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Oedipus, the King Sophocles Forms of Greek Drama Structure • Prologue • Parodos (entrance of singing and dancing chorus) • Episodes-characters engage one another and the chorus; the chorus often sings and dances several odes that emphasize the play’s issues. Choral odes are written in lyric meters different than the meters used for characters’ speeches. • The chorus is representative of the voice of the people and often becomes a decisive character in the play. Structure cont. • The catastrophe is its literally downturn that marks a change in the hero’s status. • The exodos, or departure of the characters from the stage, usually includes a final song or dance. The plays of Aristophanes usually include a parabasis, a choral ode delivered to the audience discussing political issues. His comedies also include a final komos, a scene of dancing and revelry. Power of Greek Drama • Intense and economical relationship between: • 1. a situation, usually at the point of climax when the play opens; • 2. a complex of characters, each with distinctive goals and motives; • 3. a chorus used both as a character and as a commentator on the action Power of Greek Drama cont. • 4. a series of incidents precipitate a crisis and bring the meaning of the protagnoist’s actions into focus. • Aristotle termed this crisis peripeteia, or reversal. He argued that it should be accompanied by an act of anagnorisis, or recognition, in which the character responds to this change. • Aristotle asserted that when the pressure of the tragic action produces a close relationship between the reversal and the recognition, it instills in the audience feelings if fear and pity. • This combination produces catharsis, a purgation of these emotions.