The Role of Dreams in Genesis, Song of Songs, and The Oresteia

The role of dreams in Genesis, Songs, and Orestair When describing the role of dreams in ancient writing, Freud wrote as follows. "They think that dreams are related to the world of supernatural creatures they believe in. Furthermore, they feel that dreams must fulfill the special purpose of the dreamer; they usually predict the future "He continues to explain the discovery of psychiatrists, Gruppe believes that there are two types of dreams in ancient text. . The first category is only affected by the present or the past, it does not play an important role in it.

Chorus plays a central role in the development of The Oresteia. This is a group of actors who responded to the main actions of the show in the form of songs, dances, reading and commented. Because the basic role of the chorus can not be denied, Paula's explanation on the use of the chorus is difficult to refute. Paula 's first comment on the chorus was "an impressive poet' s mouthpiece." Through it, this is the most important purpose of the chorus, as the author can express his views and opinions about every aspect of life; for example, the most important subject of morality, humanity, and religion. In many cases, the chorus is simply a summary of human nature. When Cassandra foresaw the destruction of herself, the leader and the choir felt sympathy with her. But the chorus declares that all these behaviors are happening. Because human power aspirations never will pass away.

The tragedy song not only expresses the emotions caused by that action. It can sometimes constitute actions. Oresteia continues to move from silence to a judicial story, but also from isolated, wild and inexplicable lyrics (eg Cassandra's scream at her first appearance) to finishing the chorus of the script. Incorporating Fury into the framework of the citizenship is also to incorporate their words into the framework of the city's chorus. In that case, the scream or hunting curse turns into lyrics of the community. Therefore, the solution to incorporate Erinyes (now Eumenides) into the plot of Athens' land has taken the form of a change from their open topic and the pursuit of voice (labe labe labe labes phrazou, Eum. 130 ; iou iou popax, 143) End lyrics of celebration and blessings (996ff. and 1014ff.)