The Critical Role Greek Tragedies Played in Greek Society

Tragedies play a critical role within the ancient Greek society. Not only did they serve as a lesson in behavior, it was a community gathering largely sponsored by the government. Because of this political aspect, certain messages-particularly those of a religious nature-are emphasized throughout the works. Despite the fact that the Grecian concept of tragedy still manifests itself in contemporary settings throughout the world, it is important to first understand why it flourished in Greece.

Around the 5^th century B.C.E., Grecians found themselves amidst a major transition. "The fifth century was one of the most creative, turbulent, and decisive periods in Greek history, and, indeed, in all human annals" (Storrs 1). No central government existed; instead, there were numerous city-states with their own rules and regulations. Common traits such as language and ethical values, along with a sense of pride in defeating the attacks of the Persians, united the Greeks. However, the Peloponnesian War fractured the alliance. Fought between Athens and Sparta, the latter ultimately prevailed, yet their prestige diminished following their victory. Athens flourished in all areas, becoming a cultural hub, and embraced the concept of democracy. This great surge in creativity catalyzed the concept of the Greek tragedy.

"Tragedy depicts the downfall of a noble hero or heroine, usually through some combination of hubris, fate, and the will of the gods. The tragic hero's powerful wish to achieve some goal inevitably encounters limits, usually those of human frailty, or nature" (Tragedy 1). Clearly the content of the tragedy offers a valuable teaching tool to all citizens. As the audience observes the hero's hindered progress and eventual failure, they are forced to see the mistakes that are made and their devastating consequences. "The hero need not die at the end, but he/she must undergo a change in fortune" (Tragedy 1). Topics covered in these tragedies include relationships-both interpersonal and with the gods- and ethical behavior, or lack thereof.

One such example is the 'curse of Atreus' referred to repetitively in the tragedy of Agamemnon. Thyestes, Atreus' brother, seduced his wife. Atreus killed two of Thyestes' children in retaliation. "The supreme irony is that Agamemnon survives ten years of rugged fighting at Troy, and out of the thousand ships that went to Troy, his is the only to return safely, but he dies at home, murdered by his own wife" (Storrs 7). Illustrating a classic story of revenge and justice, Atreus' feels betrayed so he commits the murders of his nephews. He goes on to glory on the battlefield overcoming incredible obstacles only to be slain by his wife. What happens here demonstrates that actions do not go unpunished, and the gods work in mysterious-and often ironic-ways.

Another example comes from Sophocles'

Philoctetes, which tells the story of the title character who has been abandoned by the Greeks after an injury en route to the Trojan War. Odysseus discovers that Philoctetes posses a bow needed for the war and sends Neoptolemus to retrieve it. A major issue here is the split loyalty Neoptolemus feels towards his commander and a friend he knows that he wrongfully deserted. One issue that plays a large part in the actions and arguments of characters in this tragedy also played a large part in the ongoing intellectual discussions of fifth-century Athens, that is the physis/nomos [nature/custom] argument, which was applied to many aspects of life" (Storrs 11). Typically the belief held at this time is that virtue is something one is born with; however, later critics argued that it can indeed be acquired. Each of these schools of thought reveals human nature and the way individuals interact with one another and the acquisition of good character however it is achieved.

Occurring in an open-aired amphitheatre, performances of tragedies were not to be missed. They were religious festivals to honor Dionysus. Some venues held up to 30,000 people and all citizens were required to attend the event. At times even prisoners were released for these festivals. Initially these performances started with no actor-a member of the chorus would step forward and speak-yet by the time of Aeschylus up to three actors appeared on stage. All were masked males with elaborate costumes playing a variety of roles. Depending on the generosity of the patron financially assisting the production, there were twelve to fifteen members of a chorus who performed song and dance throughout the event.

Performance of tragedies fostered a sense of community amongst the Greek people. With so many individuals, ranging from prominent politicians to peasants, a tragedy was something all people could share. Although the uneducated may not detect every inversion or nuance, they can at the very least be entertained by a lavish spectacle. Yet it is critical to realize the tragedy was not intended to be for entertainment purposes only. "The plays were not meant to entertain but to educate, to offer examples about morality that should be followed or immorality that should be avoided...those who attended the tragedies were supposed to receive a katharsis-a purging and cleansing of the soul. In a very real sense they were religious services" (Storrs 2). Everyone experiences the opportunity of being a part of a large group paying homage to the gods.

Greek tragedies speak volumes about the lives of those dwelling in this ancient society. Oddly enough, very little of contemporary events of the era are mentioned, and if so the terminology is vague. These tragedies display both the religious beliefs and the moral values of the Grecian people. Joyful festivals bring individuals together to learn the lessons of their gods in a new and innovative way. People responded so well to this approach because their core values are being addressed in a way that enables everyone to participate. The legacy of the Greek tragedy-and Greek culture itself-sets a precedent for the entire western world.

WORKS CITED:

Storrs, Robert. "Greek Tragedy." Course writing from University of Memphis. 2008.

https://elearn.rodp.org/d2l/orgTools/ouHome/ouHome.asp?d2l_stateGroups=grid~gridpagenum~mycoursesstategroup&d2l_stateScopes=OrgUnitSession~GridPageNum~Search~PageNum^OrgUnitUser~LCS~MyCoursesStateGroup^User~Grid~PageSize~HtmlEditor~HPG&d2l_statePageId=420&d2l_state_grid=mcg359~0~~Asc~~0&d2l_state_gridpagenum=mcg359_pgN~0&d2l_state_mycoursesstategroup=mcg359_tree~&ou=665678

"Tragedy: the Basics." Grand Valley State University. 2008.

http://faculty.gvsu.edu/websterm/Tragedy.htm