Greek Theatre Modern Scholarship

Garvie on modern appeal of Oedipus

Oedipus the King's modern appeal derives from its resemblance to a detective novel

Garvie on fate vs Oedipus

Both fate and Oedipus' own character are responsible for his fall

Knox on Oedipus' freedom

Oedipus did have one freedom: he was free to find out the truth, or not, and he chose to

Vickers on Oedipus' actions

Oedipus cannot make an informed decision on what to do, as he can't control his actions without the full knowledge of who he is

Finglass on Oedipus' flaws and virtues

The king is not brought down by a tragic flaw, but a tragic virtue - his humanity and concern for others

Hodgkinson on Oedipus vs Pentheus

The difference between Oedipus and Pentheus is that Pentheus was given clear and respectful warnings before he acted in a way he'd regret

Higgins on Oedipus' audience relatability

The audience identifies with Oedipus, sharing vicariously in the horror of the reversal he suffers and acknowledging the power of destiny.

Stuttard on The Bacchae

"Bacchae is one of Euripides' most disturbing plays."

Morwood on audience's support

"The audience finds itself tugged in two directions by a tragedy which centres on a figure who is both 'most terrifying and most gentle to mortals'."

Roisman on Pentheus

"Neither completely good not completely bad"

Goldhill on what The Bacchae says about humanity's extremes

"tensions between potentials of human reasons and order, and potential for destruction, violence and madness in human society"

Mills on Dionysus and punishment

"deliberately disguised himself in human clothing to deceive a mortal into threatening and disrespecting him, in order to punish him"

Garvie on The Bacchae's paradox

"The most striking paradox in the play is that the god who throughout the play promises joy will ultimately produce only suffering and horror."

Cartledge on Aristophanes and comedy

"the contribution of Aristophanes to comedy was overwhelming and unique"

Bettendorf on Frogs' purpose

"the primary function of the play, however, is not literary criticism but political action"

Redfield on Aeschylus' victory in Frogs

"The victory of Aeschylus is a rejection of the new life-style, a return to the old moral centre"

Marshall on the comic experience

"The core of the comic experience was the chorus, and the core of the comic chorus was the parabasis"

Dover on ridicule of prominent Athenian figures

"there is not one who is not attacked and ridiculed in comedy"

Ruffell on Aeschylus' victory

"he wins because of historical association and rose tinted glasses"

Cartledge on humour in Aristophanes

"The broader Aristophanic humour travels well: slapstick, farce, obscenity, innuendo, grotesque satire"

Taplin on the chorus

"The chorus act as an emotional bridge between the audience and the narrator"

Garvie on the audience

"The audience is in the position of the gods themselves"

Higgins on religion

"To attend the theatre was a religious duty and the responsibility of all pious citizens"

Hall on comedy

"it cuts them (politicians) down to size with ridicule"

Garvie on Oedipus as a victor

"Oedipus does not fail at all. He set out to uncover the truth, and by the end of the play he has succeeded in his quest"

Wyles in crossdressing in the Bacchae

"The appearance of Pentheus crossdressed and with Bacchic accessories offers a visual representation of Dionysus' full control over him"

Morwood on Bacchae

"Dionysus has profoundly disrupted the city's social structure"

Wyles on chorus response to Pentheus' death

"Their ecstatic joy is chilling, while heightening the pathos for the circumstances of Pentheus' destruction"

Roisman on Agave

"no parent can watch it and no sympathise"

Hall on Oedipus' anagnorisis

"direct result of the extorted testimony of a slave"

Hall on minorities

"addresses the public in the theatre as they never could in reality"