CCI 305 (Classical Tragedy) Final Exam            Name: ______________________________________
December 11, 2003

I. Theater ID (1/2 pt each for 1-4, 1 pt each for 5 & 6). Use the corresponding numbers to identify each part of the Roman theater on the theater in Bosra, Syria. Use arrows to point to areas where the original is too dark to read your number.

   1. proscaenium    2. orchestra    3. scaenae frons    4. cavea
5. What was the aulaeum AND where was it located in the Roman theater?


6. List 2 major structural differences between Greek and Roman theaters, and note how one of those differences would have changed the presentation of plays in Roman theaters.




II. Character ID (5 pts each) For the next 3 questions, identify 1) the character's name AND  2) the play in which he appears, then 3) offer 4 good sentences explaining the character's significance to the plot or ideas of the respective play. Especially include comment about the scene described here and its relevance to the play as a whole.

man rescued from death as a baby to lead his people out of slavery [address this character's role as a suitable tragic/epic hero]








brother who once usurped a throne, but now returns from exile, with some hesitation [note in your answer the characters who move him to accept his brother's new offer of joint rule]








king bothered by his lack of control over recent religious fanaticism [describe how this character's efforts to control are turned against him]




III. Matching (1 pt each) Choose the best answer for each and write the letter on the line to the left of the number.

___ Raguel                      A. shared name of 2 different characters in the same play
___ Tyndareus                  B. helps her blind father by telling him the signs from sacrificial flames and animals' organs
___ Aeacus                      C. Latin tragedy based on Roman legends or history instead of traditional Greek themes
___ Pacuvius                    D. brought back from the Underworld to save Athens with his inspirational, patriotic poetry
___ Manto                       E. good husband of Electra who will not dishonor her noble status by having marital relations
___ Castor                       F. Underworld judge cast as a doorman who beats two characters to see which is a god
___ Brutus                       G. this ghost's wordsas reported inform Oedipus that he is a murderer and guilty of incest
___ fabula crepidata           H. describes the miraculous parting of the Red Sea
___ Euripides                    I. kidnapped while pouring libations to Clytemnestra and threatened with death
___ Agave                        J. hero of Accius' Roman tragedy; fulfills Tarquinius' dream about a surprisingly aggressive ram
___ Aegisthus                   K. appears and disguises himself in 2 plays we have read since the last exam
___  Aeschylus                  L. made the Athenian stage 'democratic' by giving slaves and women prominent roles    
___ Menelaus                    M. traditionally silent stage character who has a lot to say and instigates revenge in Orestes
___ Tantalus                     N. prophet of Thebes who explains the divine nature of Dionysus
___  fabula praetexta           O. Oedipus' brother-in-law  whom he accuses of trying to steal his throne
___ Tiresias                      P. chastises Orestes for killing his mother in the deus ex machina of Electra
___ Egyptian messenger      Q. interprets Moses' dream as a sign that he will be a great leader
___  Pylades                     R. Ennius' nephew; his tragic scene showing Orestes' and Pylades' friendship impressed Cicero
                                                and other audience members
___  Dionysus                   S. butchered while sacrificing to give thanks for the birth of a new heir
___ Minister                     T. tries to dissuade Atreus from extreme violence, then questions Atreus' plans to discover how
                                                they might work
___  Hermione                  U. Latin tragedy based on Greek myths or Greek tragic versions of those myths; Ennius'
                                                Alexander would be an example of this form
___ Creon                        V. rips her son apart though she believes she has killed a lion
___ Laius                        W. Clytemnestra's father, who, despite his objections to her behavior and Helen's, suggests that
                                                Orestes should have obeyed the law
___ Peasant                      X. one of Atreus' sons whose legitimacy he questions; changes allegiance from Orestes to his
                                                 father-in-law in Orestes

IV.  Quote ID. For the next 9 passages, 1) Name the speaker of the lines AND 2) the play in which the lines appear. Only 2 of the passages below are spoken by a chorus or chorus member. None of the passages are from the fragments of Roman tragic writers but one is from Ezekiel's Exagoge (2 pts each).

What darkness it may be, we cannot tell, but pray that it be nothing else than night. This is the fear, the fear that knocks at the heart, that the whole world is now to fall in the ruin which fate foretells; that Chaos will come again to bury the world of gods and men; that Nature a second time will wipe out all the lands that cover the earth, and the seas that lie around them, and all the stars that scatter their bright lights across the universe. That belt of constellations that marks out the passage of the years will fall away, and see the stars fall with it.

My boy...stay with us. Don't break with our old ways. Your reasons are unreasonable. Even if this god were no god, as you insist, tell yourself he is: act out an advantageous lie which makes our Semele, just think of it, the mother of a god. the whole family can take credit.

I just can't stifle this laughter, seeing a lion's skin thrown over that saffron gown - what does it mean? How have club and buskin (= tragic boot) joined forces? Where in the world were you going? Later when asked:
'Tell me which of the roads will bring us quickest down to Hell?' this same character says, Well, let me see, which shall I tell you first, which one? There's the one starting with a cord and stool, just hang yourself.'

Dear girl, you always loved your father, which is natural enough: some are father-lovers, some are drawn more to mothers. I can forgive you and to tell the truth. I am not proud of everything I've done. But why are you so dirty and in rags, considering the turmoil of birth is over? Oh, I'm sorry for all my plottings: I drove my husband to resentment and went too far.

Hurry you hounds of hell to the mountains where the daughters of Cadmus hold their wild seance. Worry them into a frantic trance against the man disguised in the dress of a woman...Who is this peeker who comes - has come - to the mountains and pries on us Cadmean daughters: we who run to the hills, the hills, to revel...

Come then, have you a hand to help your mother? If you could kill your father this remains for you to do. Then let me take his sword, the sword that killed my husband - no not husband, father-in-law...Where shall I strike?...strike here my hand, strike at this teeming womb which gave me sons and husband.

If Menelaus when he sees Helen fallen in her blood, tries to save you to insure the girl's life, allow him to take his daughter to his arms; but if he makes no effort to curb the angry outburst and leaves you to die, then cut the maiden's throat...if he puts in a mighty appearance at first, he will calm down in time; for he is not bold or brave by nature. This is my line of defense for your safety. My speech is over.

But here are your dear sons whom you have asked to see. Receive them gladly...You have them - all that now remains of them; and all that is not here - is with you too.

Halt, great sir. Do not come near, until you have removed your shoes from your feet. For the ground on which you are standing is holy...that you, a mortal should see my face is impossible. But you may hear those words of mine that I have come to speak to you.

V. Short Answer. (5 pts each) Answer these completely, but briefly. They may require a couple of words if I request LIST, but some will need 4-5 good sentences to DESCRIBE or EXPLAIN.
IMPORTANT NOTE: You may skip ONE (1) of these, but you must mark the one you don't want graded by clearly crossing out the question. I will NOT pick for you.

1. Order the following events from the history of classical tragedy in chronological order from earliest to latest, by numbering each event with the appropriate number 1-6, 1 being the earliest event, and 6 being the latest.

___ Livius Andronicus produces the first tragedy and comedy in the Latin language  ___ Christian emperor Theodosius issues a decree banning mime actresses from costuming as nuns  ___ Aristophanes' Frogs takes first place at the Dionysia ___ Seneca is asked to commit suicide after Nero's accusations of his participation in a conspiracy  ___ Pacuvius gives Accius tips on his writing of tragedy  ___ Euripides' original production of Orestes bombs and he goes to Macedonia to write for King Archelaus

2. Describe 3 moments of delusion or illusion brought on by Dionysus in Bacchae.









3. Ezekiel lived in a world that was Jewish and Greek. From his Exagoge (Exodus) identify 2 elements of the play that would be considered specifically Jewish or for a Jewish audience and 2 elements that show the author was very familiar with Greek traditions and culture.








4. Explain 2 ways that Euripides' transference of the setting for Electra from the palace to a country cottage changes the ideas and drama of that story of revenge.










5. List 3 specific motivations that Atreus expresses that caused him to take such vicious revenge on his brother.




6. Assume (as you should) that Seneca has read Sophocles' Oedipus Tyrannos. Explain 3 specific important changes Seneca makes to create his version of Oedipus' story. [By explain, I mean tell me how Seneca's alterations change the telling of the story, its plot, character development, or other aspects of the play]









7. From Aristophanes' Frogs discuss any 2 characterizations of Aeschylus' tragic style and any 2 characterizations of Euripides' style that become part of the comic debate about the nature of tragedy.








8. The long period of theater history we have covered since the last exam was marked by ever increasing professionalization among actors in the Greek and Roman worlds. List any 3 specific effects this move away from amateurism and toward professionalization had on the writing and/or presentation of tragedy. Don't worry about separating Greek and Roman comments. Just treat them all as statements for the period after fifth century BCE.






9. Orestes turned out to be one of Euripides' most popular plays after his death. Describe any 3 things about this play that make it stand out from other Greek tragedies and may have helped make it a premier piece of dramatic entertainment.









*Please write and sign an honor pledge. Happy Holidays and thanks for a great class!*