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1 Besides that, Aeschylus's works also have different shapes at tragedian's amount in different period.
2 In the process of the Ancient Greece tragedian's increasement, Aeschylus and Sophocles sequentially played quite an important role.
3 Did Thomas Hardy and Greek Tragedians Share the Same Notion of Fate?
4 Greek dramatist who ranks with Sophocles and Aeschylus as the greatest classical tragedians.
5 Anarchic attitudes were also articulated by tragedians and philosophers in Greece.
6 These include not only rival comic dramatists such as Eupolis and Hermippus and predecessors such as Magnes, Crates and Cratinus, but also tragedians, notably Aeschylus, Sophocles and Euripides, all three of whom are mentioned in e.g. The Frogs.
7 Aristophanes was the equal of these great tragedians in his subtle use of lyrics.
8 According to the accounts given by Pindar and the tragedians, Agamemnon was slain in a bath by his wife alone, after being ensnared by a blanket or a net thrown over him to prevent resistance.
9 Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full.
10 Euripides was the youngest in a group of three great tragedians, who were almost contemporaries: his first play was staged thirteen years after Sophocles' debut, and three years after Aeschylus's Oresteia.
11 and in his ingenious use of plots, centred on motifs that later became standard in Menander's New Comedy, such as the 'recognition scene'. Other tragedians also used recognition scenes, but they were heroic in emphasis, as in Aeschylus's The Libation Bearers, which Euripides parodied in Electra (Euripides was unique among the tragedians in incorporating theatrical criticism in his plays).
12 Many Greek tragedians make use of dramatic irony to bring out the emotion and realism of their characters or plays, but Euripides uses irony to foreshadow events and occasionally amuse his audience.
13 In this instance, Euripides uses irony not only for foreshadowing, but for comic effect also—something few tragedians did.
14 Euripides, however, was more fortunate than the other tragedians, with a second edition of his work surviving, compiled in alphabetical order as if from a set of his collect works;
15 and, possibly, the other two tragedians would appear just as genre-bending as this "restless experimenter", if we possessed more than their "select" editions.
16 He argued that this fusion has not been achieved since the ancient Greek tragedians.
17 The kings were as follows: The Greek tragedians amplified the story, probably drawing inspiration from local legends which glorified the services rendered by Athens to the rulers of Peloponnesus.
18 Iambic pentameter, a common metre in English poetry, is based on a sequence of five iambic feet or iambs, each consisting of a relatively unstressed syllable (here represented with "-" above the syllable) followed by a relatively stressed one (here represented with "/" above the syllable) — "da-DUM" = "- /" : This approach to analyzing and classifying metres originates from Ancient Greek tragedians and poets such as Homer, Pindar, Hesiod, and Sappho.
19 This metric system originated in ancient Greek poetry, and was used by poets such as Pindar and Sappho, and by the great tragedians of Athens.
20 The term “paranoia” first made an appearance during plays of Greek tragedians, and was also used by sufficient individuals such as Plato and Hippocrates.
21 Guildenstern theorizes on the nature of reality, focusing on how an event becomes increasingly real as more people witness it. A troupe of Tragedians arrives and offers the two men a show.
22 He is angry that the pair had not earlier stayed to watch their play because, without an audience, his Tragedians are nothing.
23 The royal couple enters and begins another short scene taken directly from Hamlet: they ask about the duo's encounter with the Prince, and Rosencrantz and Guildenstern inform them about his interest in the Tragedians' production.
24 The Tragedians return and perform their dress rehearsal of The Murder of Gonzago.
25 Rosencrantz does not quite make the connection, but Guildenstern is frightened into a verbal attack on the Tragedians' inability to capture the real essence of death.
26 The pair discovers that the Tragedians are hidden ("impossibly", according to the stage directions) in several barrels on deck.
27 Seconds later, the Tragedians begin to clap and the Player stands up and brushes himself off, revealing the knife to be a theatrical one with a retractable blade.
28 The Tragedians then act out the deaths from the final scene of Hamlet.
29 The three great tragedians of Athens—Aeschylus, Sophocles, and Euripides—wrote a number of dramas that portray episodes from the Trojan War.
30 Richard Ned Lebow terms Thucydides "the last of the tragedians", stating that "Thucydides drew heavily on epic poetry and tragedy to construct his history, which not surprisingly is also constructed as a narrative."