In a monologue by The Messenger, the women are described as absolutely beautiful and in complete control of their own femininity just to later be depicted as murderous monsters who ripped apart the limbs of a calf. This juxtaposition between female beauty and violence makes Euripides’ message to the audience overtly clear - women in control of their own femininity will eventually become violent. The Messenger starts off by describing these women as unassuming, stating “They were all asleep, bodies quite relaxed, resting on the ground—in all modesty. They weren 't as you described— all drunk on wine or on the music of their flutes” (13-4). Women are not always obviously dangerous, Euripides says.
Following traditional Socratic procedure, Socrates, in Plato’s Euthyphro, assumes the unfitting role of the ignorant pupil seeking to obtain knowledge from Euthyphro, the prosecutor and self-proclaimed expert on piety. However, as the dialogue progresses and the irony reveals itself, Euthyphro unveils his true ignorance and Socrates emerges as the wise prosecutor who questions the former on his various definitions and understandings of piety. Euthyphro, after having his previous definitions rejected by Socrates, suggests that what is pious is “what all the gods love” (Plato 9e). Immediately, Socrates deconstructs this argument and outlines a simple syntactic analysis of a phrase.
Agathon describes Eros as young, delicate, beautiful, courageous (brave), and most skillful of all the activities known to mankind. Before giving a speech, Agathon first criticized other speakers, as he claimed that other speakers prior to him does not know how to properly praise the “god,” Eros. (195, a) Agathon states that Eros prevented violence, and instead brought peace among the gods, due to “love of beauty”. (197, b) In addition, Eros is a freely-moving spirit that cannot force anyone or be forced into doing anything by anyone and instead only acts upon ‘mutual concent and agreement,” hence
The Greek gods and goddesses are the ultimate representation how Greek culture. Since the gods and goddesses did not mention Odysseus’ lack of sexual fidelity, this shows that the values for men in Greek culture were not infringed upon. Sexual fidelity and how it is dealt with by the story’s most important characters in The Odyssey show the morals of Greek
These women influenced the conditions of the journey by guiding Odysseus in different directions, and aiding him crucially. Their authority showed the idea behind an old proverb, which states, “Behind every great man there’s a great woman”. Throughout The Odyssey, the women exemplified their power during the course of Odysseus’ journey. Odysseus’ wife, Penelope, bravely held down the front in Ithaca while her husband struggled to find his way back home. In Book 18, Penelope spoke to the ever-so-desperate suitors about what Odysseus “told” her before he left.
These almighty figures are the world’s greatest thing because they never harm humans, they don’t desire sexual needs from mortals, and they don’t expect endless gifts and sacrifices. According to the Christian bible, one of the most despicable acts a person can indulge in is adultery and lust, but when analyzing the poem, we can see that many Greek gods and goddesses partake in this shameful behavior. The eagerness of lust that Greek gods and goddesses experience humanizes them, making them closer to
Introduction The purpose of this essay is to investigate the women’s role in Classical Greece society and literature (5th/4th century b.C.). Therefore, I decided to discuss and analyse one of the most controversial comedies of that time, “Lysistrata” by Aristophanes. This text shows how women, sick of their submissive and powerless position in the political scenario of Athens and Sparta, come on the scene and, through a smart stratagem, achieve their expected result.
The language in Plato’s symposium and the expression of Sappho’s poetry are similar in that they both deal with homoerotic love. Sappho, the only ancient Greek female author whose work survived, talks from the female point of observation, where as Plato’s work concentrates on the idea of love among males. In spite of the fact that both of their points of view are comparative in courses, for example, their thoughts of physical fascination and want, Plato’s work creates a better understanding of the nature of love then Sappho’s ideas. This understanding will be shown with three arguments and counter- arguments in order to demonstrate the dominance of Plato over Sappho. It will than be concluded with an overview of the main idea and a recap of the three arguments made for Plato.
This relationship was based upon total compassion and love. Socrates was there in his Right’s last moments. He proved to be a loyal friend giving his own, fairly limited, wealth to better Right’s standard of living. This male relationship is different from the other two, in that it has much more vulnerability. Rather than Socrates serving as a mentor or challenger, he is serving as Right’s equal.
The respectable male characters such as Odysseus treat women well, but mostly for their appearance and marriage potential. Near the beginning, after washing up on the island of the Pheaecians, he meets a girl and says, “Mistress: please: are you divine, or mortal? If one of those who dwell in the wide heaven, you are the most near to Artemis, I should say,” (8). To
The union of both sexes is a notable metaphor in both “Symposium” and “Lysistrata”; however, the nature of the love between the sexes draws a distinction between both works. In Symposium, Aristophanes described how both sexes were so powerful when united; and when they were separated, human beings still strived to be united once more by any means. On the other hand, in Lysistrata the characters were already married and united; however, women found their true strength when they started a psychological war on their men. Even though both works drew the readers’ attention to the need for love, Symposium emphasizes the union of sexes in a way that the characters in Lysistrata will never reach; where love is not only about sex and physical attraction, but it’s also about a healthy relationship occupied with affection and caring.
Part A- Socrates In thinking of Socrates we must recognize that what we have is four secondhand sources depicting him. That of Plato, Xenophanes, Aristophanes, and Aristotle. All having radically different accounts on Socrates and his views. Out of all them we consider Plato’s to be the most possible account, even though we face a problem of different versions of Socrates.
Lysander’s unbridled love for Hermia shows obvious respect towards females, making him out to be one of the few characters admired by the audience. In our scene, Lysander’s subtext is an excited yet mannerly teenager who fears Theseus yet still stands up for himself and Hermia. When he saw that his relationship was being threatened he stopped cowering and pushed Egeus and Demetrius away pleading his case to Theseus. Hermia, who has a similar definition of love, trusts the emotion and thinks of it as a driving force in her life. When given the choice between spending the rest of her life as a nun and being forced into a loveless marriage, she decides that staying perpetually celibate would be the superior choice: “‘So will I grow, so live, so die my lord, ere I will yield my virgin patent up unto his lordship, whose unwishèd yoke my soul consents not to give sovereignty’”
However, these contrasts between their personal thinking built most of valuable points in Odysseus' epic journey, and making a more intense story. To some extent, these women are not foolish at all because at least they are successful at leading people to believe that waiting is meaningful. The whole story happened during the dark centuries of women in Greece, when their value was limited behind men. However The “Odyssey” gives an opportunity to horror their role, also rejecting all erroneous preconceptions about the woman. Penelope -- a typical woman who represents for an image of a devoted wife, a mother of family and she is also an image of how women was treated at Greece.