Athenian Democracy and Tragedy Overview

A form of government where the citizens have supreme power, typically exercised through elected representatives.

The period in ancient Athens marked by political and social changes, including the rise of democracy and the flourishing of Greek tragedy, lasting from the 6th to the 5th century BC.

The time of year in ancient Athens dedicated to the god Dionysus, often featuring theatrical performances, including tragedies.

The first person attributed with the creation of tragedy, a form of drama that explores serious themes and often features a tragic hero.

A situation where power is not held by any one person or group, leading to instability or uncertainty.

A series of reforms introduced by Cleisthenes, a statesman in ancient Athens, that shifted the Athenian government towards a more democratic system, based on equality before the law and citizen participation.

A system of government in ancient Athens where citizens had a direct say in running the city, involving various forms of participation like voting and serving on juries.

A system where Athenian citizens were divided into ten tribes based on geographical region, city, coast, or inland, ensuring representation from all areas and preventing domination by one group.

The smallest political unit in ancient Athens, often referred to as a village.

The reforms implemented by Cleisthenes that established the ten tribes and the Council of 500, laying the groundwork for Athenian democracy.

A system of government in ancient Athens where all free, adult males over 20 could participate in the Assembly and make decisions directly, without representatives.

The primary governing body in ancient Athens, where citizens debated and voted on laws, policies, and other matters.

A form of democracy where citizens directly participate in decision-making, without representatives, as opposed to representative democracy.

The minimum number of citizens required to be present in the Assembly for a vote to be valid.

The process of presenting arguments for and against proposals in the Athenian Assembly, followed by a vote by a show of hands.

The process of identifying with one's deme or locality, rather than one's family name, which became prevalent in Athens due to Cleisthenes' reforms.

The Athenian democracy's assembly had a significant influence on the development of tragedy as a genre by sharing similarities with public oratory. The audience's ability to follow complex arguments was enhanced by their familiarity with assemblies and long speeches.

A key characteristic of Athenian tragedy was the ability for audiences to follow intricate plotlines and arguments. Athenian citizens were accustomed to large gatherings and long speeches, which made them adept at understanding complex narratives.

While there is ongoing debate about women and slaves attending tragedies, it is clear that Athenian tragedies were primarily directed at male citizens. These citizens were the main recipients of the messages conveyed by the playwrights.

The growth of rhetoric in 5th-century BC Athens was interconnected with both tragedy and politics. Training in rhetoric was crucial for participation in the Assembly, and this skill was reflected in the speeches and dialogues of tragedies.

The Athenian Dionysia festival, dedicated to the god Dionysus, served as a civic and religious occasion where tragedies were performed. This festival brought together citizens to engage in a collective experience with the plays.

Tragedy at the Dionysia Festival was not solely a religious act, but also a significant public event that brought together citizens. The author argues that focusing solely on the religious aspect is misleading.

The large audience available during the Dionysia festival might have been a factor in the popularity of tragedy. It provided playwrights with a platform to showcase their work to a substantial audience.

The financing of tragedies in Athens was the responsibility of wealthy citizens, known as liturgia, who were obligated by law to contribute to public projects. This duty extended to funding theatrical productions.

A wealthy Athenian citizen fulfilling their liturgical obligations could choose to fund a tetralogy, which consisted of three tragedies and one satyr play. This was a way for them to demonstrate their commitment to the state.

The conflict between personal obligations to family (oikos) and civic duties to the city-state (polis), which is a central theme in Athenian tragedies.

In Athenian society, the household (oikos) was primarily associated with women, while the city-state (polis) was associated with men. This reflects the rigid gender roles where men were expected to participate in warfare and women were expected to manage the household and bear children.

Athenian women were considered minors even as widows and elderly, legally under the guardianship of a male. This emphasizes their limited political rights and control over their lives.

Marriage was considered a crucial institution in Athenian society, designed to produce legitimate children to populate the oikos and strengthen the polis. This reflects the intertwining interests of family and city.

The ideal for Athenian women was to remain within the home, only leaving for religious festivals and family funerals. This ideal, though, primarily applied to wealthy women with slaves. Lower-class women often had to work outside the home.

The wealthy citizen who funded a tragedy's production.

The playwright of a tragedy, who also acted and instructed the actors.

The civic nature of Greek tragedies that tackles significant social and political issues of their time, even when using myths.

The unique situation where Greek tragedies used ancient myths to address contemporary issues relevant to 5th-century Athens.

The heroic age, typically set in the 12th century B.C. or earlier, where the tragedies are usually set and feature legendary figures.

The time period in which the play is presented to the audience, in this case, 5th-century Athens.

The way kings are portrayed in tragedies, where the mythical past assumes their right to rule, but the 5th-century audience questions it.

The actors of the Greek tragedies, who were initially paid by the chorēgos, but later by the city.

The practice of using traditional myths to explore important societal issues, which then reflects on the political, cultural, and social aspects of the time.

The choral group that served as a collective voice for commentary and reflections during a tragedy.

A period in ancient Athens when the groundwork for democracy was laid and tragedy emerged as a form of performance. Peisistratus ruled during this time, and Thespis is attributed with the first performance.

A period in Athenian history marked by instability and attempts to find a new form of government after the assassination of Hipparchus, culminating in the exile of Hippias.

The ruler who introduced reforms that laid the groundwork for Athenian democracy by creating ten new tribes based on residence and establishing the concept of 'isonomia,' or equality before the law.

The system of equal rights and legal treatment for all citizens, introduced by Cleisthenes, which marked a significant shift from the rule of privileged families.

The organization of Athenian citizens into ten new tribes, based on location instead of family, which aimed to create a more inclusive and balanced system of representation.

The grouping of 139 demes into 30 groups, based on geographical location, city, coast, or inland.

The reforms introduced by Cleisthenes, which divided Athens into 10 tribes, each with members from various regions, aiming to balance power and prevent domination by any single group.

The period in ancient Athens marked by political and social changes, including the rise of democracy and the flourishing of Greek tragedy, lasting from the 6th to the 5th century BC.

Tragedies used ancient myths, typically set in a heroic age, to address relevant social and political issues of 5th century Athens. This creates a double time frame.

A wealthy citizen in ancient Athens who funded the production of a tetralogy (three tragedies and one satyr play).

The playwright in ancient Athens, responsible for writing and directing the plays, also known for teaching the actors their lines.