do my 5 pages asset about letreture

 

This english class about intro drama. , provide a minimum of 500 words for each essay. which would be at least for both essays 1100 words. Please, if you can make it more. This rubric articulates standards for graded assignments and is meant to evaluate actual essays. Read by itself, it will surely come across as ambiguous. A. Respond to two prompts (500 words apiece): i. Taking the given primary source as a guide, perform a visual interpretation of the Dionysian procession on the Florence Cup. ii. Undertake an Aristotelian analysis of Recognition in Euripides's Iphigenia at Aulis. iii. How might we understand the very distinct characterizations of Dionysus in Bacchae and Frogs as portraits of the same god? An essay that merits an A will: 1, thoroughly address the prompt; 2, make intriguing and defensible claims about the assigned texts and move well beyond class discussion; 3, support its claims with insightful citations and exceptional textual analysis; 4, present its claims in a well-ordered manner, and; 5, show virtually no grammatical errors. I will upload some examples that might help you to understand the papers.

Undertake an Aristotelian analysis of Recognition in Euripides's Iphigenia at Aulis

A characteristic feature of the Athenian dramatist Euripides times was a sharp decline in

polis patriotism. Most of the Greek communities enlisted the aid of mercenary troops, not being

able to rely on their citizen’s protection. Issues of current policy no longer interested liberal

population. In the scope of wealthier strata the indifference interests in policy were accompanied

by a craving for the monarchy and military dictatorship that would unite Greek city-states for

expansion to the east and would eliminate the danger of internal revolutions. The collapse of the

polis relations was felt through all ideological areas. Philosophy generated the ideal of the sage

contemplator, who was far from public life and strictly protected his mental equanimity and

philosophical projects for reconstruction policy were characterized by a complete detachment

from political practice.

 

Greek philosopher Aristotle believed that the main sign of the tragic hero is nobility. And

in the theater world there are few characters with the ability to compete in the value of purity and

nobility with Iphigenia. Euripides in his ancient Greek drama works has inevitably reached the

top of the tragedy pathos and the deepest revelation of humanity. Euripides has transferred a

severe tradition of Iphigenia sacrifice in the sphere of everyday life and petty feelings, but on the

other hand, adorned with new images, which turned a barbaric slaughter in the selfless feat.

In the scope of Clytemnestra image development is noticeable a tendency to look for

psychological background for later homicide that is left beyond the plot of this tragedy. Noble,

straight and contemplative mood Achilles rises to protect Iphigenia. He is shocked that his name

was used as bait and despite murmurings of his own squad, intends to protect the betrothed bride

of an angry mob. If the image of Iphigenia appears in common with the self-sacrificing heroines

of earlier Euripides tragedies, the Achilles personality embodies the ideal of moral personality

that was consciously worked out by Greek philosophy of the V century. Achilles alien to vices of

his surrounding and at the same time is completely alone in it.

Iphigenia sacrifices herself for the sake of her homeland. People around her are going

through a painful conflict between duty and personal happiness. In the course of the tragedy

Iphigenia from naive frightened girl turns into a concise heroine.

Aristotle said that Euripides shows the man as he is. But he considered a disadvantage

that the dramatist gives the characters in constant development. In assessing the nature of the

Iphigenia, Aristotle calls Euripides inconsistent, because grieving Iphigenia has no similarity

with her later image. It is clear, that Aristotle’s concept of nature was approached from the

classical tragedy point of view, developed mainly by Aeschylus and Sophocles. Iphigenia’s

 

behavior in the second half of the tragedy does not follows from her “maiden nature” and

Euripides does not try to show how it happened. He is interested in the possibility of internal

human’s strife. But, also Aristotle says that the recognition of the future fate of the hero’s and

consequent events are disclosed at the highest level due to the “natural course of events”.

Thus, despite a much disputed Aristotle’s assessment of Euripides tragedy, his approach

is very important for understanding the crisis period of Greek tragedy.

How might we understand the very distinct characterizations of Dionysus

in Bacchae and Frogs as portraits of the same god?

In the context of this paper we will try to find a link between the images of Dionysus in

Euripides’ and Aristophanes’ plays. Both tragedians wrote plays in which one of the protagonists

was Dionysus. These plays were staged at the Dionysia, the festivities in honor of the god

Dionysus.

In “The Bacchae” Dionysia is not yet ordered and has absolutely orgiastic character.

Dionysus appears in the image of the effeminate young men, who seemingly is entirely harmless.

And this young man visits all others with madness and forces bacchantes to tear the king. When

bacchantes’ madness passes, Agave asks Dionysus why he was so cruel to her and he replied that

there was a fault of the people, who did not want to admit Zeus’ son and celestial. In this play,

Dionysus is a real lord of death, his punishment is cruel and he shows a strong dislike to

obedience resistance. The play ends with the destruction and death. Dionysus killed by revenge

not only the main offender Pentheus, but also all his family and even the city of Thebes in future

would be in danger.

 

Now let’s consider Aristophanes' comedy “Frogs”. All the fear that could arise in terms

of this literary work is destroyed by jokes and laughter. Dionysus begins his buffoonery from the

path to Hercules. He parodies Hercules, dressed in a lion's skin and with a club in his hand.

Mocking Hercules, Dionysus thus mocks heroism, strength, power and war. And Aristophanes,

as we know, was opposed to wars.

The descent into the underworld scene in “The Frogs” beats scenes from "The Bacchae"

where Dionysus comes from the burning palace. At the slightest danger Dionysus immediately

hides behind his servant, or disguised in his closes. These changings, in fact, comprise those

transformations that have taken place with Dionysus in "The Bacchae", when he turned it into a

bull or God’s servant. But in “The frogs” these transformations are reduced to the level of

buffoonery. Generally Dionysus behaves like a clown. In this play everybody laughs at Dionysus

and even mocks him. Such an attitude to Dionysus is exactly opposite attitude to him in “The

Bacchae”. But despite the clownish appearance of Dionysus in “The frogs”, Pluto sends

Dionysus to Hades to select a poet who needs to come back to the living world. And Pluto relies

entirely his choice. It turns out that the clown is only one of the many faces of Dionysus.

In “The Bacchae” there is a destruction of peace and order due to fear, horror, and in

“The frogs”, due to laughter, jokes and carnival scenes occur restoration of the ruins. Not matter

how Dionysus acts in “The Bacchae”, he act reversely or makes it a matter of buffoonery in “The

Frogs”. But despite such carnival tricks, Dionysus makes a blessing for Athens and deduces

Aeschylus from Hades’ underground. And as a result Dionysus is treated not as a clown, but as a

non-frightful god.

 

Dionysus is the god of fertility, and thus is linked to the life, death and rebirth lifecycle.

The Dionysus in “The Bacchae” and “The Frogs” is one and the same, only with polar faces −

one is terrible and the other is ridiculous. Taken together, they provide full antique divine

manifestations of Dionysus.