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| Hippolyta's race of women who only use men for procreation mother of Hippolytus and lover of Theseus |
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| god at oracle of Delphi predicts Oedipus's downfall |
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| philosopher of 4th century |
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| place to which Theseus and Oedipus are exiled |
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| Oedipus's supposed homeland |
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| Brother-in-law of Laius, brother of Jocasta |
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| Aphrodite as a sexual being |
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| Oracle that predicts Oedipus's downfall |
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| alone and unaccommodated man, smote by God, Ire Unmerited |
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| Wife and mother of Oedipus, widow of Laius |
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| King of Thebes before his son Oedipus kills him and takes his place as ruler |
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| Crone, care taker of Phaedra - leads her to her death |
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| Point where 3 roads cross and place where Oedipus murdered King Laius |
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| grandfather of Thesesus (father of his mother Aethra) takes Hippolytus in when Theseus marries Phaedra |
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| Father of Theseus; Destroys Hipploytus |
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| writer of Oedipus Rex during the 5th Century BCE (golden age of greek theater) |
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| father of Hippolytus, husband of Phaedra, King of Troezen |
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| process of what the hero does in the play |
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| the occurrence of the same letter or sound at the beginning of adjacent or closely connected words |
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| an expression designed to call something to mind without mentioning it explicitly |
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| uncertainty or inexactness of meaning in language; more than one interpretation |
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| hero's recognition of his hamartia (error) |
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| a figure of speech in which someone absent or dead, or something nonhuman, is addressed as if it is alive, present, and able to reply |
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| shed by Job, Oedipus, and Hippolytus |
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| hero must suffer this - physical - and soul |
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| line that marks the limits of the hero |
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| an event causing great and often sudden damage or suffering to the hero |
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| the process of releasing, and thereby providing relief from, strong or repressed emotions - achieved by the audience at the end of a Greek tragedy |
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| mental and moral qualities distinctive to an individual |
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| the ideal spectator/exposition giver |
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| a serious disagreement or argument |
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| time of intense difficulty, trouble, or danger |
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| a boring ending/tied up with a bow - an unexpected power or event saving a seemingly hopeless situation |
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| situation in which a choice must be made by the hero between two equally unpalatable choices |
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a)verbal irony - sarcasm
b)situational irony - reversal of events
c)dramatic irony - full significance of a character's words or actions are clear to the audience although unknown to the character. |
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| a description of actions not occurring on stage |
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| what is meant to happen beyond a person's control - eliminates free will |
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| a contrasting character that emphasizes qualities of another |
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| use of the chorus - protagonist bounces his ideas off of it |
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| use of the chorus - shows audience the ways of the locals |
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| feeling bad for committing a crime |
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| error in judgement made by the hero b/c of his flaw that leads to his peripetia |
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| usually male protagonist who is inherently good but still flawed - relatable |
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| undeserved misfortune (from the Gods) |
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| one of the characteristics of greek tragedy |
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| one of the characteristics of greek tragedy |
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| nuntius bearing news or exposition |
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| comparison NOT using like or as |
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the substitution of one idea for another; of the name of an attribute or adjunct for that of the thing meant
i.e. skirts for girls or suit for business man |
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| messenger that gives exposition |
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| tragedies must end in universal order restored by the hero's downfall and anagnorisis |
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| downward spiraling of hero's fortune |
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| emotion/feeling evoked from the audience by the tragic hero |
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| one set - one of the three unities |
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| crime that Phaedra accuses Hippolytus of committing |
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| displaying lack of consideration of the possible outcomes of an action - Oedipus, Hippolytus, Theseus** |
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| fact of having a duty or being accountable for something |
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| inflicting hurt or harm on someone for a wrong suffered at their hands |
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| knowing the truth about oneself |
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| a comparison using like or as |
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| an act of speaking one's thoughts aloud when by oneself or regardless of any hearers |
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| hero must suffer both body and this - immortal part of mortal beings |
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| mise en scène - the arrangement of scenery and stage properties in a play |
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| dialogue in which 2 characters speak alternate lines of verse in quick succession |
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| an experience that one is subjected to |
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| supreme evasion no suffering therefore no gained knowledge |
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| Phaedra's suicide letter blaming Hippolytus of raping her |
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| a part is made to represent the whole |
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| 24 hours - one of the three unities in all greek theater |
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| hero is both this and victor |
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| hero is both this and victim |
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| knowledge gained thru suffering |
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| unfortunate, forsaken person |
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| hero must act because it is in their character to do so - fated to do so |
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| suffer - heroes must endure the consequences of the acts they are fated to commit |
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| able/willing to hear what is being said |
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| able/willing to view what is occurring |
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| having no one to rely upon |
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| one of Oedipus's ending characteristics |
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| one of Oedipus's ending characteristics |
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| Jocasta, Phaedra, Hippolytus |
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| not able/willing to hear what is being said |
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| suicide to avoid fate and suffering (free will?) gain no wisdom from suffering |
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| free will to act (void of fate) |
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| Jocasta and Phaedra hang themselves |
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| King Laius is killed by Oedipus, his son |
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| one of Oedipus's ending characteristics |
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| hero is purged of hubris at the end of the tragedy |
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| dramatic question is posed and stops the exposition |
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| The conflict - "Who am I?" |
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| argument between two opposing forces/sides |
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| events that make the conflict more complex |
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| "waves" of clashes caused by the conflict |
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| height of action and conflict/crisis |
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| answers dramatic question |
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| the unraveling of the story - answering of questions |
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| issue that evokes sympathy from audience |
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| series of events - the story |
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| Time (24 hours), Place (one set), Action (one main bit of business) |
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| tragedy must being in universal disorder and must resume order by the end |
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| part of a character if uncontrolled will destroy him/her |
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| point between old and new life in which the hero must make a decision (chose btwn 2 unpalatable choices) |
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| 1st character with the most severe conflict |
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| alone and helpless during dilemma/in boundary situation |
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| a victory in which everything is lost but the battle is won |
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| Fate/fortune/luck/hap/chance |
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| force that determines actions |
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Man vs. Supernatural
Man vs. Nature
Man vs. Society
Man vs. Man
Man vs. Self |
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| on stage propriety -> no blood and guts |
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