collection of myths, legends, and teachings of Ancient Greeks ○ focuses on origins, nature of the world, and ritual practices ● Greek Mythology believes in Olympian Gods controlling the natural world and the fate of humans ● Theban citizens Wanted to please the Gods in return for good fortune ● Shift to belief in a single, supreme god rather than a deity of gods ○ Sophocles was a priest to Asclepius - The Greek God of Medicine ○ Sophocles still believed in the deity of Gods Religious Belief in Antigone References numerous Gods throughout his play Antigone to project his approval of traditional Greek beliefs Chorus: “Let us go to all the shrines of the gods and dance all night” (167-168) Creon: “For God’s sake, tell me and get out of here!” (267) All Gods were respected in the play; Divine Power valued over Morta Creon concedes to Teiresias’ proclamation by the Gods “Creon: Oh, it is hard; I must give up what my heart would have me do.
    [Show full text]