Women are also presented as emotional rather than rational in their responses to situations. For all the Chorus’ protests about Medea killing her children, when they actually heard her murdering them, lamented: ‘the miserable mother , cursed, miserable woman’ (1278), but are so effectively overcome with their emotions that they do not stop her, as perhaps men would have. This attitude towards women is complemented in Oedipus, when Jocasta, instead of waiting to learn the truth, murders herself at her assumption.
Another major concern in Greek Drama is the idea about gods and fate. In Medea, there is little intervention of the gods, let alone fate. Medea makes the decision and is responsible for the tragic end which befalls the characters. In contrast, Sophocles’ Oedipus, present us with a completely different outlook. In the play, almost every aspect is seen to be controlled, in order for the prophecy to be completed.
For example, in the play, Oedipus is rescued by a messenger – that same messenger who happens to deliver the news that Oedipus’s father is dead. Of countless people, it was the same person. Furthermore, Oedipus kills his father, protected by five men, on a lonely road. Is it not ironic, or least unlucky, the Oedipus happened to travel on the same road, and meet, out of all the people, his father – who he does not even realise is his father – and kills him? Oedipus then arrives at Thebes, his birth place, and solves a riddle which no person has yet been able to solve; he becomes king and marries his mother. Coincidence – surely not.
Certainly, these examples prove that fate was an all important factor in Greek drama – that once a decision has been fated, it can never be changed.
Greek Drama, particularly tragedy, also carries a prominent underlying theme – Passion over Reason. In Euripides play, Medea is driven by an overwhelming passion to have her revenge that she does not stop to think what she is actually doing. This idea is exaggerated in Oedipus when he blindly pursues his identity, in defiance of warnings from numerous sources including Teiresias, Jocasta and the shepherd. Eventually, this passion over reason leads to his downfall.
The theme is also carried through in Lysistrata, although not to such a prominent extent. In the play, the men are at war because they have refused methods of reasoning, and let their passions take control. However, in the play this idea can also be taken in a different sense. The men can be seen to succumb to their sexual passions, and refuse the reasons of going to war.
In conclusion, we can see that the plays of these legendary writers reflect some major themes and concerns of Greek Drama. Concerns such as the position of women, the outlook on the gods and underlying themes are all major issues present in the plays.
