Abuse of Power Reflected in the Politics and Drama of Ancient Greece Es

Singular Abuse of Power Reflected in the Politics and Drama of Ancient Greece The Greeks accepted that an excess of intensity endowed in one individual was risky. They were the main popularity based society in a wild universe of lords and heads, and they were pleased with their belief system. Thinking about their intense faith in rule by many, its not astounding that numerous Greek shows spin around an individual saint or a lord's tumble from power in view of pride or some other character imperfection. Notable characters in probably the best Greek tragedians' plays delineate this thought. In Aeschylus' Agamemnon, the title character is a returning ruler who acts egotistically and neglectfully. He is killed by his better half and his realm self-destructs. Sophocles' character Oedipus winds up murdering his dad, losing his realm and his significant other and mother, and turning into a visually impaired, meandering outsider for an amazing remainder. Jason in Euripides' Medea abandons his family for another marriage which he expectations will assist his station, h owever his old spouse murders his new wife and his kids, finishing his desires for a sparkling future. The developing topic of a person's shortcoming and resulting ruin bolsters the Greek's vote based framework, where no individual turns out to be excessively amazing. Agamemnon is an extraordinary warrior, yet not an incredible family man. On his way to the Trojan war, he yielded his girl to the divine beings with the goal that his boats would have the option to show up securely and quickly. This is a particularly bad activity in light of the fact that the war is being pursued to recover only one lady, Helen. It is difficult to legitimize murdering one’s own little girl with the goal that another person can recover his significant other. In any case, war is the thing that he is acceptable at, and on the off chance that he didn’t penance his little girl he would let down ... ...ach tumble from their capacity into death or sadness. They had gotten excessively amazing, excessively presumptuous, and excessively driven, thus the divine beings chop them down. This example of rulers tumbling from power on account of shortcomings and character defects is basic in Greek shows. The Greeks were glad for their majority rule framework, and their shows mirrored their conviction that their general public, governed mutually by agents of the individuals, was best in a world brimming with flimsy and perilous governments. The divine beings loathe men who rise excessively high and try to turn out to be excessively incredible. So do the Greeks. Works Cited Aeschylus. Agamemnon. Greek Tragedy. Eds. A. Cook and E. Dolin. Dallas: Spring Publishing, Inc., 1992. Euripedes; Medea; Trans. Rex Warner. The Harcourt Brace Anthology of Drama: Third Edition. Orlando: Harcourt, 2000. Sophocles. Oedipus Rex. New York: Dover Publications, Inc., 1991.