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The oldest of the famous forms of tragedy. It works 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 ideas took place during the Great and Small Dionysies (festivities in honor of Dionysus). Then in honor of Dionysus was 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 latter gradually dishended by other myths about the gods and heroes - powerful people, rulers - as cultural growth ancient Greek and his public consciousness. From the Mimic Diffirabov, telling about the suffering of Dionysus, gradually moved to the show of them in action. The three largest tragic of Greece - Eschil, Sofokl and Euripid - consistently reflected in their tragedies the psychoidology of the landowner aristocracy and commercial capital at various stages of their development. The main motive of the tragedy of Eschila is the idea of \u200b\u200bthe omnipotence of rock and the doomes of combating it. Sofokla tragedies reflect the era of the victorious war of the Greeks with the Persians who opened great opportunities for commercial capital. The dramatic effect of Euripid motivates the real properties of the human psyche. 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 - Final Stasim (as a rule, solved in the commos genre) and care of actors and choir - exode. Choral songs divided the tragedy thus on the parts that modern drama called acts. The number of parts varied even at the same author.

Choir (at the time of Aeshil 12 people, later 15) during the entire presentation did not leave his place, because he constantly intervened: he promoted the author in finding out the sense of the tragedy, revealed the mental experiences of his heroes, gave an assessment of their actions from the point of view of the dominant morality. The presence of choir, as well as the absence of scenery in the theater deprived the possibility of transferring the effect from one place to another. It is necessary to add more absence from the Greek theater with the opportunity to portray the change of day and night - the state of technology did not allow to use light effects.

From here there are three unity of the Greek tragedy: places, actions and time (the action could only be performed from sunrise to sunset), which should have increased the illusion of 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".

Euripid contributes to the tragedy of intrigue, which he however allows artificially. The role of choir is gradually reduced only to musical accompaniment representation.

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 ). In the Hellenistic times of the tragedy follows the traditions of Euripid. The traditions of an ancient Greek tragedy picked up the playwrights of ancient Rome. Production in the traditions of an ancient Greek tragedy were created in Greece to Laterimsky and Byzantine Time (uncomfortable tragedies of Apollinaria Laodicine, the Byzantine compilation tragedy "Harrant Christ").

(Prolog), Parodes, alternation of choral and dialogic scenes (episeodiyev). At the end of the speech batch, the actors leave the orchestra, and the choir, remaining alone, performs Stasim. Stasim sings, remaining at the orhestra, but accompanying singing with certain dance movements. Songs are divided into stains and antistroes, as a rule, exactly corresponding to each other by poetic size. Sometimes symmetric stuffs are completed with an epode, a song conclusion; They may also precede the brief entry of the Corryon. The latter takes part in the dialogic scenes, entering into direct contact with other actors. In addition to purely speech or choral scenes, it is found in the tragedy and the so-called combos - joint vocal Party Soloist and choir, in which the chlorine painters correspond to the state of the actor. After the third, the last stamim is the action of the tragedy moves to the junction. In Eschil, an extensive final song, the so-called exode, often joins the small final dialogic scene. Each of the three competing playwrights showed not one play on the Great Dionisions, but a group of works consisting of three tragedies and one Drama of Satirov. This complex was in full basis called the tetrallogy, and if the tragedies included in it were connected by the unity of the plot, making a connected trilogy (as usual at Eschila), then the Satirov drama adjoined them in content, depicting the episode of the same cycle of myths in funny lighting. In the same cases, when such a connection was not (so usually, Sophoclas and Euripid), the theme of the Satirov drama was freely chosen by the artist.

Drama (from the Greek Drama - action) was born in Greece in the 6th century BC, when slave-owned construction and the center finally established cultural life Greece became Athens. On days of certain holidays, the Antique Theater collected the entire population of the city and the surrounding area.

The predecessor of the appearance of the drama in Greece became a long periodDuring which the leader occupied the Epos and Lyrics. The drama was a kind of synthesis of the achievements of previously formed literature generics, including the "epic" heroic, monumental character and "lyric" individual principle.

The emergence and development of the Greek drama and theater is connected, first of all, with the ritual games of a mimic nature, which in the early level of development were celebrated in many nations and were preserved for centuries. The Mimic Games of Agricultural Peoples were part of the holidays dedicated to the dying and resurrecting gods of fertility. Such holidays had two sides - serious, "passionate", and carnival, glorifying the victory of the bright forces of life.

In Greece, rites were associated with the cult of gods - the patrons of agriculture: Dionysus, Demeters, her daughter Persephone. On holidays in honor of God, Dionysus has solemn and funny carnival songs. The noisy fun arranged the ones, which were included in Dionysus's Speed. Participants in the festive procession in every way "masked" their face - smeared his wine thick, put on masks and goat skins.

Three genres of ancient Greek drama - comedy, tragedy and Satirovskaya drama are conducted from ritual games and songs in honor of Dionysus.

An integral part of folk festive actions related to agricultural work was singing with dances. Of these, the classic Athenian tragedy appeared later.

Theater had two platforms. One - the scene - it was intended for the actors, the other - Orhestra - for the choir of 12 - 15 people.

Ancient Greeks believed that in the theater should be revealed by the total and deep topics, glorify high quality Human spirit and make rinking flavors of people and society. Man, looking at the drama, should experience a spiritual, moral shock. In the tragedy, competing heroes, the viewer should cry, and in the comedy - the type of drama, the opposite tragedy, is to laugh.

The ancient Greeks created such theatrical formslike a monologue and dialogue. They widely used the multi-faceted operation in the drama, applying the choir as a commentator about the events. The choral warehouse was one-haired, sang in unison. IN professional music Men's choirs prevailed.

In the ancient Greek theater there were special buildings - amphitheaters designed specifically for acting and spectator perception. It uses scenes, scenes, a special layout of seats for the audience, used in the modern theater. Ellina created scenery to performances. The actors used the special pathetic manner of utterance of the text, widely used a pantomime, expressive plastic. However, the mimic expressiveness was not consciously used, they performed in special masks, symbolically reflecting the generalized image of joy and grief.

The tragedy (the type of drama immembers of the tragic pathos) was intended for the wide layers of the population.

The tragedy was a reflection of the passionate side of the Dionysian Cult. According to Aristotle, tragedy, leads its origin from singers Diffiram. Dialogue fought with chorus gradually mixed elements acting game. The word "tragedy" comes from two greek words: TRAGOS - "Goat" and Ode - "Song". This name leads us to satire - Gongeutive creatures, Dionysis satellites who glorify the feats and suffering of God. Greek tragedyUsually borrowed the plots of mythology well known to each Greek. The audience's interest was not concentrated on Fabul, but on the author's interpretation of myth, on public and moral issueswhich unfolded around all the famous episodes of myth. Within the framework of the mythological shell, the playwright reflected in the tragedy to the modern socio-political situation, expressed his philosophical, ethnic, religious views. It is not by chance that the role of tragic ideas in the socio-political and ethical education of citizens was huge.

The tragedy has reached significant development in the second half of the 6th century BC. According to the ancient tradition, the first Athenian tragic poet is considered to consider Fespid in the spring of 534 BC. At the celebration of the Great Dionysius, the first statement of his tragedy took place. This year is considered as the year of birth of the world theater. Fespid is attributed to a number of innovations: for example, he improved masks and theater costumes. But as the main innovation of the Fespid is called the allocation of one performer, the actor, from the choir. Hypoprite ("respondent"), or actor, could answer the questions of the choir or contact the chorus with questions, leave the stage platform and return to it, depict during the action of various heroes. Thus, the early Greek tragedy was a kind of dialogue between actor and chorus and rather resembled Cantat. At the same time, it was the actor from his very appearance that became a carrier of an effective energetic principle, although his party quantitatively in the original drama was insignificant (the main role was assigned to the chorus).

Frieri, a student of the Fespid, an outstanding tragic of the era to Eshil, "spread" the story frames of the tragedy, brought it beyond the limits of Dionysian myths. Frierry is famous for the author of a number of historical tragedies that were written on the fresh tracks of events. For example, in the tragedy "Taking Mileta" presented to Perseys in 494 BC. The cities of Mileta, who rebelled against the Persian dominion, together with other Greek cities of Malaya Asia. The play so shocked the audience, which was banned by the authorities, and the author himself was sentenced to the cash fine.

The works of Fespid and Friniix did not reach this day, information about their theatrical activity few, but they show that the most first playwrights actively responded on actual questions modernity and sought to make the theater to the place of discussion of the most important problems public Life, Tribune, where the democratic principles of the Athenian state were approved.

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Special heyday and importance in the classical period reached the theater and dramaturgy. This fact is explained by the very nature of the theater and the peculiarities of the forms of public life of the ancient Greeks. Theater in Greece was a genuine school of educating a person and a citizen, the moral formation of the person. He enjoyed the exceptional love of the masses, put and solved the most important actual problems (in particular, the relationship between the individual and the kind, the individual and the state, humans and nature, etc.).

Origin ancient Greek theater Preferably associated with religious actions, especially di-grasomes in honor of God Dionysus (dying and resurrecting, patron vegetable world, winemaking and wines). The specifics of the cult holidays in honor of Dionysus identified the origin of the names of genres antique theater - tragedy and comedy. (In the letters, translating the terms "Song Kozlov" and "Song of the idle crowd").

Ancient Greek theaters ("Theater" - places for viewers) were built under open sky, taking into account the terrain, but nevertheless possessed perfect acoustics. They had a horseshoe or oval form and differed in huge sizes (theater in the metropolis, for example, was accompanied by up to 44 thousand spectators). Theatrical ideas They were given on the Great Dionisians for several days when each playwright put the tetrallogue consisting of the tragic trilogy and the so-called Satirov drama.

Characteristic feature of the Greek Theater classic era There were an indispensable presence of choir, consisting of the tragedy, first of 12, then from 15 people. The choir ("idealized viewer") expressed the attitude of the people to the events depicted. The choir, his leader acted on stage on stage korife and one actor first introduced Fespidom And performing several roles. Eschil introduced the second, and the sofokl is the third actor.

Features an ancient Greek tragedy

The tragedy of the classic era almost always borrowed the plots from mythology, which did not prevent its relevance and close relations with the urgent problems of modernity. Staying the "arsenal and soil" of the tragedy, mythology has undergone special processing in it, transfer the center of gravity from the plot of the myth to its interpretation depending on the requests of real reality.

To features aesthetics antique tragedy It should also be attributed to a chronologically consistent attitude towards myth and its criticism. Of the features of it poetics It is necessary to call: minimum actors, chorus, cornetta, messengers, external structure (prologue, password, episeodius, stamime, exode).

Creative heritage of Eschil, Sofokla and Euripid. They are considered the greatest playground poets of humanity, whose tragedies are put on the world scene today.

"Father Tragedy" Eschyl (525-456 BC) created more than 90 works, but the time retained only seven. Other plays are known in minor passages or only by name. The worldview of Eschil is due to the complex epoch of Greco-Persian wars, the heroic tension of the creative forces of the people in the struggle for freedom and the creation of a democratic Athens state. Eschil believed in the divine wisdom and the highest justice of the gods, firmly held the religious and mythological men of the traditional polis morality, with distrust referred to political and philosophical innovations. His ideal remained a democratic slave-ownership republic.

In their tragedies, Eschil put and solved the root problems of the era: the fate of the kind in the setting of the collapse of the generic system; development of historical forms of family and marriage; The historical destinies of state and humanity. Based on the idea of \u200b\u200ba complete dependence of the person from the will of the gods, Eschil at the same time he could fill the conflicts of its tragedies with a specific historical life content. Eschil himself modestly argued that his works - "crumbs from the feast of Homer," but in fact he committed an important step in artistic Development humanity - created a genre of a monumental world-historical tragedy, in which the importance of issues and height ideological content Combined with solemn magnifier forms. Of the preserved tragedies of Eschil, "Persians", "Prometheus chained" and the trilogy "Orestea" are of the greatest interest. His work prepared the ground for the emergence of the classic tragedy of the future and had a powerful impact on European playwright, poetry and prose.

Sophokl (496-406 BC), like Eschil, took the plots of his tragedies from mythology, but endowed the ancient heroes with the qualities and aspirations of his contemporaries. Based on the conviction in the tremendous educational role of Tetra, wanting to teach the audience examples of true nobility and humanity, sofokl, according to Aristotle's testimony, frankly stated that "he myself depicts people as they should be." Therefore, he with stunning skills created the gallery of living characters - ideal, normative, artistic and perfect, sculptural and clear and clear. Heping greatness, the nobility and the mind of a person, believing in the final celebration of justice, Sofokl still believed that the possibilities of man are limited by the power of fate, which no one can predict and prevent that life and the will of the will of people obey the will of the gods that "nothing comes without Zeus "(" Ajax "). The will of the gods manifests itself in the constant variability of human life, in the game of randomness, then the harmonious people to the heights of well-being and happiness, then throwing it into the abyss of misfortunes ("antigon").

Sofokl completed the reform of the classical Greek tragedy started by Eschil. Observing traditional development mythological plot In a coherent trilogy, Sophokl managed to give each part over and independence, significantly weakened the role of choir in the tragedy, introduced the third actor and achieved noticeable individualized characteristics. Every hero is endowed contradictible devils Character and complex spiritual experiences.

Aristotle paid attention to the subtle art of the composition of the tragedy of Sofokla, noted the exclusive skill of the playwright in the development of action, steadily going to a logically justified junction. Essentially what sofokl introduced new principle Development of drama - the phenomenon of the Peripetia - a steep turn to the opposite: from joy to grief, from greatness to falling, etc. He willingly use reception tragic history For clarification of the indigenous opposite between the intent and execution, desired and existing. The tragedies of the sofokla are harmonious and solid, the composition is strict and simple, all parts in equilibrium, the sense of measure dominates over everything.

By the number of the most famous and perfect creations of Sofokla belong to the "Edipan King" and "Antigone" written on the material of the popular fVAN cycle Myths. His creations had a significant impact on european literature New Time, especially noticeable in XVIII - early XIX. explosive Goethe and Schiller admired the composition of the tragedy of Sofokla. V.G. Belinsky considered them classic, called the "antigonus" "noblest creation" and, intercourse theoretical problems of dramatic poetry, was constantly relied on the analysis of the tragedy of Sofokla.

Euripid. (480-406 BC), which completed the development of the classical ancient Greek tragedy, was created during the crisis and decline of Athenian democracy. Born on the island of Salamina, received an excellent education in schools famous philosophers Anaksagora and Protagora. Unlike Eschil and Sophokla, he is a humanist and democrat, ignored participation in public life, preferring privacy. He was forced to spend the end of life in Macedonia and died there at the courtyard of the King Archel.

Euripid wrote over 90 tragedies, of which 17 were preserved. During his lifetime, he did not use such a significant success (four victories on the Great Dionisias) as Eschil and Sophokl, but in the Ellinism Epoch was considered an exemplary playwright.

Euripid was a bold thinker, while myths about the gods for him are the fruit of fantasy ("Hercules", "Iphigenia in Avlida"). Mythology preserves in the tragedies of Euripid purely external importance, and it is almost always determined by the collision of the pernicious human passions. No wonder the ancient called him "philosopher on stage" and "tragic poets". He portrayed people as "what are they", wrote naturally and simply. As an artist of Euripid, first of all, I was interested in the inner world of a person, his mental experiences, because he is the investigator of the psychological direction in European literature.

In politically, Euripid was a supporter of the "moderate republic", in which there should be no particularly rich, nor too poor, and the genuine foundation of society is a wealthy free peasantry. His special merit is to formulate and solve moral and ethical problems, he sharply opposed the oppressed position of women, ratified for the versatile identity development, for the restraint of feelings composed of traditional rules and laws.

Euripide is a reformer classical ancient Greek tragedy and actually laid the foundations of the European Drama genre.

The most famous works of Euripid include "Medea", "Ippolit", "Alkest" and "Iphigenia in Avlida", traditionally based on mythological legends. Supplying ways to create family-domestic drama At the same time, he reaches a high tragic pathos of feelings of heroes.

Ancient Greek comedy was formed simultaneously with the tragedy, but reached his heyday only by the middle of V c. BC. In the work of "Father Comedy" Aristofana (446-385 BC). Its appearance is associated with the process of fusion of two types of carnival magic acts, so-called mIMA and satirian chants. It was this that determined the main features of the ancient form of an ancient comedy, which had a purely carnival character. Ancientathical comedy In extremely extended, grotesque fantastic form painted incredibly funny events, allowed all sorts of rudeness and liberty, buffonad and junning, but was at the same time extremely brave and frank in the formulation of social and political problems. The largest master of such a comedy and was Aristophane, the mature creativity of which coincided in time with the Peloponess War (431-404. BC), the events of which are reflected in the series of its anti-war comedy ("Liswrithe", "Peace", "Akharnyan" and etc.). The zealous defender of the interests of the peasantry and artisans carrying the main burden of war, Aristophane tirelessly and ulcer's abuse of rulers and politicians of the aristocratic tip, who plunged the Greek states into a grueling bloody slaughter for personal interests.

All his comedies (from 44 written 11) are direct responses to the most important to the people of the topical questions of modern public life. The ideal of Aristophana is the Athenian Democratic Republic, and in the situation of its irreversible crisis, he enthusiastically seeks to preserve and strengthen its foundations, to approve the religious and mythological worldview and collective morality of the policy.

The creative method of Aristophan is determined by the angular socio-political satire, full of civilian courage and passion. In the center of comedy dispute (agon) reveal ideological meaning. It big master Caricatures, hyperbolas, bold exaggerations, limiting pointing of generalized characteristics and situations. It often uses bright fiction and unbridled fiction.

Developed by Aristopham satyric receptions Many European writers widely used. Under his noticeable influence, a comedy of Rasin "Soutagi", Piez L. Feichthanger "Peasant and Commander". Traces of the effects of Aristofan can be found in the work of Fielding, Heine, Rollan, Gogol. Belinsky admired the height of the moral feeling of his comedies, and Dobrolyubov fairly saw in the face of Aristofan "Defender of the Poor".

From ancient times at the festivities in honor of Dionysus, or Vakha, the god of grape vines and wine - the midst of the solemn processions were arranged to the temple and sacrificed God of Kozlov. They dressed in goat skins, tied hooves, horns and tails, depicting Dionysus satellites - gonut satellites. In honor of God, the choir was performed by solemn chants (diffilams), accompanied by games and dancing. At the same time, the choir was distinguished from the choir, who depicted Dionysus or any other mythical personality, and singing was performed alternately, then the choir. Here hence the tragedy ("tragedy" occurred in Greeting "Song Kozlov"). Initially, only the choir also participated in it as the author as the only actor. 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 depict not satirs, but others mythical creatures Or people depending on the plays content.

The tragedy originated from solemn chants. She retained their majestity and seriousness, her heroes of steel strong personalitiesendowed 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.

The highest flourishing tragedy reaches in V c. BC e. In the work of three Athenian poets: Eschil, Sophokla and Euripid.

Until Eschila, dramatic performances were still very primitive, since the participation of just one actor did not allow poets to imagine a complex effect, show the struggle of ideas, views, sentiments, etc. only after Eschil, "Father Tragedy", introduced the second actor and He suffered a focus on the play from the choir to the dialogue of actors, the tragedy became a real dramatic representation. But still in the tragedies of Eschil the choir played yet important role. Only with the advent of the third actor in the drama, which Introduced Sofokl, the choir gradually loses its meaning, and from the end IV century. BC e. The tragedy is written and without choir.

Thus, in the ancient Greek tragedy there were singing, dance and music. This was different from the tragedy of a later time.

Plays and Satirov's chorus stood in special genre - Comic fun view, "Satirovskaya drama". By the Day of Dionisa, each poet in Athens, who wanted to take part in a dramatic competition, had to submit three tragedies - a trilogy and one Satirov drama.

The eldest of the three great tragicians was Aeschyl. He was born in 525 BC. e. In the town of Eleusin, near Athens. The time of his life coincides with the epoch of the Greek-Persian wars and the strengthening of the democratic building in Athens. As a goplit (heavy warrior-infantryman), Eschil fought for happiness and freedom of homeland against the Persian invaders.

Ancient attributed 72 or 90 places, from them completely to us only seven tragedies came: "Seduers", "Persians", "Seven Five", "Chained Prometheus" and the Trevillery "Oresna", consisting of tragedies: Agamemnon , "Hoophoras" ("Women who are committing a tombstone") and "Evmenia".

His contemporaries eschil enjoyed the glory of the greatest poet: 13 times he was the winner in dramatic competitions and his plays received the exclusive right to repeat. A monument was put in Athens Poet. At the end of the life of Eschil moved to Sicily, where he died in 456 BC. e. In the city of Gel. The inscription on the grave glorifies him as a valiant warrior.

The plots of all the tragedies of Eschila, except for Persians, are the ancient myths about the gods and heroes, but in these mythical legends the poet invests ideas, the concepts and views of their time, reflecting the political life of the Athenian Society V c. BC e. A supporter of the Athenian Democratic Building, Eschil acts in his works as a flamed patriot, the enemy of tyranny and violence, firmly believing in the victory of the mind and justice. On examples heroic images ancient mythology Eschil brought up fellow citizens in the spirit of selfless devotion to his homeland, courage and honesty.

The idea of \u200b\u200bthe advantages of a democratic building over monarchical despotism with great strength is expressed by the poet in the tragedies of "Persians". In it, he glorifies the brilliant victory of the Greeks over the Persians at Ca L Amina. Posted was the tragedy 8 years after this battle. It is easy to imagine the "Persians" on the audience, most of which, as well as Eschyl, were parties to the Greco-Persian war.

In the distant times of Greek history, the myths about the curse, which took place over whole childs. The tragedy of Eschila "Seven against PhiV" is devoted to the ill-fated fate of Lab Dakid; Three tragedies of Sofokla: "King Edip", "EDIP in Colon" and "Antigona" - and tragedy of Euripid: "Phoenicians" and partly "racer". But posing by the same myth, each of the poets in his own way interpreted him depending on the goals he pursued in his tragedies.

IN ancient myif It was described that the FVAN king Edip from the genus of Labdakids fulfilled terrible crimes: he killed Laia's native father and married his mother to okast. Only after many years the terrible truth opened his eyes. In horror from the crimes of crimes, Oedip blinded himself. But the genus of Labdakids did not get rid of the curse. The sons of Oedip-Eteokl and the Polinnik attacked each other and both died in a fratricidal war.

The siege of seven-detective purinnik, who led to his homeland a stranger argent head led by six argivsk commander, his battle with ETEOKLOM and the death of both brothers are the plot of the tragedy of Eschil "Semen against FIV".

Fight two brothers for royal power Eschil presents in the tragedy as a struggle of the free Fan Favan people against alien invaders - Argyiwan, who came to enslave the city, betray him fire and violence. Creating a terrible picture of the besieged city, the poet is in the memory of the spectators of the mood, similar to those that the Greeks were tested during the years of the Persian invasion. The ruler of FIV ETECL, according to myth, is a blind gun in the hands of the gods. In the tragedy, he is depicted as a decisive, reasonable and bold commander. This is a man of strong will, going on the battle with his brother consciously, in the name of the protection of his fatherland. The image of ETEOKLA combines all top Qualities Greek fighters, heroes of Marathon and Salamin. So, under the influence of modern events, Eschil was treated with an ancient legend.

The tragedy of the poet "Chained Prometheus" is enjoyed by worldwide fame, in which he perpetuated the image of a tyrant and a fighter for freedom, happiness and culture of mankind of Titan Prometheus.

Wanting to save the death of human race, Prometheus kidnapped the fire from Zeus and handed him to people. He taught them to build housing and ships, tame animals, recognize medicinal plants; She taught them the science of numbers and diploma, endowed people with consciousness and memory. For this Zeus cruelly punished Titan. In response to the Messenger Zeus Hermes, who threatened him with new torments, Prometheus proudly declares:

Know well that I would not exchange my sorrows on slave serving ...

A wrestler for the truth and justice, Prometheus says that he hates all the gods. This tragedy was one of the favorite works of Karl Marx.

The mighty characters of the images of Eschilovsky tragedies made a great impression. To express the feelings and thoughts of these heroic personalities, a particularly majestic and solemn style was required. Therefore, Eschil created a poetic speech saturated with bright hyperboles, metaphors, composed difficult wordsconsisting of several roots and consoles. In this regard, the understanding of his tragedies was gradually increasingly difficult and interest in his work in the late generations fell.

However, the effect of Eschil for the entire subsequent world literature hugely. Especially attracted poets of all eras and directions The image of Prometheus, which we find in the works of almost all famous poets XVII - XIX centuries: Calderon, Voltaire, Goethe, Shelly, Bairon and others. Russian poet Revolutionary Democrat Ogarev wrote a poem "Prometheus", in which the protest against the tyranny Nikolai I was putting. The creativeness of Eschila also had a great influence and composers: Sheet, Wagner, Scriabin, Taneev and others.

The work of the younger contemporaries of Eschila - Sofokla and Euripid - refers to the period of the highest economic and cultural heyday of the Athenian democratic state.

After the victory over the Persians, Athens become scientific and cultural Center All Greece - School Eldlas. Scientists, artists, sculptors, architects come there. The greatest works of art are created, among which one of the first places occupies the temple of Athens - Parfenon. Writing works on history, medicine, astronomy, music, etc. Special interest is manifested to the personality of the person himself. Beauty human body Picture fidi sculptors and a policlet. Inner world Human, his moral experiences reveal the Greek tragics of Sofokl and Euripid. Like Eschil, they draw the plots for their works from ancient mythological legends. But the heroes created by them are no longer towering over simple mighty mighty unshakable titans, and living people who cause spectators a deep sympathy for their suffering. In the famous tragedy of Sofokla "Tsar EDIP", all attention is focused not on external events, but on feelings that master the Oedipus as he learns about the crimes committed. From a happy, beloved and respected by His people, the king, the Oedip turns into an unfortunate sufferer who circumsides himself to the eternal blindness and exile. The other wonderful tragedy of Sofokla - "Antigone" tells about the death of Children of Edip.

Euripid, like sofokl, with fine observation draws in his tragedies a change of feelings and sentiment acting persons. He brings the tragedy to life, puts in the play many household traits from the family life of his heroes. Being one of the most advanced people of his time, Euripid invests in the merits of the arguments of the dedication of the injustice of slavery, on the advantages of a democratic building, etc. The best of the tragedies of the Eurshshda- "Medea".

The work of Eschil, Sophokla and Euripid played a colossal role in the upbringing of many generations. Protection of the Athenian Democratic Building, Protection of Human Rights, Spirit of Patriotism and Incomparable Hate for Tirani and Violence, Love for Freedom is what is the basis of an ancient Greek tragedy.

About Dionesis. The latter was gradually supplanted by other myths about the gods and heroes - powerful people, rulers - as the cultural growth of the ancient Greek and his public consciousness.

From the Mimic Diffirabov, telling about the suffering of Dionysus, gradually moved to the show of them in action. FRESPIS (Contemporary of Pisistrata), Frini, Heril are considered the first playwagers. They introduced the actor (the second and the third was then introduced by Eschyl and sofokl). The authors performed the main roles (the major actor was Eschil, he acted as an actor and sofokl), they themselves wrote music for tragedies, led the dances.

These views expressed the protective trends of the dominant class - aristocracy, the ideology of which was determined by the consciousness of the need for unquestioned subordination to this public order. Sofokla tragedies reflect the era of the victorious war of the Greeks with the Persians who opened great opportunities for commercial capital.

In this regard, the authority of aristocracy in the country fluctuates, and this is respectively affected by the works of Sofokla. In the center of his tragedy there is a conflict between a generic tradition and state authority. Sophokl considered a possible reconciliation social contradictions - Compromise between trading top and aristocracy.

The dramatic effect of Euripid motivates the real properties of the human psyche. The magnificent, but spiritually simplified heroes of Eshil and Sofokla are replaced in the works of the younger tragic if more prosaic, then complicated characters. Sophokl so responded about Euripide: "I portrayed people as they should be; Evripid also depicts them as they are in reality. "

The works in the traditions of an ancient Greek tragedy were created in Greece to the Lateryry and Byzantine Time (uncomfortable tragedies of Apollinaria Laodicine, the Byzantine compile tragedy "Harrant Christ").

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• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 tons. (82 t. And 4 extra). - St. Petersburg. , 1890-1907.

Excerpt characterizing ancient Greek tragedy

In November 1805, Prince Vasily had to drive a revision of four provinces. He arranged for himself this appointment in order to visit his upset estates, and capturing with him (at the location of his regiment) of Anatoly's son, with him to come to the prince Nikolai Andreevich Bolkonsky with him to marry the Son on the daughter of this rich Old man. But first of departure and these new cases, prince Vasillus, it was necessary to solve things with Pierre, which, however, lately I spent whole days at home, that is, Prince Vasilla, who he lived, was ridiculous, excited and stupid (as he should be in love) in the presence of Helen, but still did not make sentences.
"TUT CA EST BEL ET BON, MAIS IL FAUT QUE CA FINISSE", [all this is good, but it is necessary to finish it,] - said the prince of Vasily with a sigh of sadness in the morning, conscious that Pierre, so much obliged to him (well, yes Christ with him!), It does not quite well in this matter. "Youth ... frivolity ... well, God with him," the prince of Vasily thought, having fun to feel his kindness: - Mais Il Faut, Que Ca Finisse. After tomorrow Lyulina named, I can't call someone, and if he would not understand what he should do, then it will be my business. Yes, my business. I am father! "
Pierre's a month and a half after the evening Anna Pavlovna and the sleepless, agitated night, in which he decided that the marriage to Helen would be misfortune, and that he needs to avoid her and leave, Pierre after this decision did not move from Prince Vasilla and horror he felt that every day he more and more in the eyes of people binds to her that he could not return to his still look at her that he could not tear off her that it would be terrible, but that he would have to tie with She is his destiny. Maybe he could refrain, but did not take place for Prince Vasilla (who had a rarely reception) there would be no evening on which Pierre had to be, if he did not want to upset the common pleasure and deceive the expectations of all. Prince Vasily in those rare moments, when I was at home, passing by Pierre, he pulled him down his hand down, dispelled him for a kiss shaved, wrinkled cheek and spoke or "until tomorrow", or "To dinner, and then I will not see you" , or "I'm staying for you", etc. But despite the fact that when the prince of Vasily remained for Pierre (as he said it), he did not tell him two words, Pierre did not feel in power to deceive his expectations . He spoke all the same one and one every day: "It is necessary, finally, to understand her and give yourself a report: who is she? Did I be mistaken before or now I am mistaken? No, she is not stupid; No, she is a wonderful girl! - He said himself sometimes. - Never in anything is wrong, never she said nothing stupid. She says little, but what she says is always simple and clear. So she is not stupid. She never was confused and not embarrassed. So she is not a bad woman! " It often happened to herself to start talking, thinking out loud, and every time she answered him either short, but by the way said the comment showing that she was not interested in, or a silent smile and a look, which was noticeable to Pierre her superiority. She was right, recognizing all reasoning nonsense in comparison with this smile.
She always appealed to him with a joyful, gullible, to him one of the relative smile, in which there was something significant what was in a common smile, who always decorated her face. Pierre knew that everyone was waiting for him to finally said one word, stepped over the famous feature, and he knew that he would sooner or later cross over her; But some kind of incomprehensible horror covered it with one thought about this terrible step. A thousand times in the continuation of this one and a half months, during which he felt farther and further the abyss retractable into that terrible, Pierre spoke himself: "Why is it? Determined! Doesn't I have it? "
He wanted to decide, but he felt with horror that he didn't have that determination he knew in himself and which was really in him. Pierre belonged to the number of those people who are strong only when they feel quite clean. And from the day they owned by the sense of desire, which he experienced over the tobacker at Anna Pavlovna, who was unnecessary feeling of the uluseness of this desire paralyzed its determination.
On the day of the name of Helen, Prince Vasyl diner little Society People closest as princess, relatives and friends said. All this native and friends were given to feel that this day should decide the fate of the birthday party.
Guests sat for dinner. Princess Kuragin, massive, when beautiful, a representative woman sat at the business site. According to both sides, her lime guests were sitting - the old general, his wife, Anna Pavlovna Shersher; At the end of the table, less elderly and honored guests were sitting, and domestic, Pierre and Helen were sitting there, nearby. Prince Vasily did not dinner: he walked around the table, in the merry arrangement of the Spirit, clinging to that, then to another of the guests. Everyone he spoke a careless and pleasant word, excluding Pierre and Helen, whom he did not notice the presence seemed to. Prince Vasily revived everyone. Vividly burned wax candles, glittered silver and crystal dishes, ladies and gold and silver rods; A servants in red caftans were again around the table; The sounds of knives, glasses, plates and sounds of a lively dialect of several conversations around this table were heard. It was heard as the old chamber at one end assured the old woman of Baroness in his flame love for her and her laughter; On the other hand, the story about the failure of some Marya Viktorovna. The middle of the table, Prince Vasily focused around himself listeners. He told the ladies, with a joking smile on the lips, the latter - on Wednesday - a meeting of the State Council, which was received and read by Sergey Kuzmich Vazmitinov, the new St. Petersburg military general Governor, the famous Soviet Rescipter Alexander Pavlovich from the army, in which the sovereign, referring to Sergey Kuzmich, said that he received statements about the dedication of the people from all sides, and that the statement of St. Petersburg is particularly nice to him that he is proud of honor to be the head of such a nation and will try to be her worthy. This rescript began with the words: Sergey Kuzmich! From all sides, rumors reach me, etc.
"So I didn't go further than" Sergey Kuzmich "? - asked one lady.
- Yes, yes, nor on the hair, - answered Laughing Prince Vasily. - Sergey Kuzmich ... from all sides. From all sides, Sergey Kuzmich ... Poor Vyazmithinov could not go further. Several times he was accepted again for the letter, but just says Sergey ... Sobbing ... ku ... zim ... h - tears ... and drown out sobbies from all sides, and then he could not. And again the handkerchief, and again "Sergey Kuzmich, on all sides," and tears ... So I was already asked to read the other.
"Kuzmich ... from all sides ... and tears ..." - repeated someone laughing.