Greek tragedy Eschil Sofokl Euripid. Ancient Greek Tragedy: Sofokl and Euripide

The first great Greek playwright was Eschil (approx. 525-- 456 BC). A participant in the battle of the Greeks with Persians in the Marathon, he showed the tragic defeat of the Greeks in this war in the Drama "Persight".

At the competition of tragic poets, Eschil spoke for the first time in 500 BC. e., the first victory won in 484 BC. e. Subsequently, she held the 1st place for another 12 times, and after the death of Eschila (in Sicily), it was allowed to resume his tragedy on the rights of new drams. Having introduced the 2nd actor and having reduced the role of Choir, Eschil turned the tragedy-canta, which she was still in Friniha, in the tragedy - a dramatic action, which was based on a vital collision of personalities and their world foreigners. An even greater deepening of the conflict contributed to the introduction of Eschil in Orestea, following the example of Sofokla, 3rd actor. In total, Eschil wrote over 80 works (tragedies and Satirovsky drama), combined most of the tetralds. All 7 tragedies have reached us and a significant number of fragments. Tragedies "Persians" (472 BC,), "Seven vs. FIV" (467 BC and Oestya's trilogy (458 BC, consisting of tragedies "Agamemnon "," Hoophoras "(" Poskalkers "," Sacrifice at the Coffin ") and" Evmenid ". Tragedy. "Praying" ("racer") were usually attributed to the early period of the creativity of Eschyl.

After discovering in 1952, Papiral disbuffing Didascia to the trilogy "Danaida" (which included "praying), most researchers are inclined to date it 463 BC. e., However, the artistic features of the "praying" are more consistent with our idea of \u200b\u200bthe work of Eschil in Ser. 70s, and Didascals could relate to posthum. No unanimity is also in determining the Date "Prometheus of the Chained"; Her stylistic features are told rather in favor of late dating.

In his drams, Eschil develops a person's responsibility in front of the gods. Whether the person is disturbing the presenter and the will of the gods, pride prevents him from humble in front of them, - in any case, he expects an inevitable retribution. Immortal gods do not forgive the person of freedom-loving gusts. Before fate, you only need to accept. And the person took the inevitable sentence of fate. It was not a call to humility and passivity. It was a call to the courageous exercise of his inevitable fate. Heroism, and at all the drama and tragedy of Eshil are imbued with humility. In Prometheus, the playwright showed a busty riot against God: Prometheus stole fire from the gods to bring his deaths; Zeus chained Prometheus to the rock, where the eagle daily slandered liver. But neither Zeus nor the eagle can defeat the resistance to Prometheus: because people traded fire in their earthly life. A special place in the works of Eschila is "Oestya". This is a trilogy of revenge and redemption: the Homeric Hero Agamemenon killed his wife and her lover; Son and daughter Mstat killers. The crime should fight, cannot leave the murderer from the inevitable destiny.

Sofokl (496 - 406 BC. Er) - ancient Greek playwright, author of tragedy. It was from the family of the rich owner of a weapon workshop in the Athenian suburb of Colon. Got a wonderful general and art education. It was close to the pericles and people from his circle, including Herodotus and Fid. He was elected to important positions - the keeper of the treasury of the Athenian Sea Union (approx. 444. BC. E.), One of the strategists (442). The special state talent of Sophokl did not differ, but by virtue of his honesty and decency used all her life in deep respect in compatriots. For the first time, Sophokl took part in the combination of tragic poets in 470 g. e.; I wrote over 120 drams, i.e. it spoke with my tetralds more than 30 times, having won 24 victories and never going down below the 2nd place. It came to us entirely 7 tragedies, about half of the Satirovsky drama "trackers" and a significant number of fragments, including papyrus.

The surviving tragedies are located approximately in chronological order: Ajax (Ser. 450s), "Antigona" (442 years. BC), "Trachins" (2nd floor 30s), "King Odip (429 - 425 BC. E.), "Electra" (420 - 410th. BC), "Philoktte" (409 BC. Er), "EDIP in Colon "(post. Posthumously in 401gg. BC.).

Sophokl puts eternal problems in his tragedies: the relationship to religion ("Electra"), the free will of man and the will of the gods ("King Edip"), the interests of the person and the state (Philoktt). If the Spring Spring Action was a clash of the Divine Forces Defining Human Fate, Sofokl is looking for it inside a person - in motifs of his actions, in the movement of the Human Spirit. He pays special attention to the psychological development of the characters of his characters. Sophokl does not question the divine establishment and its significance of a person. He, like Eschil, emphasizes that everything is committed by the will of Zeus, or Rock. But human participation in the implementation of the will is more active here. Man himself is looking for ways to execute. In the tragedies of Euripid (approx. 480--406. BC er.) A critical look appears on mythology as the basis of Greek religion. They are full of Philippik against the gods, and the gods are given for the most part of a non-resident role: they are heartless, vertiane, envious, false, they steal, make oaths, they admit the suffering and death of innocent. Evripid does not occupy a device of the universe, but the fate of a person, his moral way. Among the works of Euripid, the famous tragedies with a pronounced psychological focus, due to the interest of the playwright to the personality of a person with all its contradictions and passions ("Medea", "Electra").

Euripid (approx. 484 - 406 BC. Er) - ancient Greek playwright. Born and often lived on the island of Salamin. For the first time spoke at the Athenian theater in 455 BC. e., the first victory in the competitions of tragic poets won in 441 BC. E .. In the future, he did not use the recognition of contemporaries: during his lifetime won 1st place only 4 times, the last one, the 5th victory was awarded him posthumously. After 408, Euripid moved to Macedonia, King Arhel, where he died.

Euripid wrote 92 dramas; We reached 17 tragedies, the Satirov Drama "Kiklop" and many fragments in the city of Papiral, pointing to the enormous popularity of Euripide in the era of Hellenism. 8 Tragedies Euripide are quite reliable: "Alkestidav" (438 BC), "Medea" (431 BC), "IPPOLIT" (428 BC), Trojan "(415 BC. E.)," Elena "(412 BC)," Orest "(408 BC)," Vakhanki "and" Iphigenment in Avlida ", Posted in 405 BC. e. posthumously. The rest - on indirect evidence (historical hints, features of style and verse): "Geraklida" (430 g. BC), "Andromaha" (425 - 423 BC. E.), "Hekaba" . (424 BC), "Supils" (422 - 420 BC), "Hercules" (border of the 420s, BC), "Iphigencies in Tavrida "(414 BC. Er)," Electra "(413 BC. E., Phoenicians" (411 - 409 BC).

In the tragedies of Euripid, a critical view of mythology as the basis of Greek religion appears. They are full of Philippik against the gods, and the gods are given for the most part of a non-resident role: they are heartless, vertiane, envious, false, they steal, make oaths, they admit the suffering and death of innocent. Evripid does not occupy a device of the universe, but the fate of a person, his moral way. Among the works of Euripid, the famous tragedies with a pronounced psychological focus, due to the interest of the playwright to the personality of a person with all its contradictions and passions ("Medea", "Electra").

Eschil (524-427) is a senior of great Greek tragics that have received world recognition (Fig. 7). About his life is known

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very little, and nothing talks about any connections with the Northern Black Sea.
Almost everything concerns Scythia in the preserved works of Eschila, contained in the most famous tragedy "Prometheus chained". Its action unfolds, as stated in the first lines, in the Scythian country on the edge of the earth, where there is a mountain Caucasus. Here Scythia appears an unknown fantastic country, similar to what it drew in many myths.
By order of Zeus, Prometheus are attracted to the rock, condemning the eternal flour for disobedience. The cousin of Zeus, the son of Titan Japet, Prometheus angry the Supreme God would disagree with the fact that all the benefits should belong to the gods. From the workshop of Gefesta and Athens Titan kidnapped the fire and gave it to him so that they were seized with different crafts. Commanded with mortal, Prometheus endowed them with a mind, taught to wear clothes, build houses and ships, write and read, bring victims to the gods and guess.
Eschil depicts Prometheus confident in her right, despite the terrible flour portable. The choir, sympathizing with the suffering of the hero, sings how Titanium mourns mortals, living near the mountain, where he is shed. He is contemplated by Amazons in Colchide and a lot of Scythians, "who live around Meetida on the edge of the Earth." 12. Compared to Herodotus and other later authors, the geography of the set of Scythians in the tragedy is shifted to the east. This is a valuable testimony of the location of the Scythians before their settlement in the Northern Black Sea region. Numerous Scythian monuments of the VII-start V c. In the Northern Pre-Bureau 13, 13 is consistent with the localization of this people in the Prometheus chained tragedy.
Eschil condemns the despotism of Zeus and to emphasize the unsightly deeds of the Supreme Lord of the Gods, takes on stage another sacrifice - IO. The beloved Zeus fenced to the cow rushes in many countries and reaches Scythia, where Prometheus languishes. He regrets the unfortunate IO and, describing her further path to Egypt, mentions a number of geographical points of the North Staple Black Sea and ingoing real and mythical tribes.

And you, the child of Inach, deep in the chest
Hide my speech to know your decking roads.
From here you are confused by the sunrise
You will send a step in a virulent unpaked
And they will come to the Scythians. They live
Under the free sun on carts, in boxes
Wicker. Behind the shoulders - Luke Grozny.
Do not come close to them! Further way to keep
Cool silicon seaside, depth moaning.

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From these places live left left
Iron Kovachi Khaliba. Fear them!
They are fierce and to guests of Nareskov.
You will come to the river.
She is given to her right. Ford are not looking for a river!
No fodder! Before the origins of Caucasus
You will see a terrible mountain. With her horns
Flood mighty harness. Range,
Neighboring stars, and by noon step
Title! There Amazons arons will meet
Hostile to men. In Femedkira live
They will have farmodont. Oven there
The most dangerous - the jaw salmidess
Fear of ships, swimmers of trembling stepmother.
Then you will go to the East Kimmerian
To the goal of the close sea. There, daring,
You must swap a pouring meotide.
And the memory in people is glorious will remain
About this crossing. There will be a name to her -
Cow Brod - Bospospor. Fields of Europe
Let's leave for the Asian Mainland will come.

Eschil gave a brief, but very accurate ethnographic characteristic of Scythians. Armed with long-range bows, they walked, if literally translate the words of tragic, "in the Nesphan steppes and live in a wicker housing, highly raising it on the carts with quickly rolled wheels." The description of the housing and weapons of the Scythians is confirmed by archaeological finds and other antique authors (Herodotus, Pseudo-Hippocrat), specially interested in the life of this people.
Along with the realities that meet historical reality, Eschil did not escape in the image of the Scythians of the already established literary stamps. In one of the plays, known only on the brief mention of Strabo, the tragic called Scythians, "living in excellent laws", 15 that is, presented them with perfect barbarians.
The faithful ethnographic observations in the description of the Scythians are taken by Eschil, perhaps not from books, but from its own observations. Indeed, in the last third of the VI-early V c. Scythians served mercenaries in Athenian Troops.16 Thus, Eschil could see the Scythians in his homeland in his youth, where, as the vase painting shows, they continued to wear their national clothes, as well as weapons and probably lived in carts.
A reliable description of the Scythians in the Prometheus of the Charmed "differs from the very general or fantastic characteristics of other peoples on the path of IO. For example, Khaliba is traditionally named

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processing iron and characterized very general: they are harsh and impregnable for strangers. On the contrary, Amazons willingly indicate the way of IO, but nothing is said about them, in addition, where Io will see them and where they will move.
Eschil retreats from the usual localization of the Motherland of Amazons. Tragic places them next door to Scythians, from where they in the future, according to Prometheus, move to the thermodet. Usually it was believed on the contrary, as mentioned above, when analyzing the addition of the myth on marriages of Amazons and Scythians. According to the images on attic vases of the second half of the VI-V centuries. We know about the wide popularity of the myth about the battle of Hercules with Amazons in their homeland in Teriodont. Prometheus in the dialogue with IO says that Hercules, her descendant in the thirteenth knee, will relieve Titan from Muk. Therefore, Eschil had to agree on two independent myths: about the meeting of IO with Amazons next to Scythians and the battle of Hercules with them the thermodont of several centuries later. Because of this, the original Asia, but the area on the border with Scythia, was not the origin of the Amazons.
Judging by Prometheus's monologue, Eschil did not have a clear idea of \u200b\u200bthe geography of the Northern Black Sea region, although in his time there were already maps and descriptions of the Ponta coast, and tragic himself, according to researchers, often applied to the cards when describing various areas of Okumen.17 in Promethea The chained "Io passes from the west to east from Europe to Asia, but its geographical sequence of its path is difficult to catch. Salmides bay, located on the West Bank of Ponta, turns out to be next to the thermodet that flows into Pont from the south: Caucasus and Kolkhida are found by IO within Europe. At the same time, Prometheus calls the bipos of the Kimmerian border of Europe and Asia. What it follows that the Caucasus and Colchis are not included in Europe. In the preserved fragment from the tragedy "liberated by Prometheus", Eschil called Facis to Rubeze the mainland. In this case, the assignment of the Caucasus and Kolkhid to Europe is fair.
Disagreements in the tragedies of Eschila reflect existence in the VI-V centuries. Two different views on the division of continents, as clearly said from Herodota.18. At first, the Greeks were considered the Facis River of Europe and Asia, and later began to hold the border on Tanais and Bospore Kimmeria. The last point of view in V c. Pushed out an old idea. Eshil did not have much need to deal with these disagreements. Tragic was content with the fact that the names treated the field of Ponta and created the atmosphere of action in the far country. In addition, the effect of Eschil sought in other plays, saturating them with exotic geographical names.
Probably, his knowledge in this area he screams from the works of logographic groups.19 It seems that they have a borrowed explanation

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the names of the Bosporus of the Kimmerian, allegedly named in memory of the Io's crossing. Such an interpretation resembles a Maneru of logographic and, in particular, the preserved fragments of "earthworks" of Hecatery, where the origin of a number of geographic names is similarly explained.
The plays of Eschil highly appreciated his contemporaries. The playwright led the winner on Dionisia in one sources 13, on others - 28 times. But by the end of his life he had a strong opponent. In 468, Sofokl won the Eschil.
Sophokl (496-406) composed more than 120 tragedies and Satirovsky drama, 24 times won the championship and never took the place below the second (Fig. 8). He retained his outstanding poetic gift to a deep old age. There was a legend of how his sons, wanting to join the full rights of ownership of property, wanted to declare the old father who survived the mind and establish custody over him. At the trial, Sofokl did not prove anything, but he read the excitement of everyone the passage from the newly written tragedy "Oedipal in Colon", and the case immediately decided in his favor.
Responding to the ideals of a citizen of his time, Sophokl paid a lot of time to participate in the socio-political life of Athens. According to

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the poet of Ion, here he was less talented than in dramaturgy, and performed his duties "like any honest Athenian." And yet citizens more than once elected him to high government positions. He was repeatedly one of the ten Athenian strategists who commanded the fleet and troops, as well as vied foreign policy and financial affairs. Together with the first strategist, Sophokl in 441 participated in a long siege of Samos, whose citizens wanted to exit the Athenian Sea Union. During the Samos Expedition, Sofokl led successful negotiations with Greek poliches on the Islands of Lesbos and Chios.
Plutarchs in the biography of Pericla said that at it, the Athenians held the entire Pont in their power, and the Athenian squadron came to many Cities of the Black Sea region.20 Some of them for a while joined the Athenian Sea Union with the obligation to pay a certain contribution; Among them were Olbia and Namfei.
The burning issues of politics regarding the Greek states in Scythia were certainly discussed surrounded by the pericles. In the rank of the first strategist, he was almost permanently headed for the age of 16, the Athenian state was headed. This period (444-429) is customary to be called the "golden age of Pericla". It includes the flourishing of the Athenian democracy, an unprecedented rise of literature, art and architecture. The pericles headed not only the political, but also the fiction life of Athens. In the range of his friends, the philosophers, winds, writers, were included. On behalf of the pericla, the sculptor Fidi headed masters, built and adorned temples on the Acropolis, which still remain the main attraction of Athens. With the names of friends pericla - Sophocla and Herodota - the greatest achievements in the field of dramaturgy and artistic prose are connected.
Sofokl highly appreciated the creativity of Herodota. He wrote a poem in his honor, included some plots and separate specific information from the "History" in his tragedies. For example, in Antagona, the heroine, preventing fraternal love, repeats the arguments of the Persianka from Herodot, and the dream of the wife of Agamemnon Climers in Elektre was similar to the dream of the Tsar Midyan Astiaga. Athenians first learned about the unknown to be an animal - a cat from the Egyptian Logos Herodotus. Sophocles later mentioned it in "trafficking" .22
Let us dwell on a similar borrowing of Sofokla from the Scythian Logos Herodotus. In one verse from the lost tragedy, "Enonai" says: "In a spinning hair, they have for rubbing," .23 The meaning of the verse is revealed when comparing with the story in "History" about how Scythians remove scalps from the head of enemies, they are brought to the bridle of their horses and use as a towel to wip hands.24 It should be noted that Herodot

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twice calls such scalps in the same word that is used in the tragedy fragment examined.
Sofokl revived the story about the cruel enonoma description of the real Scythian custom, which would see the king when massacre with the grooms. The plot of this play is borrowed from the myth widely known in Greece, which has been reflected in the deep antiquity of the custom of martial arts of the leader's tribe with applicants for his place. There are similar scenes in the legends of different nations.
Tsar Enoniai received the prediction that the fault of her son-in-law would die. Therefore, the king suggested the grooms of his daughter Hippodami inspired test. Possessing wonderful horses, which no one could catch up, he promised to marry his daughter for the one who wins him in a chariot. In the event of defeat, the bridegroom was deprived of life. Thus, Enonai killed thirteen grooms, and everyone's head attached to the facade of his palace; Only fourteenth with the help of tricks managed to defeat the king.25
The participation of Sofokla in state affairs and his friendship with Pericles give sufficient confidence to believe that the poet was well aware of Greek colonies in the Northern Black Sea region.
Of course, not all life impressions are reflected in the work of the writer, and in fully preserved tragedies do not say anything about Scythia. However, the study of the names and fragments from the lost essays of Sofokla gives reason to believe that the topic of the Northern Black Sea region occupied a noticeable place in his writings. First of all, this refers to the tragedy of "Scythians" and the plays associated with the myth of infigration.
The tragedies received a name either by the name of the main character (for example, the "Prometheus" of Eschil, "Antigona" of Sofokla, "Hercules" of Euripid), or by chorus (for example, "Persians" of Eschil, "Trachinhane" Sofokla, "Trojanka" of Euripid) . Therefore, the name "Scythians" suggests that the Scythians constituted the choir of tragedy and the action took place in Scythia. The content of the tragedy is partially reproduced in the poem "Argonavka" Apollonia Rhodes. The author of the largest of the preserved writings of the Ellinism era describes how the Argo ship swims into the homeland of Jason along with the princess medeems, which helped him master in the colchide with a fabulous golden sheep. At the northern coast of Ponta, the Colchis king EET catches them with his companions, and the Argonauts are looking for refuge in the Scythian king; Eet also requires the issuance of his daughter of Medele and the Golden Run. The plot about the stay of Argonauts in Scythians, apparently, the invention of sofokla. "You can imagine," writes φ. F. Zelinsky, - as a willing poet, a friend of Herodota, enjoyed the ethnographic material of the IV book to introduce his fellow citizens with such an interesting northern people for them. "26

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However, its own information of Sofokl probably learned not only from the writings of Herodotus. It can be assumed that the tragedy of "Scythians" was a poetic response to the Pontic Pericla policy. After all, it has long been noticed that the ancient tragedies, many of which are written on the plots of ancient heroic legends, were nevertheless closely related to modernity. For example, in the Finea Finea's Fine Material tragedies on the miph's material about the rivalry of Wives, the Finea Cleopatra, the Athenasi for the Mother, and the ideas of Malaya Asia were justified by the attractions of the Athens on Thrace. Here, in an unknown context, the "Bosporian water of Scythians" said, that is, about the Bosporus Kimmerian. The fragment was preserved in the model of Stephen Byzantine (under the word "Bosporus"), which was interested in this case only the writing of Difthong in the Greek adjective "Bosporus".
Skify Sophokla was among the Greek plates, which were transferred to the Latin language early Roman tragics. In II century BC e. Shares on the plot of "Scythians" wrote the tragedy "Medea, or Argonauts". Unfortunately, there are several minor fragments from it. For our topic, only one, who remained at Cicero, has led the speech of the amazed Scythian shepherd, who first saw the ship moving around the sea first. Here, Sophokl made faithful historical conclusion: the Greeks were indeed the first Morelodes, with whom I had to get acquainted with Scythians.
Even less than in Scythians, we know how information about the Northern Black Sea region was interpreted in the tragedies of "Chrys" and "Alet." In both, the myth of Iphigenation in Tavrid was touched upon.
In Alay, it was told, as an electra, sister of Orest and Iphigenia, received a false news of the death of Orest and his friend Pilad in Tavrick. Elektra went to Delphi to learn from Oracle, whether the news of the death of his brother is fair, and met or siesta and infidation. In their story about the misadventures in the Tavrician land, they probably described the cruel customs of the brains sacrificing all alien. The action of another tragedy occurred on the island of Christ, where the Orest, Pill and Infigrations were forced on the way from Tauridic. Here they are overtaking King Tavrov Tyant and demanded punishment for the abduction of the sacred statue of Artemis from the Tavrichesky Temple.
The source of ethnographic information about brands, apparently, served as Herodota's work. Sophokl may have used not only what the historian recorded in his essay, but also what he told his friends. After all, Herodota himself claimed that he did not always include everything he knew in his work.
In the tragedies of Sophokla there are well-known geographical names associated with Scythia. Istr in "Tsar Edipe" personified a huge full-flow river. Tanais in Scythians

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dignified the border of two continents - Europe and Asia, and the Kimmerian bipos in the "first" mentioned as a shed in the Scythians.
So, according to indirect data of the biography of Sofokla and fragments of its lost plays, it is possible to conclude that it is more often than other tragics, addressed the plots about the Scythians and Tours. However, the only preserved tragedy, the action of which occurs in the Northern Black Sea region, belongs to the younger contemporary of Sofokla Euripid. In it, he originally developed the plot, which had repeatedly appeared in Athenian drama, but not yet becoming central to any tragedy.
Euripid (485-406), which ancient called "philosopher on stage" (Fig. 9), used less than his glory, than its predecessors of Eschil and Sofokl. But later throughout the antiquity, his tragedies increased, and therefore, in the ancient manuscripts, the tragedies of Euripid preserved more than the Pieces of Eschila and sofokla combined.
"Iphigencies in Tavrid", one of the last creations of Euripid, appeared on stage in 414/13. The plot of the myth lying in her basis was well known to the Athenians. After all, in the temple of Artemis, who was in Attika, not far from Athens in the town of Alla Arafenid, stood an ancient image of the goddess, according to legend, brought by ores, sewing and Iphigenia from Tarakiki, and near the temple showed the grave of infigration. The art of playwright consisted in the development of plot parts. The viewer was in ignorance, exactly how the Orest and Pill will be saved from death, how the infigrations recognize the brother and how all the Troim will be able to deceive the brands and escape from the Tantant king.
Evripid has little interested in the actual history of Tarakiki, but we, addressed to his tragedy as a source of knowledge of the Greeks about the Northern Black Sea region, it is interesting to consider it from the point of view of identifying real and mythical features in the image of this country.
According to the plan of the playwright, the tragedy action takes place in Tavric in front of the temple of Artemis, where he serves the priestess of the infigration. Orest, Pill and Korife Chora are said about individual features of the appearance of the temple. For many readers and researchers, Euripid want to see in the tragedy, the description of the real construction, which had once not yet taken away from Chersonesse, in 1820, after visiting the St. George Monastery at Cape Faiten, where in some ancient ruins travelers sought to guess the remains of the former temple, Pushkin wrote in " Messages to Chaaadaev ":
What is cold doubts?
I believe: there was a formidable temple here,
Where is the blood of the gods

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Sacrifice smoked;
It was calmed down here
Enough fierce Evmendy:
Here is the Westness of Taurida
On my brother, hand brought.

However, the "cold doubt" in the real existence of such a temple appeared in the last century. According to archaeologists, none of the ancient debris on the territory of the St. George Monastery cannot be attributed to the life of Euripid. We see the grounds for distrust in the text of the tragedy.
First of all, we recall that in Greek tragedies, the action often happened before the temple, and it was conditionally depicted on scenery. A lot of such tragedies and Evripida: Against the background of the Demeter Temple, there was an action in the "senders", in the "ion" the events unfold in front of the Apollo temple in Delphi, and in Heraklida - in front of the temple of Zeus. Looking at the temple, heroes and chorus of tragedies often talk about its appearance. Especially in detail the sculptural decor of the temple is described in the initial song of the Khora of the "Ion" tragedy. The ceremonies of the queen Creatures arrived from Athens to Delphi admire the frieze with reliefs depicting a herakla fight with the Lerneysian hydraulic and a fellerofite match with chimera; They also look at the fronton of the temple with the scene of the battle of the gigs and giants. Fragments of these sculptures were found during excavations in dolphes.
There is no doubt that before the mental eyes of Evripid, the temple of Artemis in Tavrick had a completely definite appearance. In the dialogue of Orest and Pilad, approached this temple, you can distinguish between the individual features of its appearance. Let's call them in the order in which they appear in the verses of the tragedy. Before the temple there is an altar, who has grown with blood brought to the sacrifice of Ellini, under the eaves of the altar lie with the victims of the armor, and inside the temple standing from the heavens of Artemis, made of wood. The temple is surrounded by high walls, it is necessary to climb the steps of the stairs, the doors are locked on copper constipation, but there is a space between triglyphs where a person can climb. In the song Khora, the columns of the temple and eaves, decorated with gold, all draws the temple as a purely Greek structure. The location of the altar in front of the temple also includes the Greek feature.
It can be definitely said that the poet meant the building of the archaic period. Only then in the outer decoration of the temples were used and left blank between triglyphs - ends of wooden roof overlapping beams. Located above the colonnade, they constituted the rhythmic row, and for beauty at each end there were three longitudinal notches,

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from which the name of the triglyphs occurred. When at the end of the VI century. Stone, triglyphs have become a decorative decoration on the shift of wooden temples. Between them in the classical period and later the plates (metops) were inserted, usually decorated with reliefs.
The structure described by Euripid could not build a brand in Crimea, which did not possess elling construction skills or the Greeks. After all, the latter founded Chersonese near the boundaries of the brave of brands in the middle-second half of the V century, when the temples of this species did not build a long time ago.
So, the look of the temple in "Iphigenia in Tavrid" is created by the fantasy of the poet. Euripide presented it as those old temples of the VII-VI centuries, which he himself saw. The construction time of many of them was forgotten; Established in the places of the ancient Sanctures they could be considered more ancient than they really were. Maybe a certain influence on the image of the Tauride Temple had the impressions of Euripid from the Temple of Apollo in Delfa, as described in the "Ion" .30
Like the temple, the statue of the Tauridious Goddess is a fiction of the poet, based on his knowledge of Greek archaic idols, who were kept in some sanctuations with reverence. Primitively carved from the tree, they were called ksoans, that is, with peeled wooden sculptures, and, as a rule, were considered fallen from the sky. The features of such a description of the statue appear in the idiot of Artemis, for which the Orest arrived in Tavrik: Tragic mentions twice that the sculpture fell into the Tauride temple from heaven and notes that it is made of wood.31 in V c., When the tragedy is written, the Greeks carved statues The gods from the stone or cast from bronze.
The Greek appearance of the statue of the Divine and Temple on Earth Tavrov must be compared with other Greek features that the playwright drew the barbarians. Euripid did not think about what was the level of social development of the brass, and the Greek polis of life was mechanically put to their everyday life. The poet repeatedly mentions the policy of brands and its citizens, 32 Although, of course, they did not have any cities and states.
Having considered fictional elements in the image of the Tauridus, we will now dwell on its real features, reflected in the tragedy of Euripid. All of them book origin. First of all, this is an indication of the brass, the tribe really inhabited in the Northern Black Sea and well-known Greek Morcheods. Some customs of the brands depicted in the tragedy correspond to the ethnographic description of Herodotus. The latter gives reason to think that Euripide carefully read the work of the historian.
Quite really presented the disgrace of brands with alien: bringing them to the victim to the local deity. In ritual

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those blessed the infidencies, the priestess of the Grozny local goddess, there is such a Tavra feature, as the victim in the "wide crevice of the rocks." The execution offered by King Tavrov for Orest and Piland also coincides with the description of Herodotus. Tantant says: "Grabbing them, reset from a hard rock, or put their bodies on the bodies." 33 historian writes that the brains killed their victims to the beat of the club on his head, then cut off her head, the body was discharged into the sea, and the head on a long six put over Chimney of their housing.34
In one of the songs, the choir is described by the way of Orest and Piland from the Strait of Bosporus Thracian to Tarakiki. The course of the Greek vessel is scheduled for sure how much it is in the shadow-shaped song. Several important items are named on the Western coast of the ship along the western and northern shores of Ponta.35, first "converging rocks", that is, Kianai, standing near the mouth of the Strait, then the coast of the Thracian city of Salmidessa, whose king was mentioned by the Fineney Choir. In this very dangerous place, antique ships often endured crash. 36 Next Snake Island Nevdalae from the mouth of the Danube - ancient left, named in the tragedy "White Coast with Birds Mass". Other antique authors, describing the left, also celebrated many birds on the island. Some even explained the name of the White Island from the flocks of white birds on it, others believed that on this deserted island, where it was not necessary to stay for the night of any person, birds care for the temple of Achilla.37
The "White Coast at the Evcinsky Ponte" is found in the same tragedy of Euripid - "Andromache" .38 Fetida promises Peli that they will visit their son Achilla together. Here the tragian clearly expected the fact that the audience know the content of the myth on the afterlife of the hero on the left and about his temple on this island.
Before arriving in Tavriik, the order of Orest and Pilada passed "Beautiful for the competition Ristas Achilla", that is, the island of Achilles Drom. Thus, Euripid pointed out in the Northern Black Sea region only points related to myths, and their hero was considered the bridegroom. At the same time, the island of Levka, thanks to the famous Temple of Achille, and Achilles Drome, thanks to the competition, were well known to the audience at the Athenian Theater.
In conclusion, we will focus on some chronological inconsistencies in the "Iphigenment in Tavrid" tragedy. It has already been said that the Greeks dated the Trojan war of the XIII or XII century. Therefore, in addition, they attributed the events of the Miph of Infigration and Oreste, the children of Agamemnon, the leader of the Greek troops. The real acquaintance of the Greeks with the north coast of Ponta, judging by the archeology, happened shortly before the appearance of the colonies.

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The first implications of the Greeks to the sacrifice of the Tavrian goddess were carried out in the VII century, as a last resort at the end of the VIII century, but not in the XIII century. From the tragedy of Euripid, it can be understood that Orest and Pill were not even the first Greeks in the country of Tavrov. After all, Orest, seeing the altar in front of the temple, asks if the murder of Ellinov is not the murder, and the pill is responsible that this is the very altar and his top blushed from the blood of the victims. Characters of the tragedy look at the Tauridics through the eyes of their contemporaries, who are well known to the customs of brands, and not the eyes of the heroes of the myth, who first discovered a distant uncharted country for themselves.
So, the poet tried to stick to the style of those remote times, which he portrayed. However, the real signs of antiquity in the tragedy are not older than the VII-VI centuries., And at times we carry modern the author of the feature. Along with some reliable customs, Euripid's brands are endowed with a purely Greek way of life. The playwright involuntarily attributed to them the polis organization of society and the presence of cities, and the oblast of the Tavrov took the appearance of a purely Greek temple in the tragedy.
In the other essays of Euripid, there are only two places related to the Northern Black Sea region. When analyzing the myths about Hercules were attracted by poems from the Hercules tragedy about the battle of the hero with Amazons on the banks of Meotyda, and when mentioning the island of Levka in "Iphigenia in Tavrid," we led a link to poems from Andromaha.
In conclusion, it should be highlighted in two cases of consumption by the poet of communities from a rare verb "Creek". The verb entered the tongue of Athenian in V c. And meant to "tear the hair on the head" (expression of deep grief). This value developed from the presentation from the customs of the Scythians to remove scalps with hair.
In Trojanka, Hekaba says beautifully combed and dressed in Elena, that it should stand in front of Mennel not in such a form, but in torn clothes and "crooked", that is, with fully digged hair. In "Elert", the communion from this verb characterizes the heroine, in the grief, the hair turns on itself.
Of the many fragments of the lost works of other Greek tragics, almost nothing belongs to our topic. In the tragedy of an unknown author, several verses of which preserved on papyrus II century, the Scythian Earth was mentioned, apparently, in connection with the myth of Argonauts, 40 A in one of the tragedies of Agafon, who lived at the turn of the V-IV centuries, the form of the Greek letter Σ (sigma) was compared with Scythian Luce.41 After the words of Pontae's similarity of the Ponto with the Scythian border, the Agafon comparing once again shows how well the Greeks represented themselves this type of weapons: after all, it always compares with something well known. Contemporaries tragedy constantly saw such bows in the Equipment of the Athenian City Guardians,

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the extension is mostly from the Scythians who repeatedly appear in the comedies of Aristophan.

You can include such famous antique authors such as Eschil, Sofokl, Euripide, Aristophane, Aristotle. They all wrote plays for ideas at the festivals. Of course, there were still many authors of dramaturgical works, but either their creations did not live to the present day, or their names were forgotten.

In the work of ancient Greek playwrights, despite all the differences, there was a lot of general, for example, the desire to show all the most significant social, political and ethical problems that were worried about the minds at the time. In the genre of tragedy in ancient Greece, there were no significant works. Over time, the tragedy has become a purely literary product designed to read. But the big prospects opened before the household drama, which received the greatest flourishing in the middle of the IV century BC. e. It was subsequently called the "Novoattic Comedy".

Eschyl

Eschil (Fig. 3) was born in 525 BC. e. In Eleusin, near Athens. He took place from the notable family, so he received a good education. The beginning of his work applies to the time of war Athens against Persia. From historical documents, it is known that Eschil himself took part in battles in the marathon and Salamine.

He described the last of the wars as an eyewitness in his play "Persians". This tragedy was delivered in 472 BC. e. Total Eschil wrote about 80 works. Among them were not only tragedy, but also satirical dramas. Up to our days, only 7 tragedies came in full, only small pieces were preserved from the rest.

Not only people, but also gods, and titans that personify moral, political and social ideas are shown in the works of Eschil. The playwright itself had a religious and mythological credo. He sacredly believed that the gods manage life and peace. However, people in his plays are not brightless creatures that blindly subordinate to the gods. Eschil endowed them with a mind and will, they act, guided by their reflections.

In the tragedies of Eschil, the choir plays a significant role in the development of the topic. All parties of the choir are written by a pathetic language. At the same time, the author gradually began to introduce the painting of human being in the canvas, which were pretty realistic. An example is the description of the battle between the Greeks and Persians in the Pieces of Persians or the words of sympathy expressed by Oceanids Prometheus.

To strengthen the tragic conflict and for more complete actions of the theater formulation of Eschil introduced the role of the second actor. At the time, it was just a revolutionary move. Now instead of the old tragedy that had little action, the only actor and choir, new dramas appeared. They faced the worldview of heroes, self-motivated their actions and actions. But the tragedy of Eschil still retained in their construction traces of what they originate from the Diffiram.

Building all tragedies was equally. They began with a prologue, which was the tie of the plot. After prologue, the choir took the orchestra to stay there until the end of the play. Then followed the episeodia, which were the dialogues of actors. The episcodia was separated from each other by Stamimami - the songs of the choir, executed after the choir ascended to the orchestra. The final part of the tragedy, when the choir left the orchestra, was called "Exodue". As a rule, the tragedy consisted of 3-4 epises and 3 - 4 stamimov.

Stamimima, in turn, were divided into separate parts consisting of a stanza and antistroof, which strictly corresponded to each other. The word "stanza" translated into Russian means "turn". When the choir sang in stranges, he moved it into one, then in the other side. Most often, the songs of the choir were performed under the accompaniment of the flute and were necessarily accompanied by dances called "Emememe".

In the play "Persians", Eschil glorified the victory of Athens over Persia in the sea battle in Salamin. Through all the work, the red thread passes a strong patriotic sense, that is, the author shows that the victory of the Greeks over the Persians is the result of the fact that in the country of the Greeks there was a democratic order.

In the work of Eschil, the tragedy "Prometheus Chained" tragedy. In this work, the author showed Zeus not by the carrier of truth and justice, but a cruel tyrant who wants to erase from the face of all people. Therefore, Prometheus, who dreamed of rebeling against him and stand up for the human race, he condemned for eternal flour, ordered to peck him to a rock.

Prometheus is shown by the author's fighter for freedom and mind of people, against the tyranny and violence of Zeus. In all subsequent ages, the image of Prometheus remained an example of a hero fighting against the higher forces, against all oppressors of a free human person. The hero of the ancient tragedy V. G. Belinsky said very well about this: "Prometheus gave to know people that in truth and knowledge and they are the gods that thunder and lightning are not yet proof of the rightness, but only evidence of the wrong power."

Eschil wrote a few trilogy. But the only one who reached our days is in full, is "Orestia". The tragedy was based on the terrible killings of the kind, from which the Greek commander Agamemenon took place. The first play of the trilogy is called Agamemnon. It tells it that Agamemnon returned to the victory from the battlefield, but at home he was killed by his wife Climennest. The wife of the commander is not only not afraid of punishment for his crime, but also boasts what he did.

The second part of the trilogy is called "Hoefors". Here is a story about how Orest, the son of Agamemenon, becoming an adult, decided to take revenge on the death of his father. Ores Srestra helps him in this terrible business. At first, the Orest killed his mother's lover, and then her.

The plot of the third tragedy is "Eurmenda" - such: Oresses are pursued by Erinia, the goddess of cven, for making two murders. But he justifies the court of Athenian elders.

In this trilogy, the poetic language Eschil spoke about the struggle between the father's and maternal law, which was in those days in Greece. As a result, Father, that is, the state, the right turned out to be the winner.

In Orestee, the dramatic skills of Eschila reached his peak. He so well handed over the oppressive, sinister atmosphere, in which the conflict matches that almost physically the audience feels this glow of passions. The choral buses are written clearly, their religious-philosophical content is traced, there are bold metaphors and comparisons. In this tragedy, much more speakers than in the early works of Eschil. The characters are discharged more specifically, much less common places and reasoning.

The works of Eschila showed the entire heroic of Greco-Persian wars, who played an important role in raising patriotism from the people. In the eyes not only of their contemporaries, but all the subsequent generations of Eschil forever remained the very first tragic poet.

He died in 456 BC. e. In the city of Gel, that in Sicily. On his grave there is a tombstone inscription, which, according to legend, was composed of themselves.

Sophokl

Sofokl was born in 496 BC. e. in a wealthy family. His father had a weapon workshop, which gave large incomes. Already at a young age, Sofokl showed his creative giftedness. At the age of 16, he was led by a young man choir, who glorified the victory of the Greeks in the battle in Salamin.

At first, Sophokl himself took part in the production of his tragedies as an actor, but then due to the weakness of the voice, he had to abandon the speeches, although he enjoyed great success. In 468 BC e. Sofokl won his first correspondence victory over Eschil, which was that Sophocla play was recognized as the best. In further dramaturgical activities, Sofokla was always lucky: he never received a third award for his whole life, and almost always occupied the first places (and only occasionally second).

The playwright actively participated in state activities. In 443 BC e. Greeks elected the famous poet to the position of the Treasurer of the Delo Union. Later he was elected to an even higher position - strategist. In this capacity, he together with Pericles took part in a military campaign against Samos Island, who separated from Athens.

We know only 7 tragedies of Sofokla, although he wrote more than 120 plays. Compared to Eschil, Sophokl somewhat changed the content of their tragedies. If the first in the plays act titans, then the second introduced into his works of people, although a little raised over everyday life. Therefore, the researchers of creativity of Sofokla say that he made the tragedy descend from the sky to the Earth.

A man with his spiritual world, reason, experiences and free will became the main acting person in tragedies. Of course, in the plays of Sofokla, the heroes feel the impact on their fate of the Divine Providence. His gods are the same

mighty, like Eshil, they can also overthrow the person down. But the heroes of Sophokla usually do not rely badly to the will of fate, but are struggling for the exercise of their goals. This struggle sometimes ends with the suffering and death of the hero, but he cannot refuse her, since in this he sees his moral and civil debt to society.

At this time, at the head of the Athenian democracy was the pericles. With his reign, slave-owned Greece reached a huge inner heyday. Athens has become a major cultural center in which writers, artists, sculptors and philosophers of all Greece strived. The pericles began building an acropolis, but she was finished only after his death. An outstanding architects of that period were attracted to this work. All sculptures were performed by FIDIA and his students.

In addition, violent development has come in the field of natural sciences and philosophical teachings. There was a need for general and special education. Teachers appeared in Athens, called Sofists, i.e. the wise men. For a fee, they trained wishing to different sciences - philosophy, rhetoric, history, literature, politics - taught art to speak to the people.

Some sophists were supporters of slave democracy, others - aristocracy. The most famous among the sophists of that time was Protagor. It belongs to him that is not God, and man is a measure of all things.

Such contradictions in the collision of humanistic and democratic ideals with selfish and mercenary motives were reflected in the works of Sophocla, who could not accept the approval of the protagora, because it was very religious. In his works, he has repeatedly spoke about the fact that human knowledge is very limited that by ignorance a person can make one or another mistake and be punished, that is, to undergo flour. But after all, it is in suffering that the best human qualities that Sophokl described in his plays is revealed. Even in cases where the hero dies under the blows of fate, the tragedies feel an optimistic mood. As Sophokl said, "fate could deprive the hero of happiness and life, but not to humiliate his spirit, could fight him, but not to win."

Sophocles introduced the third actor in the tragedy, which really revived action. On stage now there were three characters that could conduct dialogues and monologues, as well as perform at the same time. Since the playwright preferred the experiences of a individual personality, he did not write trilogies, in which, as a rule, the fate of a whole kind was traced. Three tragedies were exhibited on the competition, but now each of them was an independent work. With sofocle, painted decorations were also introduced.

The most famous tragedies of the playwright from the FVAN cycle are considered "EDIP-Tsar", "Oedip in Colon" and "Antigone". At the heart of the plot of all these works lies the myth about the FVAN Tsar Edipe and about numerous misfortunes, which fell into his genus.

Sophokl tried to bring heroes with a strong character and inflexible will in all his tragedies. But at the same time, such people were inherent in kindness and compassion. Such was, in particular, Antigone.

Sofokla tragedies brightly show that Rock can subordinate to himself a man's life. In this case, the hero becomes a toy in the hands of the highest strength, which in the ancient Greeks personified with Moyra, even over the gods. These works have become an artistic mapping of civilian and moral ideals of slave-owned democracy. Among these ideals were political equality and freedom of all full citizens, patriotism, homeland, the nobility of feelings and motivations, as well as a kindness and simplicity.

Sofokl died in 406 BC. e.

The origin of the tragedy.Already in the Diffiramba of Arion, according to the testimony of the ancients, the Dialogue of Corryon and the Khora, which portrayed the goning Satirov - Satellites of Dionysus was present. Of the day, the genre of the tragedy is born (from gr. "T ragos"- Goat," ode."- Song). Fespida and Fritija, whose works are not preserved, the tragedy is obviously close to the diffirable. The Fespid first introduces the actor, commenting on the diffilage, creating the basis of the tragedy as a genre. Frini, Heril (like Eschyl) is first used for the tragedy not mythological, but the historical plot (about the victories of the Greeks in Persian wars). Pato adapts to the scene genre satirovskaya drama.

At the end of the VI-V centuries. BC. In Athens, on a cup-shaped slope of the Acropolis, the Theater of Dionysis (first from the tree, in the IV century BC of the stone) by 17 thousand spectators, i.e. For the entire population of the city. The annual theatrical competitions in honor of Dionysus begins here. Initially, they took place in the Great Dionissions - in March, from the second half of the V c. BC. And on the holiday of Lena - in January. On the first day, five comedies were presented, in the second, third and fourth - on one tetralogy. In the second, third and fourth day in competitions participated in three playwright, Everyone prepared for competitions a tetrallogium - a cycle of four plays (three tragedies and the final Satirovsky drama, where the choir portrayed the satellites of Dionysus - Satirov), put his works and initially performed the role of the protagonist - the chief hero. This is exactly known regarding Fespida, Fritija, Aeshil. It should be noted that Sofokl achieved nationwide recognition as an outstanding actor. Ten judges determined the winner. Lists of such contests have been preserved. In just 240 years of development of this genre, more than 1,500 tragedies were created by significant tragics. But from the works of ancient Greek tragics, only 7 tragedies of Esha (including one trilogy - "Orestea"), 7 tragedies and passages of one satyrov drama Sofokla, 17 tragedies and one Satirovskaya drama of Euripid (authorship of another tragedy challenges).

The tragedy consisted of out prolog, Parody. (entrance song of the choir coming to orhesky - round platform before skie - building, on the sublime platform in front of which - poskia - The actors played the presentation), three or four eppodium (actions), statsimov(songs Chora between Eppodia), epoda (Final with the final song and the care of the choir). Parods and Stasimi shared on strafs and similar to them antistroes. (For them, the choir moved along the orchestra in one, then in the other direction). In the tragedies could also be monologues of the hero, commmary (joint crying choir and hero), goroshem (Song of the choir in climax, before the disaster is broken).

Eschil.Eschil (525 - 456 BC) - "Father tragedy". Eschil introduced into the presentation of the second actor and thus determined the specifics of the tragedy as a dramatic work and a leading role in it (later, according to Sofokla, began to introduce the third actor). Was a participant in the Marathon and Salamine. The legend connects with the second battle of the fate of three great tragicians: Eschil was among the winners, he was welcomed by the young Sophokl, who fought in the choir, and Euripide was born on the island of Salamin at that time. From 500 g bd. e. Eschil participated in tragic competitions and won 13 victories in them. It came to us completely 7 of his tragedies: "Persians" (about the victory of Athenians over Persians during Salamine), "Seven against FIV"(About the campaign against the native city, from the trilogy about the Edipe)," Cheapers, or praying"(From the trilogy about Danaida), presented in 458 BC. e. trilogy "Orestia" (tragedy " Agamemnon, "Hoăofors", "Evmendy"- about the murder of the orest of his mother's cliques as revenge for the murder of His husband Agamemnon, court over the Oest, pursued by Eriniami - the goddesses of revenge, and his cleansing from the deed), "Prometheus chained"- The most famous of the tragedy, which made the image of Prometheus, who rebeed against the tyranny Zeus, eternally, world literature (works of Goethe, Shelly, etc.). The concept of tragic in Eschil is based on faith in the law of world justice, the violation of which leads to misfortunes and death. His heroes are amazingly solid, monumental.

Sofokl.Sofokl (496 - 406 BC) - the second great Greek tragic, in 486 BC The won in the competition of Eschil, 24 times the first and never occupied the last third place. Sophokl was a pericla companion, in which Athens reached an unprecedented heyday, participated in hostilities as a strategist (military man holder). 7 of his tragedies reached us (" Ajax "," Trachinians "," Edip-Tsar "," EDIP in Colon "," Antigona "," Electra "," Philoktt"), 400 poems from his Satirovsky drama" trackers "and" the abduction of cows by the boy Hermes ", some other passages. Sophocles introduced the third actor, scenery, reduced the role of choir, neglecting the trilical composition, increased the completeness of each tragedy. The main character of Sofokla is not God, but a strong person. The nature of the main character determines the action in much greater than the Eschil. Sophokl pays close attention to the motivation of the actions of heroes. The foreground is not the problem of rock, but the problem of moral choice. So, Antigone in the tragedy of the same name, obeying the moral debt, decides to bury the body of the brother, despite the ban of the authorities. Thus, she herself chooses her fate, which is the main sign of the tragic hero.

The most famous tragedy Sofokla - "Oedip-king"(429 BC. Er). Aristotle considered this tragedy the most perfect example of using tragic peripetius- transitions from happiness to misfortune and vice versa. Here the idea of \u200b\u200bthe tragic guilt of the hero is most fully implemented.

The action begins in the philas, on the square in front of the Tsarist Palace. The city struck the terrible mor. It turns out that the gods are angry to the city for the fact that a certain person who killed his father and married his mother lives in it. Tsar Oedip Retrieves the disposal to find this criminal. But as a result of the investigation, it turns out that the crime he made himself, albeit by ignorance. Then Oedipusbars himself in punishment for once deed, and refuses the Fan History.

In the tragedy, a retrospective composition was used: the origins of the events lie not in the present, but in the past.

The hero was trying to fight fate, rock: having learned from Oracle that he could kill his father and marry her mother, he ran from his parents, without suspecting that they were not relatives to him. On the way to Frieves, Edip made a random murder, and upon arrival in this city, which he saved from the Sphinx, guessing his riddle, accepted the proposal to rule them and take to the wife of Queen-widow. Only now, in the framework of the stage time, he understood that thereby did the prediction.

Oedip cannot fight rock, but he can take a moral decision and punish himself.

Euripid.Euripide (480 or 485 / 4-406 BC) - the youngest of the three great Greek tragics, which has received the greatest recognition in subsequent era. However, the contemporaries appreciated him significantly less: from the written and installed 22 tetralized only four were awarded the first place. It was reached by his Satirov drama "Kiklop" and 17 tragedies, of which the most famous "Medea" (431 BC), "Hippolyte crowned" (428 BC), as well as "Gokuba", "Andromaha", "Troyanka", "Electra", "Orest", "Infigrations in Avlida", "Infigrations in Tavrid". If Sofokl showed people with what they should be, then the Euripide is that they are. He significantly strengthened the development of psychological motives, focusing on psychological contradictions, which forced the heroes to commit the wrong deeds, leading them to tragic wine and - as a result - to unhappiness and death. Aristotle considered Euripid the "most tragic poet". Indeed, the situations in which his heroes fall, often so hopeless that Euripud has to resort to artificial reception deus Ex Machina. (letters, " god from the car ") when everyone is allowed to appear on the scene of the gods. Heroes and plots tragedy Euripidalained Eschilovskoy wholeness, Sofoklovskaya harmony, he appeals to marginal passions (love Fedryto the step), insoluble tasks (the father must sacrifice his daughter), unjustifiably cruel actions ( Medeakills his children to avenge the cooled to her Jasony). His heroes reach the frenzy. Hekube Losing children, descends to the ground and knocks his fists to hear her the gods of the underground kingdom. TEXEwhitening in anything Hippolyta Requires from the gods to fulfill his desire and kill the Son. Undoubtedly, on the standings of tragedies Euripida The audience is more than on the performances of the tragedies of its predecessors, Katarsis should have experienced.

Theory of tragedy. "Poetics" Aristotle.The experience of the great tragics V c. BC e. allowed in the next century to theoretically comprehend the genre nature of the tragedy. The creation of the theory of tragedy is associated with the name of one of the greatest philosophers of antiquity - Aristotle Stabit (384-322 BC). In his work "Poetics" (only the first part of the 26 chapters dedicated to the tragedy, from the second part dedicated to the comedy, have survived only passages) is given to the definition of the genre: "... the tragedy has imitating the action of an important and complete, having a certain amount (imitation), with speech, In each of its parts, various decorated, through action, not a story committing, thanks to compassion and fear, cleansing such affects. "

This definition has two key concepts. : mimesis(Imitation) and catharsis(cleansing).

Mimesis- The most important term of the Aristotelian concept of art, developed from Pythagora teachings (approx. 570 - approx. 500 BC) about music as imitation of heavenly harmony and teacher Aristotle - Plato (428 or 427-348 or 347 BC) About the visible world as imitation of ideas and art as imitation imitation. Aristotle sees in the desire to imitate the overall property of living beings, and above all people.

About mimesis there is a big literature. This concept has become one of the main in the aesthetics of classicism, and was criticized by Kant and Hegel, as well as shelling and other romantics. He was opposed to the doctrine of expression (i.e. aboutprima to the subjectivity of the artist) as the essence of art. However, Mimesis usually interpreted straightforwardly - as playback, copying reality or its parts. Meanwhile, Aristotle, calling the subject of Mimesis in the tragedy action (not even in itself, and in the elements identified and built by art: not the events, and Fabul, not people, but actors, not a totality of thoughts, but image of thoughts, i.e. motivation actions) the way to follow the scenic situation, and the means - verbal expression (recall: not ordinary speech, but " in each of its parts different decorated ") and musical composition, i.e., such that are not related to simple copying, but they have the specifics of the actual artistic forms . Considering the teleological installation of Aristotle (his idea of \u200b\u200bthe development of the world as a move towards the ultimate goal), we can indicate with all certainty that mimesis in tragedy- Only the source tool to achieve an intermediate purpose: Call at the audience feelings of fear and compassion, and she, in turn, allows you to achieve the ultimate goal is catharsis.

This mysterious concept, not explained by Aristotle, was subsequently received not only aesthetic (due to aesthetic enjoyment), but ethical (raises the viewer), psychiatric (gives mental relief), ritual (heals this), intellectual (Releases from erroneous opinion) and other interpretations. In the definition of the tragedy, only about the tragic catharsis, i.e., such that is achieved through the experience of fear and compassion (obviously, the hero). And catharsis still, according to logic, not the final goal of the tragedy. Claim from " such affects ", or passions (apparently not from fear and compassion, but from those because of which the hero hit the tragic situation and which he gave rise to his tragic guilt), a person can return to society, connect with decent people, because he is now equal to them " Cleared. " Such, obviously, an unspoken outcome of the thinking of Aristotle on the impact of the tragedy per person.

• "Akharnyan",
• "Riders",
• "Clouds" (in the later unfinished poet processing),
• "OSS",
• "Peace",
• "Birds",
• "Lico",
• "Women on the festival of Fesmophory",
• "Frogs",
• "Women in the People's Assembly"
• "Plutos" (also in the second, but completed processing, in which it was put on stage).