කාන්තාව පිළිබඳ තත්කාලීන ග්‍රීක සමාජ දෘෂ්ටිය ට්‍රැජඩි නාට්‍යකරුවන් කෙරෙහි ඇති කළ බලපෑම

Abstract

The origin of Greek drama was liked with the worship of God Dionysius the god of fertility after life and wine. The ritual which later turned in to a religious ceremony came to be organized as a dramatic festival later on. Three types of drama were performed in these festivals. They were Tragedy, Comedy and satire. Among three Tragedies took a prominent place. Among the classical dramatists who lived in 5th century BCE only the plays of Aeschylus, Sophocles and Euripides have survived the test of time. Characters of women have obtained a prominent place in their dramas. The Matriarchal society which existed Greece had turned in to a patriarchal society. By the classical period women had become subordinate to their made counter parts. She had only the powers of giving birth and nurturing children apart from some other insignificant functions. Political, social, economical rights as well as freedom of thought had not been accessible to women. The afore mentioned dramatists, though they based their themes on ancient myths the portrayal of women were given much strength. They brought on to stage characters such as Clytemnestra, Jocasta, Antigoni, furies, Medea, Phaedra. These characters indulged in ruling the state, were independent in thought had political rights and were well respected within the family. They were also tactful, passionate and obstinate characters who stood up for internal conflicts within their minds. Some had even resort to take cruel revenge. They were very much different from the traditional subdued women. This study would be concentrated on selected characters of women found in the tragedies of the Classical period. The aim and objective of the investigation would be to analyze the various factors that had influenced the characters to be so. The reasons would be of the values of contemporary society, politics and philosophical thought that were likely to have influenced them. With those would be compared the forces that would have affected the thoughts of the dramatist with reality that they were facing. Sri Lankan dramatists have been of late compelled to experiment on Greek Tragedy through various interpretations and structures based on vivid angles. This study could make a considerable contribution to the afore mentioned translations and adaptations of this new tendency in Sri Lanka.