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Explore the mythological concept of the Five Ages of Man, as portrayed in Hesiod's work and its relevance to society. Delve into themes of technology, nostalgia, and the function of women in these narratives.
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Introduction • Mrs. Cunningham
Five Ages of Man (Hesoid’s) Bronze Age – succumbed to war and passion; undone by their violent ways and became unnamed spirits in the “dank house of Hades” (war ➔ end) IV. Heroic Age – the only age that improved upon the last; these men lived with demigods and heroes, such as Ulysses and Achilles (war ➔ also end, but heroes went on to the Elysian fields (Isle of the blessed) Iron Age – lived lives of toil and misery: Prometheus and Pandora???What does this myth relate about this society??? Golden Age – Falls under rule of Cronus: believed that men mingled and lived freely among the gods ➔ symbolism??? (merely ended: covered in dust) Silver Age – men refused to worship the gods; Zeus became angry and destroyed this age of man, which became the blessed spirits of the underworld
Myths as Explanations The gift of woman “Woman was a specious gift from the gods to men, in fact a plague and a curse, And the subtlety of the curse was that man can be satisfied neither with nor without Her” (Kane 122). Prometheus, a Titan, angered Zeus—cheated him of his portion of animal-meat at sacrifice; Zeus retaliated and took fire from men; Prometheus stole it back. Zeus’ revenge: instructed Hephaistos, craftsmen of the Olympians, to fashion Woman from clay. Athena decked her with fine clothes and flowers, but she was Given a deceitful nature. This first woman was Pandora—she opened a jar which released ten thousand woes upon men, leaving only hope behind. This story of a woman as both a delight and a curse is the universal function of mythopoeic activity.
Technology and the Fall of Man In the account of the Ages of the World, technology (exemplified by mining, navigation, and the art of war) is regarded as the lever of greed, and as a symptom of moral decline as it assists violence against nature • "...they delved as well into the very bowels of the earth..." (Ov.Met.), animals • "Now was found the way to snare wild beasts with nets and birds with lime..." (Virgil, Georgics), and against men: • "Warlike Mars invented new modes of strife and thousand forms of death." (Seneca, Hippolytus)
The Five Ages of Man as Represented in “The Course of Empire” by Thomas Cole The Savage State
Nostalgia “Nostalgia nurtures and expresses the desire to return to a state in which purity, freedom, beauty and simplicity are redeemed, justice recovered, and meaning found” (Tosh 18). => What are the dangers in this kind of thinking??? Nostalgia: a sentimental longing or wistful affection for the past, typically for a period or place with happy personal associations.. According to John Tosh, in The Pursuit of History, “Nostalgia is backward looking, but instead of denying the fact of historical change, it interprets it in one direction only – as change for the worse […] It works most strongly as a reaction to a sense of loss in the recent past, and it is therefore particularly characteristic of societies undergoing rapid change (17). Reason for nostalgia: “A yearning backward glance offers consolation, and escape from the mind from aharsh reality” (Tosh 17) Hence, “Back when I was a kid …”
Greek Theater – (cont.) • Orchestra: (literally, "dancing space") normally circular— a level space where the chorus would dance, sing, and interact with the actors who were on the stage near the skene. • Theatron: (literally, "viewing-place") where the spectators sat—usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra. • Skene: (literally, "tent") the building directly behind the stage—directly in back of the stage, and was usually decorated as a palace, temple, or other building. It had at least one set of doors, and actors could make entrances and exits through them. There was also access to the roof of the skene from behind, so that actors playing gods and other characters could appear on the roof, if needed. • Parodos: (literally, "passageways") the paths by which the chorus and some actors (such as those representing messengers or people returning from abroad) made their entrances and exits. The audience also used them to enter and exit the theater before and after the performance.
Structure of the plays • Prologue: Spoken by one or two characters before the chorus appears. The prologue usually gives the mythological background necessary for understanding the events of the play. • Parodos: This is the song sung by the chorus as it first enters the orchestra and dances. • First Episode: This is the first of many "episodes," when the characters and chorus talk. • First Stasimon: At the end of each episode, the other characters usually leave the stage and the chorus dances and sings a stasimon, or choral ode. The ode usually reflects on the things said and done in the episodes, and puts it into some kind of larger mythological framework. • For the rest of the play, there is alternation between episodes and stasima, until the final scene, called the... • Exodos: At the end of play, the chorus exits singing a processional song which usually offers words of wisdom related to the actions and outcome of the play.
Tragedy Tragedy: a dramatic work that presents the downfall of a dignified character who is involved in historically or socially significant events. • According to Aristotle in his Poetics, tragedy is good for the state (political) because people go to the theater and are purged of their emotions; they, as a result, leave more docile (calm). • A good tragedy can recreate. This has to do with the belief in a cosmic order, of nobility and dignity. Sometimes the sacrifice of one person regains the cosmic order, and society is better off (also, the idea of the scapegoat—one must fall/suffer for the rest to remain whole).
Six Characteristics of the Tragic Hero • Morality – he is neither extremely virtuous nor extremely vicious. He is not outstanding, but is most like us. (He wouldn’t have a tragic flaw if he were too good!) • He has a tragic flaw (hamartia) – this can be a misstep, a misjudgment, an error that brings about his own destruction. There is something within his character that contributes to or brings about his destruction. It is a virtue carried to excess, usually a minor thing, like HUBRIS (excessive pride). • Social position – a tragic figure must be famous or prosperous. Possible reasons: 1) He has more to lose. 2) He is supposed to be a leader of society. 3) More than just himself is affected. 4. Suffering and misfortune (peripeteia) – he undergoes a change of fortune that brings about suffering or death. The suffering is not always physical; it can be mental torture (psychological). The suffering is often unwarranted; it may not be deserved. 5. Tragic recognition (anagnorisis)– When the hero recognizes what he has done, the reader can sympathize with him. This recognition comes at a reversal in situation. 6. Catharsis – If he is a good tragic hero, a purging of the emotions of pity and fear (catharsis), a sympathy, a release of the emotions, will occur within the audience.
Three Unities of Greek Theater The Unities: Remember TAP • Time: occurs in a 24 hr period of time • Action is centered around one main event/theme • Place: occurs in one primary setting
Sophocles • In youth: skilled wrestler, dancer, musician • Military leader who worked alongside Pericles; also served as an ambassador, public treasurer, and serves as a member of a special commission appointed to guide Athens through a time of crisis • Great dramatist – composed more than 120 plays; competed for 30 years in the Dionysian festival and won first place 18 times
Oedipus • Sophocles – fascinated with King Oedipus and his family, and wrote three plays to this effect • Oedpipus the King • Oedipus at Colonus • Antigone – about one of Oedipus’s daugthers
Oedipus - background • Oedipus complex: Freud’s term for his belief in a child's unconscious desire for the exclusive love of the parent of the opposite sex, which occurred about age 5. This desire includes jealousy toward the parent of the same sex and the unconscious wish for that parent's death. • Term coined from Sophocles’s Oedipus the King, where Oedipus unwittingly murders his father and marries his mother.
“What walks on four legs in the morning, two legs in the afternoon, and three legs in the evening?”
