Greek tragedy Eschil Sofokl Euripid. Fathers Tragedy Eschil, Sofokl and Euripide

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 From historical documents, it is known that Eschil himself took part in battles in the marathon and Salamine.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 Salamine. 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 a 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.

Classic period - 5V. BC.

The ancient Greek theater genetically dates back to the cult rites of deep antiquity (hunting, agriculture, winters, fancy crying). With all the primitiveness and simplicity of ancient gaming rituals, they can already notice the sprouts of the future theatrical action - combinations of music, dance, songs, words. Actually, the Greek Theater occurred from the festivities in honor of Dionysus, who had launched a few days and had a solemn procession, mystery, and then the competition of playwrights, poets, choirs in a building specially built for these purposes. The theater played a big role in the public and cultural life of an ancient Greek city. These days were declared non-working and the entire population of the city was obliged to come to a holiday. In the era of the reign of the pericla in Athens, the lack of money even highlighted money to visit the theater.

Greek Theater was born from the cult festivals dedicated to God Dionia.

3 holidays Dionysus:

Large Dionusius

Rural Dionusius

Dioniriya gradually turned from the pagan holiday in theatrical action. The host of the residents began to introduce a special performer - an actor who pronounced pre-prepared texts, and this was already marked the transition from the pagan rite to the theater for which great ancient Greek playwrights were created.

Tragedy

Tragedy (Dr. Greek. Literally - "Goat Song") - a genre of an artistic work, based on the development of events, is usually inevitable and necessarily leading to a catastrophic for character outcome, often executed patellic; Type of drama, opposite comedy. Some researchers believe that in deep antiquity about the suffering of God, Dionisa told the priest, who was sacrificed to the goat on the altar. Hence the "goat song".

Eschyl (about 525-456 BC. E.) - "Father" of an ancient Greek tragedy. Author about 90 works. I came to this day 7. Intrusted the 2nd actor.

The main motive of the tragedy of Eschila is the idea of \u200b\u200bthe omnipotence of rock and the doomes of combating it. Public order was mentioned by certain superhuman forces, established once and for all. Even rebidden titans (the tragedy "chained Prometheus" can not be shaken.

Pieces: "Chained Prometheus", "Orestea" - as part of three tragedies: Agamemnon, Hoăofors (Alphany) and "Evmenia"

Sophokl (about 496-406 BC. E.) - Approximately 120 works, reached this day 7. Wrong 24 victories of tragic recovery. Introduced the 3rd actor and scenery.

In the center of his tragedy there is a conflict between a generic tradition and state authority.

Pieces: "King Edip", "Antigona", "Electra", "EDIP in Colon", "Trachins"

Euripid. (about 480406 BC. er) is an outstanding reformer of the ancient theater. Psychologist appears. The main characters are for the first time women. Intrigi Resolution Claim - Deus Ex Machina. The role of the choir has gradually comes down only to the musical accompaniment of the presentation. Approximately 22 text, 17 and many passages have come.

In the works of customized atheistic Euripid, the actors of the drama are exclusively people. If he introduces the gods, then only in cases where it is necessary to solve any complex intrigue. Dramatic action is motivated by the real properties of the human psyche. Sophokl so responded about Euripide: "I portrayed people as they should be; Evripid also depicts them as they are in reality. "

Pieces: "Medea", "Fedra" ("Ippolit"), "Vakhanki"

Comedy

Comedy - "Song drunk crowd." The base of satire.

Ancient Greek comedy was born on the same festivities of Dionysus as the tragedy, only in another setting. If the tragedy is in the infancy - a ritual worship service, then the comedy is the product of the fun, which began when the liturgical part of Dionysius, gloomy and serious, ended. In ancient Greece, then the marchs were arranged (Komos, from here, perhaps the name itself - a comedy) with racked songs and dances, put on fantastic costumes, joined the disputes, fights, were moved by sharpness, jokes, often obscene, that, on the view of the ancient Greeks , encouraged by Dionysus. During these fun and there were the main elements of the comic genre: Doric household scene and an attitude choral song.

Aristophanes - Ancient Greek Comediographer, "Father Comedy". Approximately 40 comedies, came 11.

In his comedies, he had a fierce struggle with democracy, which stood in power during the period of the Peloponnesian war. Aristophane was a supporter of the world by all means, as the war was adversely affected by the landowner aristocracy, whose ideology he expressed. It determined the reactionality of its philosophical and moral attitudes. So he portrayed Socrates in a caricature form, did not gem a contemporary of Euripid, an expressant of democratic sentiment. He often parods him. Most of his comedies were evil satire on representatives of democracy, including Clear and Pericla. The role of Cleon in the Comedy "Babylonian" was performed by himself, since the actors did not decide for this, fearing the revenge of the ruler.

Pieces: "Peace", "Licuer", "Frogs", "Women in the People's Assembly", "Clouds"

The origin of the tragedy.

Aristotle "Poetics":

"Originally originally from improvisations ... From the impacts of the ditherifes, the tragedy crushed a little ... and, after being subjected to many changes, stopped, reaching what he lay in her nature. Speech from a joking late became serious, because The tragedy originated from satirms. "

Diffirb is a choral song from the cult of Dionysus.

Then the soloist is distinguished. The first tragic poet is the Fespid, who has a soloist not only fought, but also spoke, put on various masks and dresses.

Dialogue between choir and soloist.

Initially (Arion) Participants of the choir were dressed with satirs, wearing goat skins, horns, specials. - Song goat tragedy.

Sofokl. (OK. 496-406 BC)

"Oedip Tsar", "Antigona". The theme of rock and the tragic irony in Sofokla: the problem of the impossibility of foresight, unhappy misconception. Sofokl as a master of the Peripetia. A catastrophe associated with the acquisition of true knowledge. "Pessimism" Sofokla. Edip's duel with fate. Motive powerlessness of the human mind. The collision of two equilibrium motivations in Antigonia. Internal conflict of the human soul. Theme madness.

"Antigone" (about 442). The plot "Antigongs" refers to the Fan-based cycle and is the immediate continuation of the legend of the "seven vessels" war and the fight of Eteokla and Polikinik (cf. p. 70). After the death of both brothers, the new ruler FIV Creontic was buried by Etookla with proper honors, and the body of a polinique, which went war on the hair, forbade to betray the earth, threatening his breath death. The sister of the dead, antigone, broke the ban and buried politics. Sophokl has developed this plot at an angle of view of the conflict between human laws and "unwritten law" of religion and morality. The question was relevant: the defenders of polis traditions considered "unwritten laws" "invalid" and indestructible as opposed to changeable laws of people. Conservative in religious matters, Athenian democracy also demanded respect for "unwritten laws". "We are especially listening to all the laws," the speech of the pericla in Fuchidide (p. 100), which exist for the benefits offended and which, unwritten, entail generally recognized shame for violation of them. "

In the prologue, the tragedy of Antigone informs his sister Isman about the ban on Creonte and about its intention to bury the brother, despite the ban. The drams of sofoclas are usually built in such a way that the hero is already in the first scenes with a solid solution, with a plan of action that determines the entire further stroke of the play. This exposure goal is the Prologi; The prologue to the "antihog" contains another feature, very frequent in sofokla, is the opposition of harsh and soft characters: a relaxing antigonus is opposed to a timid Isken, sympathizing with her sister, but not deciding to act with her. Antigone leads its own plan to execution; It covers the body of a polinique with a thin layer of the Earth, i.e. it makes a symbolic "" The burial, which in Greek ideas was sufficient to calm the soul of the deceased. Also, only Creonh managed to state the program of his board in front of the Choir of the Favan Elders, as he learns that his order was broken. Creonh sees in this the origin of citizens who are dissatisfied with his power, but in the next scene already lead the antigonga, captured during its secondary appearance at the polinist's corpse. Antigone confidently protects the correctness of his act, referring to the blood duty and the inviolability of divine laws. Active heroism of the antigona, its directness and the beloved are shared by the passive heroism of the isme; Isken is ready to recognize himself an accomplice of crime and divide the fate of the sister. In vain, Hemes, the son of Creonte and the Bridegroom Antigona, indicates the Father that the moral sympathy of the phivanic people on the side of the antigona. Creonh encourages her death in a stone crypt. The last time the Antigone passes in front of the viewer when the guard lead it to the place of execution; She fulfills the funeral due to itself, but remains convinced of what he did a pious. This is the highest point in the development of the tragedy, then the fracture comes. Blind-well Tiresius informs Creonh that the gods are angry with his behavior and predicts horrible disasters. The resistance of Creonte is broken, it goes to bury the polinique, and then release the antigon. However, it's too late. From the message of the messenger Khore and the wife of Creonte Eurydice, we learn that Antigone hanged himself in the crypt, and Hemes on the eyes of his father pierced himself with a sword at the body of his bride. And when the crown of Clavon Konont returns with difficulty hemon, he receives news of the new misfortune: Euridic deprived himself a life, a sickness of her husband as a detect. The choir makes the tragedy of a brief agent that gods do not leave indifferent to uncommon. Divine justice, therefore, triumphs, but it triumphs in the natural course of the drama, without any direct participation of the Divine Forces. Heroes "Antigona" - people with pronounced individuality, and their behavior is entirely due to their personal qualities. It would be very easy to provide the death of the daughter of Edip as the implementation of the generic curse, but only casual mentions the traditional motive of Sofokl. The driving forces of the tragedy serve in sofokla human characters. However, the encouraging of the subjective property, for example, the love of hemon to antgone, occupy a secondary place; Sophokl characterizes the main actors by showing their behavior in conflict on the essential issue of polis ethics. In relation to the antigonus and the Ismema to the debt of the sister, in how Cremont understands and fulfills its duties of the ruler, the individual character of each of these figures is detected.

The first stamim is especially interesting, in which the power and ingenuity of the human mind that conquers the nature and organizing social life is glorified. Ends the choir Caution: the power of the mind leads to man both to good and to evil; Therefore, you should adhere to traditional ethics. This song of the choir is extremely characteristic of the entire worldview of Sofokla, as it were, a copyright commentary on the tragedy, explaining the position of the poet in the question of the collision of the "divine" and human law.

How is the conflict between anti-antagona and cremon? It is believed that Sophokl shows the fallacy of the position of both opponents that each of them protects the right thing, but protects it one-sided. From this point of view, Creonh is wrong, publishing in the interests of the state a decree contrary to the "uncommitable" law, but the antigone is incomprehensible, unimpressive violating the state law in favor of "uncomparable." The death of Antagona and the Unfortunate Fate of Creonta are the consequences of their one-sided behavior. So he understood the "antigon" Hegel. According to another interpretation of the tragedy, Sofokl is entirely on the side of the antigona; The heroine deliberately chooses the path that leads her to death, and the poet approves this choice, showing how death Antagona becomes her victory and entails the defeat of Creonte. This last interpretation more corresponds to the worldview installations of Sofokla.

Depicting the greatness of a person, the wealth of his mental and moral forces, Sophokl, at the same time drawing his powerlessness, limited human capabilities. With the greatest brightness, this problem was developed in the tragedy "Tsar Edip", which at all times recognized, along with Antigonus, masterpiece of the drama skills of Sofokla. Myth about Edipe At one time, it was already served by the material for the Fivanic of the Trilogy of Eschila (p. 119), built on the "birth of curses". Sophokl, according to his usual, refused the idea of \u200b\u200bhereditary guilt; His interest is concentrated on the personal destiny of Edip.

In the edition that the myth got from Sophokla, the FVAN Tsar of Lai, frightened by the prediction, who favilled his death from his hand "Son, ordered to pierce his legs to the newborn son and throw him on the mountain Kieferon. The boy was adopted by Corinthian Tsar Polyb and called Oedipus. * Oedip did not know anything about his origin, but when one Corinthian called the polybia in a drunken form in a drunken form, he appealed for clarification to the Delphian Oracle. Oracle did not give a direct response, but said that Edipa was destined to kill his father and marry her mother. In order not to be able to commit these crimes, Oedip decided not to return to Corinth and headed for the hair. On the way he came out of a quarrel with the unknown old man who was killed him, whom he killed; This old man was Lai. The EdIp was then freed the cuts from the Sphinx Half Pilot Monster and received from citizens from the citizens The Fan History, free after the death of Laya, married the widow of the Laya Iokasta, that is, on his own mother, he had children from her and for many years calmly ruled the phiva . Thus, the sofokla the measures that the Oedip takes is to avoid the fate predicted to him, in reality, only lead to the implementation of this fate. This is a contradiction between the subjective intention of human words and intensifies and their objective meaning permeates the entire tragedy of sofocula. Its immediate theme serve not the crime of the hero, but his subsequent self-discovery. The artistic effect of the tragedy is largely based on the fact that the truth is only gradually revealed before the Oedipol, already knowing the Greek viewer, familiar with the myth.

The tragedy opens a solemn process. FVANOVAN YOUNESS AND ENOUGARS Pray Edipa, famous for the victory over the Sphinx, to reserve the city will reserve the secondarly, to save it from the ferocious seaside ulcers. The wise king, it turns out that he himself sent his shrine Creona to Delphi with the question of Oracle, and the returning Creonh transfers the answer: the cause of ulcers is "firm", staying in the poles of the killer bark. The killer is unknown to anyone; Only one person was survived from Sweeta Laya, who at one time announced the citizens that the king and his other servants were killed by the detachment of the robbers. EDIP is vigorously taken for the search for the unknown killer and betrays his solemn curse.

The investigation undertaken by the Oedipo, first goes on a false path, and on this false path his truth expressed its false path. Oedip applies to the priests of Tiresy as a request to open a killer; Thieres first wants to spare the king, but, irritated by reproach and suspicions of Edip, angrily casts him a charge: "Killer - you". EDIP, of course, comes into indignation; He believes that Creonh conceived with the help of Tires to become the king of FIV and mined a false oracle. Creonh quietly assigns the charge, but faith in the priest is undermined.

The okast is trying to undermine the faith and in the most oracles. In order to reassure Edip, she tells about the unstitched, in her opinion, the oracle, given Laa, but it was this story that he would say anxiety in Edip. The whole setting of death Laya reminds his being an adventure on the way from Delphi; Only one thing is not converged: Lai, according to an eyewitness, was not killed by one person, but a whole group. Oedip sends for this witness.

The scene with the yeoko marks the fracture in (development of action. However, the sofocle catastrophe is usually a certain delay ("retardation"), for a moment a more prosperous outcome for a moment. Bulletin from Corinth reports the death of King Polyba; Corinthian invite Odip to become his successor. Corinthian triumphs The prediction about the deceubinity was not fulfilled. Nevertheless, his second half of the oracle confuses, threatening with marriage to the mother. Bulletin, wanting to dispel his fears, opens the Edipa that he is not a son of Polyba and his wife; Hello, many years ago got on Kieferon from one of Dawn shepherds and handed over to politics of the baby with punctured legs - this was the Oedip. Before Oedip, the question arises, whose son he is in reality. The okasta, for whom everything has become clear, with a scene, leaves the scene.

EDIP continues his investigation. The witness of the murder of Laya turns out to be the shepherd, which once gave the Corinthian of the baby Edipa, squeezed over the newborn. It also turns out that the report on the detachment of the robbers, which attacked on Laya was false. Oedip will find out that he is the son of Laya, the killer of his father and her husband's husband. In a song, full of deep participation to the former deliverer of FIV, the chorus summarizes the fate of Edip, reflecting on the fragments of human happiness and about the court of all-seeing time.

In the final part of the tragedy, after the message of the messenger about the suicide of the okasts and self-reliance of Edip, the OED once again appears, curses its ill-fated life, it requires exile for himself, says goodbye to daughters. However, Creonh, in whose hands temporarily passes the power, delays Edip, expecting instructions of the Oracle. The further fate of the EDIP remains not clear for the viewer.

Sophokl emphasizes not so much the inevitability of rock, how much the variability of happiness and insufficiency of human wisdom.

Mount, mortal childbirth, you!
How illuminated in my eyes
Your life is great! sings choir.

And the conscious actions of people committed with a certain goal, lead to the "Tsar Edile" to the results, diametrically the opposite intention of the existing one.

A person appears to be faced during the crisis experienced by him with a mystery of the universe, and this mystery, having disappeared all human tricks and insight, inevitably brings defeat, suffering and death. The typical hero of Sophoclas is fully relying at the beginning of the tragedy on their knowledge, and ends with all the recognition of complete love or doubt. Human ignorance is the constant theme of Sofokla. Her classic and most frightening expression she takes Tsar Edipe, However, there is also present in other plays, even the heroic enthusiasm Antigonus turns out to be in its final monologue poisoned by doubt. Human ignorance and suffering opposes the mystery with all the completeness of the knowledge of the Divine (his prophecies consistently come true). This deity is a certain incomprehensible image of a perfect order for human mind and maybe even justice. Doodle motive of the tragedy of Sofokla - humility before the incomprehensible forces who send the fate of a person in all its concealment, greatness and mysteriousness.

Euripid. (480 BC - 406 BC)

"Medea", "Ippolit", "Iphigenia in Avlida". The iconic and philosophical origins of the creativity of Euripid. Aphrodite conflict and Artemis in "Ippolite". Intervention Deus Ex Machina. "Philosopher on stage": Sophistic tricks in speech characters. The problem of the interaction of male and female began. Women's images in Euripid. Strong passions and great suffering. Manifestations of instinctive, demobial forces in man. Technique "Recognition". Individualistic "Declarations" in the tragedies of Euripid.

Almost all the surviving plays of Euripid were created during the Peloponess War (431-404 BC) between Athens and Sparta, which had a huge impact on all aspects of the life of ancient Eldla. And the first feature of the tragedies of Euripid - the burning modernity: heroic-patriotic motifs, hostile attitude towards Sparta, the crisis of an antique slave-owner democracy, the first crisis of religious consciousness associated with the rapid development of materialistic philosophy, etc. In this regard, the relationship of Euripid to mythology is particularly significant: the myth becomes for the playwright only the material for reflecting modern events; It allows himself to change not only the secondary details of classical mythology, but also to give unexpected rational interpretations of famous plots (let's say Iphigenia in Tavridahuman sacrifices are explained by the cruel customs of the barbarians). The gods in the works of Euripid often appear more cruel, insidious and vengeful, rather than people ( Hippolyte, Hercules and etc.). It was precisely because "from the opposite", in the drama of Euripid received such widespread the reception of the reception "Dues Ex Machina" ("God from the car"), when the work in the final of the work suddenly the god naskoro appears to justice. In the interpretation of Euripid, Divine Providence could hardly be consciously take care of the restoration of justice.

However, the main innovation of euripide, which caused the rejection of most contemporaries, was the image of human characters. If the Eschil in the tragedies acting people were titans, and in sofokla - ideal heroes, according to their own expression of playwright, "People, what they should be"; then euripide, as noted in his Poetics Already Aristotle, brought the scene of people as they are in life. The heroes and especially the heroine of Euripid are by no means so much, their characters are complex and contradictory, and high feelings, passions, thoughts closely intertwined with lowlands. This was attached to the tragic characters of euripide versions, causing the audience a complex gamut of feelings - from empathy to horror. So, the unbearable senses of the Medele, the tragedy of the same name lead it to a bloody atrochement; Moreover, killing your own children, Medea does not experience the slightest repentance. Fedra ( Hippolyte), who has a truly noble character and preferring the death of one's own fall, makes a low and cruel act, leaving a suicide letter with a false accusation of the Hippolyte. Iphigenias ( Iphigenia in Avlude) It is a difficult psychological path from a naive teenage girl to a conscious sacrifice for the benefit of the Motherland.

Expanding the palette of theatrical and fine funds, he widely used household vocabulary; Along with the choir, increased the volume of the so-called. Monodius (solo singing actor in tragedy). The monodiy was introduced into the theatrical use of still sofoclom, but the widespread use of this reception is associated with the name of Euripid. Collision of opposing positions of characters in the so-called. The agona (verbal competitions of characters) Euripid aggravated through the use of admission of veymphoma, i.e. Exchange verses of dialogue participants.

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Eshil, Sofokl, Euripide
Antique tragedy. Collection

Eschyl

Persians

Characters

Choir of Persian elders.

Shadow Daria.

Square in front of the palace in the sowes. Visited the tomb of Darius.

All Persian army in Ellada gone.
And we, old men, guard
Palaces of gold, houses expensive
Ramoracent edge. The king himself ordered
Son Daria, Xerx,
The oldest, tested servants
Keep this land is holy.
But the alarm of the soul is confused
Unknown sense. Return home
10 with the victory of the king, whether to rail,
Blowed by force?
All Asian color in someone else's side
Fight. Wife crying about her husband.
And the army is not a walk of either hiking messengers,
No equal in the capital of Persians.
From everywhere - from Sousse, Ekbatan, from the gate
Towers of ancient kiss -
And in the service of the ship, and in the horse
And in the ranks of the infantrymen, the stream is solid,
20 Loaded fighters on the battle.
They were led by amaster, artafren,
Megabat and Astasp - four kings
With king the greatest
Persians of glorious leaders, chiefs of troops,
Arrows-silica on fast horses,
Harshs in appearance in the battle of hot
Adamant soul, courage are full
And Grozny Releaving Slavs.
Then Artembar, riding a horse,
30 Masist and archer
Nice fighter, then Farandak
And cassocks for them.
Others sent the fruitful Nile,
Mighty stream. Went susscan
Went the Egyptian Pegastagon,
Sacred Memphis king,
Great Arsam, and Aromard,
Vladyka and the leader of the memorial fiv,
And the rowers that the delta lives in the swamps
40 reasonably went crowd.
Behind them - Lydians, Winged People,
They have under all the mainland.
And the Lidiovaya rail to hike
Metrogat and Arcts, leaders and kings.
And from the sard of gold in the wild of Vladyk
Chariots with fighters rushed into the distance
Then four horses, then six horses,
Watch out - and chase from fear.
And TMOL, Sacred Mountain, Sons
50 at Elladu Yimo wished to wear -
Mardon, Taribide, Copily
Fogyers. And the Babylon Golden himself,
From everywhere the army of your collected,
Sent to war - and walk in
Shooters, and ships, one after another.
So Asia is all in the call of the king
Took up the gun, and with a place shot
And Greece moved to Greece.
So the power and beauty of the Persian Earth
60 War carried away.
All Asia-mother about those who gone
Tacket in tears, tomorrow is alarming.
Parents, wives consider days.
And stretches, the time stretches.

Invaded the king's army into the country of neighbors,
That on the bank of the Strait Gella
Afamantides, rope of rafts tied,
70 Sea Waving on the neck
Grave yoke fastened bridge.

Antistroe 1.

Chasing the army on land and by waters,
Full of rage, Asian Lord,
Luda is destroyed. Believes in his leaders
Strong, severe, persistent,
80 Siblings Danaja, equal to the gods.

He looks over iscin-black
A look of a predatory dragon,
From Assyrian chariot
Ships and fighters
Driving and meet
Spears enemy arrows sends.

Antistroe 2.

No barrier to keep
Natisk Halching crowded,
90 no dam to storm
Before the sea resisted.
Adamantly the army of Persians,
You can not overcome it.

But which is capable of mortal
Unravel the cunning of God?
Which of us is easy and just
Will run out of the Western?

Antistroe 3.

God lures on the network
Man cunning caress
100 and no longer fatal
From the networks of fate leave.

So the gods are decided and fate,
So since ancient times died by Persians:
Fight the walls,
Rapping equestrian crossings,
Having made from the city.

Antistroe 4.

And you used to look without fear
110 on the gray, enraged wind
Dal sea, learned
Take the steering ropes
Cut over the bridges.

That's why black fear
And cheat my chest, alas!
Fear that, the army losing her
Suddenly empty
And the capital from pain will be drilled.

Antistroe 5.

And kiss scream SUZ
120 will renew, and - alas!
Crowd of women, crying and shouting
In shreds will be on yourself
Single dress tearing.

Who is riding who is on foot
Behind the leader went on the road,
Roy Bee threw the house all the people
130 so that the harness of one
Shore with shore linked
Move to the strait where the capes
Two lands are separated by waves.

Antistroe 6.

And in the pillow
Persian's tears wives
On husbands expensive exhausted
Quietly cry about those
Who went to death
And left a poor spouse
To wake on the bed empty.

The leader of the choir

140 Well, Persians, it's time! We will sit at the walls
These are these old
And the mind will tense: the need has come
In hard and important solutions.
What about xerx king? Where Daria Son,
Whose ancestor, Perseus,
Is our tribe named?
Whether the enemy struck the bow,
Or enemy spear
The edge won the edge?

ATOSS appears accompanied by servants.

150 but here's how the shiny of the eyes of the Divine
Queen, king of the great mother,
Appears to us. Rather, fall Niet
And all as one, the queen of his
Greeting speech!

Oh, hello to you, Queen Persov, Darius wife,
Pregnant low xerxes Mother, Mrs.!
You were my wife of God, God of Persia you mother,
If the happiness demon ancient did not leave our troops.

That's why I came out, the house leaving the golden
160 and peace that served the bedroom to me and give me.
And I'm anxiety. Frankly I, friends,
I say: and I do not alien fear and fear.
I'm afraid in the dust of the campaign all the wealth that I collected
Darius with the help of immortal, will turn out
in dust.
Because double care is extremely I will leave:
After all, wealth is intently if there is no strength for him,
But in force there are little fame, if you live in poverty.
Yes, we have a full prosperity, but for the eye fear takes -
Okom at home and wealth I am a host call.
170 You are now, about Elder Persians, my servants are faithful,
Help me advice, judge how to be here.
All of you are my hope, I'm waiting for you from you.

Oh, believe, the queen, twice do not have to ask us,
In order for a word or a matter of moderate forces of your
We helped: we really have a good servant.

All the time dreams I will dream at night since
As my son, the army of the projectile, went
To empty and rob the Ionian edge.
But there was still no such clear
180 sleep, as last night. I'll tell you.
I have two elegant women gracious:
One in the Persian dress, to another
Dorian was, and both of these current
And the growth and wonderful beauty of her
Superior, two only
Sisters. One in elda constantly live
Appointed the lot, in the barbaric country - the other.
Upon learning, - So I dreamed, - that some
They went to break down, son, so that
190 Help and calm down, in the chariot, right
Both and put on both women
Jim on the neck. Scroll this rejoicing
One of them obediently went to take,
But the other, sulking, the harness is horse
Ripped up with hands, the entrance dropped
And immediately broke in half the yoke.
The son of my son fell here, and stands, sorrowing, above him
His parent Darius. Seeing the Father,
200 Xerxes tear clothes on themselves frantically.
This is now at night and dreamed me.
Then I got up, the hands of the spring
Water rinsed and carrying in hand
Cake, sacrificing with disguise demons,
As the custom requires, he came to the altar.
I look: Eagle at the satellite of the feboba
Salvation is looking for. Onemyev from horror,
I stand and see: Hawk on eagle, whistling
Wings, falling and in the head
He is stuck claws. And Eagle Phydk
210 and surrendered. If it was terribly listening to you,
That is what see me! You know:
Defeat the son - everyone will come to the delight,
And not get - the city and the demand is not
From the king: he remains if alive, king.

Neither scare you excessively nor overly encourage
Our mother, we will not. If the badge is unkind you
I saw, the misfortune to dismiss the moths of the gods
And ask yourself, and son, and powers, and friends
Give one good. Limit then
220 Schatvari Earth and dead and humbly asking
So that your Darius - you saw him at night
From the depths of the underground son and you sent good
And the unkought stublied in the darkness of the black ridicore subsoil.
Here is the advice of the mad mind.
But we will hope for a happy destiny.

This speech is kind, the first interpreter of my
Sennovy, I and House, you had a service.
Yes, everything will come to good! And the gods like you make
And our favorite shadow we are almost
230 in the house returned. But at first I want to know, friends,
Where are Athens, is this edge?

Far in the country of sunset, where the fastener of the sun is God.

Why is my son eager to capture this city?

Because all Elda would comply with the king.

Is it really so huge for the city of Athens?

What else is the city of Slary? Is it not wealth of houses?

There is a silver lived in that edge, great treasure.

Do these people droop the arrows, straining a tent?

240 No, with a spear, they are pretty on the battle and the shield.

Who is the leader and shepherd, who over the army
mr.

They do not serve to anyone, are not subject to anyone.

How to restrain the onslaught of an ingenic enemy?

So that Dariyev even managed to ruin.

Your speech is terrible for hearing those whose children went to battle.

Soon, however, you will reliably learn about everything:
By walking a hurried judging, Persian goes here
And reliable brings us news - on the joy of Ile Bed.

Gone enters.

About the city of all Asia, about Persia,
250 great wealth of the focus,
One blow our life is happy
Broken. He fades the color of the land of the native.
Although I and Gorky burn to be herald,
I have to tell you a terrible truth,
About Persians: All the Army of Barbars died.

Stanza 1 The news is terrible! Mountain, pain!
Play, Persians! Let the river tears
Will be answered yours.

260 Yes, everything ended there, everything ended,
And I no longer believed that I would come back home.

Antistroe 1.

He is too long, my long age,
If me, old man, I had to
Mount to find out.

Everything saw himself. Not from words of others
I will tell you, Persians, as the trouble stared.

Mount! Not in good time
Armed to teeth
270 Moved Asia on Ellad,
In the ground, the terrible invaded!

The bodies of those who took the death of the deplorable,
Now covered seaside Salamin.

Antistroe 2.

Mount! By ox waves
Among the coastal cliffs, you say
Movie the corpses of our loved ones,
Belaya's foam!

What was the benefit in arrows? We were tagged,
All our army ships fights.

280 Cry, shout sorrowfully,
Fate your klyan!
Got the Persians an evil lot
The gods sent to the death of the army.

O Salamin, about the name is hateful!
As I remember Athens, so I'm ready to scream.

Antistroe 3.

There will be Athens in memory
Eternal curse live:
So much in Persia now
Doveless wives, childless mothers!

290 for a long time I'm already silent, stunned
Shock it. Too big trouble
To moderate the word Ile ask a question.
However, grief that the gods are sent,
We must demolish people. All tell us
Forceing moans, cooping with you.
Tell me who stayed left and about whom
From commander? Who of those worn by a rod
Killed fell in the battle, talking a squad?

Xerxes himself stayed alive and sees the sun.

300 Your words - like the sun house to our
As after the darkness of the night - radiant day.

But Artembara is ten thousand contesions
He led - surf shakes from Silenian rocks.
And from the ship of the grandfather, the head of thousands,
Floored to the gun, the power of giving a spear.
And Tenagon brave, a resident of Bactria,
On the island of Ayanta now the house has gained.
Lily, Arsam, Argest extend heads
Yourself about the stones of the rocky
310 that island, nursing pigeons of land.
From Egyptians, in the upper reaches of the Nile grew
ARCTAY, ADAY AND THREE SPLATE WORLD,
Farn, - Died all on the ship one.
314 Matall died, that the rules are crowded,
315 What are thirty thousand blacks,
316 Christian army, - scarlet paint beard
His thick flooded, the emitting spirit.
318 Arab Magic and Arts from Bactria,
319 in the battle was led, forever in that edge lay down.
320 and amphusteine, the speaker is tested,
With Amemter, and Ariomard-Obelchka (about him
Will pay in sardakh), and sisam from Mizia,
And leader two and a half hundred vessels Tarib,
LIRNESSETS RAY, - Oh, what handsome man was!
Everyone, the poor, died, all overtook death.
And Sienstems, brave from the brave,
The leader of the Kiliytsev - he is one and that thunderstorm
It was a great enemy, - the death of glorious fell.
How many commander I called you.
330 troubles were a lot, and my report is short.

About Mount, Mount! I learned the worst.
Shame us, Persians! Fit and sob and drop!
But you tell me, returning to the former,
Surely ships such many
The Greeks had that in battle with the Persians
Did they decide to go to the sea ram?

Oh no, number - there is no doubt - barbarians
Were stronger. About three hundred just
Greek turned out to be ships, yes to them
340 selected ten. And the xerxes have a thousand
Ships had - this is not counting those
Two hundred seven, special speed,
That he led too. Here is a ratio of forces.
No, we are weak in the battle of this
But God is some of our troops
346 The fact that good luck is not equal to equally.

348 Athenian city, it means, and this is so much?

349 They have people. This shield is reliable.

347 Pallas Fortress by force of gods strong.
350 But how, tell me, a maritime battle?
Who tied the battle - Ellina themselves
Ile my son, ships are proud of his number?

All these troubles started, about Ladyman,
There was a certain demon, right, some evil spirit.
Some Greek from the Aft of Athens
Came to Xerks, your son, said
That the Greeks immediately, how will the dark night come,
Sitting will not become more, but get squeezed
On ships and, right who is hoist
360 will go away so that only life is saved.
Grek Cunning Just as envy
Gods, not sick, king, barely cumshot,
To his shit gives an order:
As soon as the sun will stop burning
And the darkness of the night, the sky will cover
Build ships in three detachments,
So that all the way cut off sailing,
Ayanka island dense surrounding the ring.
And if the Greeks of death suddenly avoid
370 and the secret output ships will find their own
Chief chiefs do not demolish heads.
So he ordered, obsessed proud,
I did not know that the gods predicted everything.
The order was obeyed, as it should be.
Dinner was prepared, and to hollows
Adjust the oars every hurried rower,
Then, when the last sun beam went out
And the night has come, all rows and warriors
With a weapon, like one, the ships rose,
380 and ships, built, spoke.
And so, holding the order that was listed,
Goes into the sea and in sleepless swimming
Carries a service ship service.
And night passed. But have not done anywhere
Attempts by the Greeks secretly bypassing the barrier.
When the earth is red again
The shine of the day is shyenham brightly flooded,
The noise of the bisses in the village of Greeks was heard,
On the song similar. And he was answered
390 rats of the island's cliff
And immediately fear of confused barbarians
Thought. Not about the flight of the Greeks thought
Solemn song Severe
And they went on a battle with selfless courage,
And the roar of courage lit hearts.
Salted Punchina Foam together
Consonants of the fun Greek,
And soon we have seen all.
Went ahead, wonderful, right
400 wing, and then proudly followed
All fleet. And everywhere at the same time
There was a mighty cry: "Children of Ellinov,
In battle for the freedom of the motherland! Children and Women
Free and native gods at home,
And great-grandfather graves! Fight for everything goes! "
Persian speech of our multi-goble
The call answered. Slow it was impossible
Ship upholstered copper nose immediately
I hit the ship. Greeks started the attack,
410 Taranu Phoenicus broke the stern,
And here the ships went on each other.
First managed to restrain
Head. When in a narrow place set
Ships accumulated, no one to help anyone
Could not, and the beaks sent copper
His own in their own, oars and rowers.
And the Greeks ships, as conceived,
We were surrounded. The sea was not visible
Due to fragments, due to the overturned
420 ships and lifeless bodies and corpses
Covered were shallow and coast.
Find Safety Disorder
The whole surviving barbarian tried the fleet.
But the Greeks of Persians, like fishermen of tunats,
Who gotten, boards, fragments
Ships and cheerful beat. Screams of horror
And the distillations were announced, the distance salted,
As long as the night eye did not hide us.
All troubles, I am even ten days in a row
430 Sad story, I do not list, no.
I tell you: Never
Not the hell per day so much on the ground of people.

Alas! On the Persians and at all who Varvar
Born into the light, the sea was smelled!

But you still do not know half of the troubles.
Another misfortune we fell
That twice the rest of the rest.

What mountain maybe still scary?
What is this, answer, trouble
440 happened to the army so that the evil doubled?

All Persians, the strength of the young glider,
Courage immaculate, kind of noble,
Belief from the loyal servants of the ruler,
Inglorious death fell - on a shame of himself.

Oh, the proportion is evil! Mount me, my friends!
What the fate of them was adding, say.

There is a small island near Salamin
It is difficult to adjust to it. There on the shore
Cool often leads dance pan.
450 there and sent them to the king, so that if the enemy,
With fragments of ships fleeing, to the island
Flaw to rush, the Greeks beat without mishai
And get to the land help your own.
The king was a bad seer! On the same day when
In the sea battle, the victory of the Greeks God sent,
They, in the armor of copper from ships,
All surrounded the island, so nowhere
There were Persians and did not know those
What to do. Stones hare in the coming
460 from hand flew, arrows, from the tight taiga
Flooring, killed by the fighters.
But the Greeks invaded all the same friendly
On this island - and went to chop, prick,
As long as everyone was not destroyed.
Xerxes buried, having seen the depth of the trouble:
He is on a hill high near the shore
I was sitting from where the army could come from.
And, sprinkling clothes and stretching moan
Pouring, infantry ordered he immediately
470 Flow to flight. Here you have another
The trouble is in addition, so that again tears pour.

About the evil daemon how you manage
Hope of Persians! I found the bitter revenge
My son Athens is glorious. Little barbarians
Already before the marathon fight thugs?
Son for killed revenge hoping
And only darkness is unfortunate for yourself.
But ships, tell me who survived
Where did you leave? Waiting for a clear answer.

480 indulging in the will of the wind, randomly
Fled the surviving ships leaders.
And the rest of the army is all in Besotia
Died, near the key, lifeful
Water from thirst suffered. Well, barely breathe,
Came in Fawa, gotten, tired,
In Dorid, reached the Melia
The bay where the fields of the River River Sit
From there we, not the Justice, moved again
Search for a shelter in the cities of Fessels,
490 in the Ahase lands. Most died there -
Some of the thirst, hunger killed others.
In the edge of Magnesian we then headed
And to the land of Macedonian, and, Acts
Passing and bruises, in Edonid we,
To Grief Pangayu came out. God is not in time
Sent frost to that night and squeezed ice
Sacred stream stream. And not sensible
Dotole's gods here with a prayer
To the ground and the sky began to appeal in fear.
500 prayed for a long time. And when finished
Prayer army, the river passed on ice.
Who moved before God scattered
Rays daytime, that of us and saved there.
After all, soon the flame of the light
The groaning heat fragile melt bridge.
People rolled each other. Happy
Those that, without suffering for a long time, let out the spirit.
And the rest, all who survived then
Passed with the work of great through tricks
510 and to the foci of the babes return
Nonignificant handful. Tears leu, mourning,
The capital of the Persians, the young color of the Fatherland!
All this is true. But more about the set
I walked the trouble that God had collapsed on us.

The leader of the choir

About the hate demon, you are serious
All our people Persian extorted fifth.

About grief to me, unhappy! The troops are no longer.
Oh, the dream of this night is meaning,
How was uncommon to be uncommon
520 and how wrong your interpretation of sleep!
And yet, I think the word to your
First pray I will go to the gods
And praying, again will come out of the house
And in the gift of land and dead breads.
I know, the victim does not fix the past,
But the future can also become more painful.
And you advice in these circumstances
I, as before, kindly help should
And if my son earlier appears here,
530 than me, you are comforted and direct to the house,
So that the old pain does not multiply the pain.
Atosts with servants and the messenger leave.

You are Persians, about Zeus, a huge rhe,
What is the power of firm and glory proud
Was ruined
You night troubles, you mad tog
Covered ecbatans and sudes.
And the mother tears trembling hand
Clothes your
And pour the flow of tears on the chest
540 exhausted women.
And young wives, husbands lose
Be grieved about those with whom Love's bed,
Repeated and happiness of blooming years,
Deli, on soft rushing carpets,
And cry in longing the ineverance.
I will thorough about the fallen fighters,
About the share of their sorting crying.

All moans asia now
Wostering land:
550 "He led them to Xerxes,
Their death of Kerumbs,
All this grief is unreasonable xerx
Having prepared ships.
Why not knowing the troubles
Rules Darius, Ancient Sus
Lord dear
Nice Archers Chief? "

Antistroe 1.

With infantry together sailors
On the darkened ships,
560 on fastened ships, ships,
Towards death - on ships,
Enemy to meet, right on the blade
Ionian sword.
King and he say to us
Miracle saved and fled
On Thracian fields,
Studes fed roads.

Poor Those who are by the will of evil
Roca died first there
570 off the coast of Kirchesky! Yell
Without cutting crying, shouts, sobbing,
To the sky take a piercing moan
Pain and grief, longing flow
Clear long, torque heart
We will have a plaintive!

Antistroe 2.

Wears a wave of a sea body
Greedily silent chuds
The corpses teeth are torn to pieces!
Polon Mustovka Emitted House
580 Hard killed mother and father,
The son of the breadwinner in old people
Taken away. So they reached them
Terrible news.

Asia will no longer be
Live in the Persian pointer.
No more people
Tribute to bring autocrats
There will be no people in fear
Fall Did not become
590 royal power today.

Antistroe 3.

People Language for Teeth
Immediately keep stopping:
One who is free from yoke
Also in speech is free.
Ayanta Island, Blood
Stressed, became a grave
Happiness of proud Persians.

Tragedy. The tragedy comes from ritual acts in honor of Dionysus. Participants of these acts put on masks with goat beards and horns, depicting companions of Dionysus - Satirov. Ritual performances occurred during the Great and Small Dionysius. Songs in honor of Dionysus were called in Greece by Diffirsmam. Diffirb, as Aristotle indicates, is the basis of the Greek tragedy, which retained all the features of the myth about Dionysse at first. The first tragedies set out the myths about Dionesis: about his suffering, death, resurrection, wrestling and victory over enemies. But then the poets began to draw the content for their works and from other legends. In this regard, the choir began to portray not satiri, but other mythical creatures or people depending on the content of the play.

Appearance and essence. The tragedy originated from solemn chants. She retained their majesty and seriousness, her heroes were strong personalities endowed with a volitional character and great passions. Greek tragedy has always portrayed any particularly difficult moments in the life of a whole state or a separate person, terrible crimes, misfortunes and deep moral suffering. It was not a joke and laughter.

System. The tragedy begins with the (declamation) prolobe, followed by the yield of the choir with the song (password), then the episeodia (episodes), which are interrupted by the songs of Choir (Stamimami), the last part is the final stamim (as a rule, solved in the compensation genre) and care actors and choir - exode. Choral songs were divided by tragedy in this way on the parts that in modern drama are called acts. The number of parts varied even at the same author. Three unity of the Greek tragedy: places, actions and time (the action could only be accomplished from sunrise before sunset), which were to strengthen the illusion of the reality of action. The unity of time and place largely limited the development of dramatic elements for the evolution of the genus due to epic. About a number of events needed in the drama, the image of which would violate unity, could only be reported to the viewer. On the scene that happened outside the scene was told by the so-called "messengers".

Greek tragedy was greatly influenced by Homerovsky Epos. Tragics borrowed a lot of legends from him. The actors often used expressions borrowed from Iliad. For dialogues and songs Choir playwrights (they are Melurgy, because Poems and music wrote the same person - the author of the tragedy) used a three-way jamb as a form close to live speech (about the differences in dialects in individual parts of the tragedy, see an ancient Greek language ). The highest flourishing tragedy reaches in V c. BC e. In the work of three Athenian poets: Sofokla and Euripid.

Sofokl. In the tragedies of Sofokla, the main thing is not the external course of events, but internal torments of heroes. The general meaning of the plot Sofokl usually explains immediately. The external junction of the Fabuli is almost always easily predictable. Intended complications and surprises of Sofokl carefully avoids. Its main feature is a tendency to depict people, with all the weaknesses inherent in them, fluctuations, mistakes, sometimes and crimes. Sofokla characters are not common distracted embodiments of certain defects, virtues or ideas. Each of them has a bright personality. Sofokl almost deprives the legendary heroes of their mythical superweightness. The catastrophes, comprehending the heroes of Sofokla, are prepared by the properties of their characters and circumstances, but they are always paid for the guilt of the hero itself, as in Ajax, or His ancestors, as in the Tsar Edipe and Antagona. According to the inclination of the Athenian to the dialectics of the Sofokla tragedy, they develop in the verbal competition of two opponents. It helps the viewer is better to realize their rightness or wrong. Sofokla verbal discussions are not the center of the dram. The scenes performed by the deep pathos and at the same time devoid of Euripid baking and rhetoric, there are in all the tragedies of Sofokla in all. The heroes of Sofokla are experiencing severe spiritual flour, but positive characters even retain the complete consciousness of their rightness.

« Antigone "(about 442). The plot "Antigongs" refers to the FVAN cycle and is the immediate continuation of the legend of the war "seven against FIV" and about the match of Eteokla and Polikinik. After the death of both brothers, the new ruler FIV Creontic was buried by Etookla with proper honors, and the body of a polinique, which went war on the hair, forbade to betray the earth, threatening his breath death. The sister of the dead, antigone, broke the ban and buried politics. Sophokl has developed this plot at an angle of view of the conflict between human laws and "unwritten law" of religion and morality. The question was relevant: the defenders of polis traditions considered "unwritten laws" "invalid" and indestructible as opposed to changeable laws of people. Conservative in religious matters, Athenian democracy also demanded respect for "unwritten laws". The prologue to the "antihog" contains another feature, very frequent in sofokla, is the opposition of harsh and soft characters: a relaxing antigonus is opposed to a timid Isken, sympathizing with her sister, but not deciding to act with her. Antigone leads its own plan to execution; It covers the body of a polinique with a thin layer of the Earth, i.e. it makes a symbolic "" The burial, which in Greek ideas was sufficient to calm the soul of the deceased. The interpretation of the Sofoklovskaya "Antigonus" for many years remained in line with hegel; It still adheres to many authoritative researchers3. As you know, Hegel saw in the "Antagon" an irreconcilable clash of the idea of \u200b\u200bstatehood with a requirement, which in front of a person has blood bonds: Antigone, dares, despite the tsarist decree, to bury her brother, dies in an unequal struggle against state start, but also personifying his king Creonte loses in this collision The only son and wife, coming to the final of the tragedy broken and devastated. If Antigone is dead physically, Creonh is crushed morally and is waiting for death as good (1306-1311). The victims brought by the FVAN king on the altar of statehood, so significant (do not forget that Antigone is his niece) that sometimes it is precisely the main character of the tragedy, which is delapted by the interests of the state with such a rejoceless determination. It is worth it, however, to carefully read the text of the Sofoklovskaya Antagona and imagine how he sounded in a specific historical setting of ancient Athens in the late 40s of the V century BC. er So that the interpretation of Hegel lost all the power of evidence.

Analysis of "Antihas" In connection with the specific historical situation in Athens of the 40s V century BC. e. Shows complete inapplicability to this tragedy of modern concepts of state and individual morality. In Antagona, there is no conflict between the state and divine law, because for Sofokla, the authentic state law was built on the basis of the Divine. In Antagona, there is no conflict between the state and the family, because for Sophokla in the duty of the state, the protection of the natural rights of the family was in charge of the state, and no Greek state forbade citizens to sink their relatives. In Antagona, the conflict is revealed between the natural, divine, and therefore is truly state law and an individual who take over the courage to represent the state contrary to the natural and divine law. Who wishes over in this collision? In any case, not Creonh, despite the desire of a number of researchers to make it a true hero of the tragedy; The final moral collapse of Creonte indicates its complete insolvency. But can we consider the winner of the antigonus, lonely in unrequited heroism and the inappreatly ending your age in the gloomy dungeon? Here we need to carefully look at what place is in the tragedy of its image and what means it is created. In quantitative terms, the antigona is very small - just about two hundred poems, almost two times less than that of Creonte. In addition, the entire last third of the tragedy, the leading effect on the junction, occurs without its participation. With all that, Sophokl not only convinces the viewer at the right of the antigonus, but also inspires his deep sympathy for the girl and admire her by dedication, inflexibility, fearlessly in the face of death. Unusually sincere, deep touching complaints Antigonus occupy a very important place in the structure of the tragedy. First of all, they deprive her image of any nail of sacrificial asceticism, which could arise from the first scenes, where she so often confirms their readiness for death. Antigone appears in front of the viewer from a full-blooded, a living person, to whom in thoughts, nor in feelings is not alien to nothing. What is the rich image of the antigona by such sensations, the more impressive acts by anything is not the misunderstanding loyalty to his moral duty. Sophokl is completely consciously and purposefully forms around its heroin atmosphere of imaginary solitude, because its heroic nature is manifested in such a situation. Of course, Sophokl did not in vain forced his heroine to die, despite her obvious moral right, - he saw, which threat to the Athenian democracy, stimulating the comprehensive development of the person, at the same time, the hypertrophied self-determination of this person in its desire to subjugate human natural rights. However, not all in these laws seemed to be quite explained in these laws, and the best testimony of this is the problematic knowledge of human knowledge already in Antagonia. "Fast, like the wind, thought" (Phronema) Sofokl in the famous "hymn man" ranked towards the greatest achievements of the human race (353-355), adjacent in assessing the possibilities of the mind to their predecessor Eschil. If the fall in Creonte is not rooted in the unknownness of the world (its attitude towards the killed Polica is explicitly contradiction with well-known moral norms), then the act is more complicated. Like Yemen at the beginning of the tragedy, so later Creonh and the choir consider her act a sign of recklessness22, and Antigone is aware that her behavior may be regarded in this way (95, Wed 557). The essence of the problem is formulated in two-bending, the first monologue of Antagona is completed: although its act is stupid, it seems that the accusation of stupidity comes from a fool (469 words). The final of the tragedy shows that Antigone was not mistaken: Clean is paying for his nerazuma, and the feat of the girl we must pay a complete measure of heroic "rationality", since its behavior coincides with objectively existing, eternal divine law. But since for its loyalty to this law of Antigone, it is not honored, and death, she has to question the rationality of such an outcome. "What law of gods I violated? - Therefore, Antigona is asked. Why should I unhappy, still look at the gods, what allies to call for help if, acting pious, did I deserve an unpreparedness? " (921-924). "Look, elder feed ... that I suffer, and from such a person! "Although I read the heavens pious." Hero of Eshil Piously guaranteed the final triumph, antigongion it leads to shameful death; The subjective "intelligence" of human behavior leads to an objectively tragic result - a contradiction arises between the human and divine mind, the resolution of which is achieved by the price of self-sacrifice of heroic individuality Euripid. (480 BC - 406 BC).Almost all the surviving plays of Euripid were created during the Peloponess War (431-404 BC) between Athens and Sparta, which had a huge impact on all aspects of the life of ancient Eldla. And the first feature of the tragedies of Euripid - the burning modernity: heroic-patriotic motifs, hostile attitude towards Sparta, the crisis of an antique slave-owner democracy, the first crisis of religious consciousness associated with the rapid development of materialistic philosophy, etc. In this regard, the relationship of Euripid to mythology is particularly significant: the myth becomes for the playwright only the material for reflecting modern events; It allows himself to change not only the secondary details of classical mythology, but also to give unexpected rational interpretations of well-known plots (let's say, in Iphigenia in Tavrid, human sacrifices are explained by the cruel customs of the barbarians). The gods in the works of Euripid often appear more cruel, insidious and venibly, rather than people (Ippolit, Hercules, etc.). It was precisely because "from the opposite", in the drama of Euripid received such widespread the reception of the reception "Dues Ex Machina" ("God from the car"), when the work in the final of the work suddenly the god naskoro appears to justice. In the interpretation of Euripid, Divine Providence could hardly be consciously take care of the restoration of justice. However, the main innovation of euripide, which caused the rejection of most contemporaries, was the image of human characters. Euripide, as Aristotle noted in his poetic, brought people to the scene as they are in life. The heroes and especially the heroine of Euripid are by no means so much, their characters are complex and contradictory, and high feelings, passions, thoughts closely intertwined with lowlands. This was attached to the tragic characters of euripide versions, causing the audience a complex gamut of feelings - from empathy to horror. Expanding the palette of theatrical and fine funds, he widely used household vocabulary; Along with the choir, increased the volume of the so-called. Monodius (solo singing actor in tragedy). The monodiy was introduced into the theatrical use of still sofoclom, but the widespread use of this reception is associated with the name of Euripid. Collision of opposing positions of characters in the so-called. The agona (verbal competitions of characters) Euripid aggravated through the use of admission of veymphoma, i.e. Exchange verses of dialogue participants.

Medea. The image of a suffering person is the most characteristic feature of euripide creativity. In the man itself, there are forces that are able to plunge him into the puchin of suffering. Such a person is, in particular, Medea - the heroine of the same name tragedy, put in 431. Mesha's magician, the daughter of the Kolkhidsky king, having fallen in love with the Kolchida Jason, had no time invaluable help, taking it to overcome all obstacles and get the golden fleece. Sacrifice Jason, she brought his homeland, honor, a good name; The harder it is going now by Medea, the desire of Jason leaves her with two sons after several years of happy family life and marry a marriage with the daughter of the Corinthian king, which, besides, makes a copper with children to get out of his country. The offended and abandoned woman plots a terrible plan: not only to destroy the rival, but also to kill their own children; So she can fully dismisse as Jasone. The first half of this plan is carried out without much difficulty: imagined with his position, Medea through children sends the Bride of Jason's dear outfit, impregnated with poison. The gift is supported favorably, and now the slower has the most difficult test - she must kill children. The thirst for revenge struggles in it with maternity feelings, and she changes the decision four times until the message appears with a formidable message: Tsarevna and her father died in terrible torment from poison, and the crowd of angry Corinthians rushes to the house of Medea to deal with her and her children . Now that the boys face an inevitable death, Medea is finally solved on terrible atrocity. Before returning in anger and despair, Jason Medea appears on the magic chariot soaring in the air; On the knees of the mother - the corpses of the children killed by her. The atmosphere of the magic surrounding the Final tragedy and to some extent the appearance of the Medele itself, cannot hide the deep human content of its image. Unlike the heroes of Sofokla, never evaded from once a chosen path, Medea is shown in multiple transitions from fierce anger to plea, from indignation to imaginary humility, in the boosal of conflicting feelings and thoughts. The deepest tragedy of the image of Medea also gives sorrowful reflections on the share of a woman, the position of which in the Athenian family was and in fact unenvisible: being under a non-primary supervision of parents first, and then her husband, she was doomed to stay all his life to stay a closer in the female half of the house. In addition, at the extradition of marriage, no one asked the girl about her feelings: marriages were their parents, striving for the transaction profitable for both parties. Medea sees deep injustice of such a state of things that gives the woman to the power of a stranger, unfamiliar to her, often not inclined to burden himself with married bonds.

Yes, between those who breathe and who thinks, us, women, no miserable. For my husbands we pay, and not cheap. And you can buy, so he is a master, and not a slave ... After all, the husband when the focus was picked up, on the side of love the heart of the Mochitis, they have friends and peers, and we have to look at the eyes. The household atmosphere of modern Euripid Athens also affected the image of Jason, far from any idealization. Arably careerist, Catcher's crash, who knows how to turn out of any argument, he justifies his gravestiths with references to the well-being of children, which his marriage should provide civil rights in Corinth, then explains the assistance received by the Medea's omnipotence, the omnipotence of Cyprus. An unusual interpretation of mythological legend, an internally controversial image of Medea was evaluated by EUROPID contemporaries very differently than the subsequent generations of viewers and readers. Antique aesthetics of the classic period allowed that in the struggle for a married bed, an offended woman has the right to go on the most extreme measures against her husband and his rival. But revenge, the victim of which their own children become victims, did not fit in the aesthetic norms demanding from the tragic hero of internal integrity. Therefore, the famous "Medea" was at the first stage only in third place, that is, in essence failed.

17. Antique geocultural space. Phases of the development of ancient civilization Intensively developed cattle breeding, agriculture, mining of metals in mines, crafts, trade. Sprifted patriarchal family-hazard organization of the Company. The property inequality of families grew. Generic to know that ranting richness thanks to the widespread use of slaves, wrestled power. Social life proceeded violently - in social conflicts, wars, turmoils, political coups. Antique culture throughout the entire time of its existence remained in the ardifications of mythology. However, the dynamics of social life, the complication of social relations, the growth of knowledge undermined the archaic forms of mythological thinking. Having learned from the Phoenicians to the art of an alphabetical letter and improving it by the introduction of letters that denoted vowels, the Greeks were able to record and accumulate historical, geographical, astronomical information, collect observations related to the phenomena of nature, technical inventions, morals and customs of people. Supply to maintain public order in the state. Required replacement of unwritten tribal behaviors enshrined in myths, logically clear and ordered codes of laws. Public political life has stimulated the development of speaking skills, the ability to convince people, contributing to the growth of culture of thinking and speech. Improving production and craft labor, urban construction, military art further went beyond the ritual-ritual samples consecrated by the myth. Signs of civilization: * separation of physical labor and mental; *writing; * The appearance of cities as centers of cultural and economic life. The features of civilization: - the test of the center with the concentration of all spheres of life and the weakening of them on the periphery (when urban calls the "villages" of the inhabitants of small cities); - Ethnic core (people) - in ancient Rome - Romans, in ancient Greece - Ellina (Greeks); -Formed ideological system (religion); -Tencing to expansion (geographically, culturally); cities; -Ith information field with language and writing; - formation of external trading ties and zones of influence; Stradia development (growth - peak of heyla - decay, death or transformation). Features of an ancient civilization: 1) an agricultural basis. The Mediterranean Triad is growing without artificial irrigation of grain, grapes and olives. 2) Scheduled relations, the domination of private commodity production, oriented mainly to the market. 3) "Policy" - "City-State", covering the city itself and the territory adjacent to it. Polisites were the first republics in the history of all mankind. In the polis community, the antique form of ownership of land, I used those who were a member of the Civil Community. At the polis system, the accumulation was condemned. In most policies, the supreme authority was the national assembly. He owned the right to finalize the most important polis issues. The policy was almost a complete coincidence of the political structure, military organization and civil society. 4) In the field of material culture development, the appearance of new equipment and material values \u200b\u200bwas noted, the craft developed, the sea harbor was built and new cities had arisen, the construction of maritime transport was. Periodization of ancient culture: 1) Homerovskaya era (XI-IX centuries. BC) The main form of social control is "the culture of shame" - the immediate condemning reaction of the people to retreat the behavior of the hero from the norm. The gods are regarded as part of nature, a person, worshiping the gods, may have to build a rationally relationship with them. The Homeric Epoch demonstrates competition (agon) as a norm of culture and lays the agonal foundation of the entire European culture 2) Archaic Epoch (VIII-VI centuries BC) The result of a new type of public relations is the law "NOMOS" as an impersonal legal standard, equivalent to All. A society is formed, in which every full citizen - the owner and politician, expressing private interests through the maintenance of public, the world's virtues are put forward to the fore. The gods guard and maintain a new social and natural order (space), in which relations are governed by the principles of cosmic compensation and measures and are subject to rational understanding in various natural philosophical systems. 3) The era of the classics (V c. BC) - take off of Greek genius in all areas of culture - art, literature, philosophy and science. At the initiative of the pericla in the center of Athens, Parthenon was erected on the Acropolis - the famous temple in honor of Athens-Virgin. The Athenian theater was put tragedy, comedies and satiries. The victory of the Greeks over the Persians, the awareness of the advantages of the law before arbitrariness and despotism contributed to the formation of the idea of \u200b\u200ba person as an independent (autork) personality. The law acquires the nature of the rational legal idea to be discussed. In the era of the pericla, social life serves self-development. At the same time, the problems of human individualism begin to be aware of the Greeks, the problem of the unconscious one opens. 4) the era of Hellenism (IV century. BC) Samples of Greek culture apply to the whole world as a result of conquering campaigns of Alexander Macedonian. But at the same time antique policies lost their former independence. The cultural relay has accepted the ancient Rome. The basic cultural achievements of Rome belong to the Epoch of the Empire, when the cult of practicalism, the state, the law dominated. The main virtues were -Politics, war, management.