1. Write about the effective use of staging techniques in any two of Aeschylus’ plays.
2. How useful is it to use the term nostos (homecoming) play in defining a tragedy?
3. “Whatso’er is fated, that will come to pass. The mighty, untrammeled will of Zeus cannot be transgressed.” (Supplices, 1048-51) To what extent can Zeus’ hand be seen to govern everything that happens in Aeschylean drama.
4. How fully do women in classical tragedy ever break out of their social roles?
5. How useful is the term diptych in describing Sophocles’ plays. You may answer in relation to more than one play.
6. Sophocles’ heroes are often described as deinos (wonderful &/ terrible). Discuss this in relation to any play by Sophocles. You may write about more than one play.
7. Write about oaths and / or pledges in any play(s) by Euripides.
8. Write about the idea of pollution in any play on the course. You may write about more than one play.
9. Write about conflicting duties to oikos and polis in relation to any play that you have studied for this course. You may write about more than one play.
10. “The figures in Greek tragedies act in opposition to the gods’ will and are crushed for their rebellion.” Do you agree with this view? Refer to at least two plays.
11. Does the identity of the chorus matter? Refer to at least two plays.
12. Write about the contrasting presentation of the same mythic material in Seneca and any Greek tragedian on the course.
Theatre of Dionysus in Athens
