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AS / A2 CLASSICAL CIVILISATION: USEFUL TERMS EPIC / TRAGEDY agon allegory allusion anagnorisis anthropomorphic antilabe antistrophe antithesis apostrophe apotheosis arete aristeia atimia bathos catharsis choregos denouement deus ex machina dike dramatic irony ecphrasis ekkyklema epic epiphany epithet epode exodos formula genre hamartia hybris hyperbole in medias res kleos kommos mechane metaphor misanthropy misogyny motif noblesse oblige nostos orchestra paradox parodos pathos patronymic peripeteia personification physis vs nomos prologos contest or trial, used especially of central debate in Greek drama prolonged metaphor; thinly disguised symbolic description / representation passing reference - e.g. to a myth recognition of situation (tragedy) (gods) presented as having human form / personality dramatic dialogue in which characters abruptly interject mid-sentence chorus' second lyric song in a stasimon (see strophe) direct opposite / contrast of ideas. direct speech / address (often to dead or absent person) deification (literal or figurative) goodness (not especially moral); greatly valued by Iliadic heroes. e.g. arete of knife is to be sharp heroic exploits - e.g. Odysseus' slaughter of the Suitors loss of honour / civic rights fall from the sublime to commonplace; an anticlimax cleansing of emotions afforded by drama "chorus leader"; wealthy citizen responsible for chorus recruitment, training, costumes etc unravelling of plot / final solution "god from the machinery"; timely event / power to solve difficulty in drama justice, law language / scenes which have inner meaning for a privileged audience "a speaking out"; description of person, experience, object - e.g. Aeneas' shield (alt: ekphrasis) trolley used in Greek theatre to produce corpses etc long, grandiose poem about heroic exploits - purportedly based on distant, historical events appearance / manifestation (usually of a god) adjective expressing a quality or attribute afterpiece, marking the end of a stasimon "a going out"; end of play - often contains choral comment, messenger speech, deus ex machina repeated word or phrase; useful aide-memoire for oral poet literary form - eg epic or satire fault / failing or sin committed by a person (central to Greek Tragedy) insolent pride / arrogance towards the gods exaggeration for effect, not to be taken literally (reader is plunged) into the midst of action, without preamble glory; greatly valued by Iliadic heroes lyric exchange of lamentation between chorus & actor crane used in Greek theatre description linked imaginatively to an object or action, but not literally - eg a glaring error hatred of mankind hatred of women dominant theme concept that with high position comes responsibility - e.g. Odysseus & his companions a homeward return - eg Odysseus / Orestes circular floor space in theatre where chorus dance & sing seemingly absurd statement, though perhaps well-founded chorus' first entrance into drama / entrance "corridors" either side of stage pity / sorrow name derived from father's name - e.g. Atreidae ("sons of Atreus": Agamemnon & Menelaus) sudden reversal of fortune in drama description of inanimate object or concept in terms of human qualities natural law as opposed to law of the land prologue; drama's introduction for setting the scene AS / A2 CLASSICAL CIVILISATION: USEFUL TERMS propaganda protagonist rhetoric simile skene stasimon stichomythia strophe Telemachy time tone xenia ritual information spread systematically to promote a cause principal performer / leading character in drama persuasive, impressive language comparison for illustration, introduced by "like" or "as" stage building in Greek theatre regular choral song (usually five in a play) "line speech"; dramatic dialogue involving rapid interchange between characters chorus' first lyric song in a stasimon (see antistrophe) term often used for Odyssey books 1-4, which focus on Telemachus honour / respect (see atimia) prevailing character / sentiment of passage guest-friendship code - reciprocal arrangement overseen by Zeus ART & ARCHITECTURE abacus acropolis ( Athens ) acroterion alabastron amphora archaic architrave black-figure capital catenary cella chiton contrapposto dinos Doric order early classical entablature foreshortening free standing frieze geometric style high classical hydria Ionic Order incision kantharos kore kouros krater kylix lekythos loutrophoros maenad metope modelling modelling motif motion lines oinochoe order pediment square bearing-section at top of a capital large, flat-topped rock given over to the sanctuaries of the gods decorative ornament over each of three angles of a pediment narrow-necked perfume holder large, two handled storage jar early Greek period: c. 660-480 BC series of beams supported by columns vase-painting technique: figures drawn in black silhouette, incision used for details bearing element at top of a column U-shaped folds in drapery main "room" of temple, containing statue of god to whom building was dedicated woman's linen dress balanced pose of human figure weight unevenly distributed & axes of shoulders & hips differing bowl in which wine & water are mixed design / proportions of columns & superstructures (used for temples in mainland Greece & West) period from c. 480 - c. 450 BC entire superstructure (architrave, frieze, cornice) supported by columns device for suggesting the recession of forms in depth statues carved fully in the round series of decorative carvings above columns in a temple prevailing style in 8th century BC period from c. 450 - c. 420 BC jar for carrying water with two handles at the sides & one at the back design / proportions of columns & superstructures (used for temples in East Greek & Aegean area) scratched or shallow line in pottery or sculpture elegant, high-handled cup archaic, draped female statue archaic, nude male statue; rigid / relaxed pose (often striding forward) & faint smile (pl: kouroi) wide-mouthed bowl for mixing wine & water two-handled, stemmed cup narrow-necked container for oil ritual vessel to carry water for bride's bath ecstatic female follower of the wine-god Dionysus flat, stone panel alternating with triglyphs in Doric frieze (may be plain, painted or sculptured) in painting: rendering the illusion of a volume on a surface through shading in sculpture: representation of a solid form particular type of subject, distinctive feature, element of design or composition long, double-curving lines in drapery suggestive of movement wine jug type of columns used, together with their entablature triangular end of a gabled roof, filled with relief / free standing sculpture AS / A2 CLASSICAL CIVILISATION: USEFUL TERMS pelike peplos peristyle perspective phiale plinth pyxis red-figure relief skyphos tensile strength tondo transparency triglyph white-ground two-handled, pot-bellied jar woollen dress made from a rectangular piece of cloth colonnade surrounding a temple technique for painting three-dimensional scenes on two-dimensional surface saucer-like bowl for pouring libations to the gods bottom of a marble statue cylindrical box for trinkets / cosmetics vase painting where figures are left in natural colour of clay with background & details painted black sculpture remaining attached to background deep two-handled, mug-like, stemless cup resistance of material to stress circular centre on the inside of a cup technique of carving on nude forms suggesting thin veil of drapery "triple grooved"; rectangular blocks with vertical grooves, which separate metopes of Doric frieze covering the surface of a vase with a white slip as a background to paint on