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The play begins with two middle-aged men stumbling across a hillside wilderness, guided by a pet crow and a pet jackdaw. One of them advises the audience that they are fed up with life in Athens, where people do nothing all day but argue over laws, and they are looking for Tereus, a king who was once metamorphosed into the Hoopoe, for they believe he might help them find a better life ...
The Panathenaic festival was formed in order to honor the goddess Athena who had become the patron of Athens after having a competition with the god Poseidon where they were to win the favor of the Athenian people by offering the people gifts. The festival would also bring unity among the people of Athens. [3]
In Athens Poseidon was an inland god who created the salt-sea Erecthēιs (Ερεχθηίς), "sea of Erechtheus". In Acropolis his cult was superimposed on the cult of the local ancestral figure Erechtheus. [2] In Athens and Asine he was worshipped in the house of the king during the Mycenean period. [35]
Theseus was travelling to Athens when he heard of Sinis. Sinis was a conqueror and a thief. He would kill his victims by tying them to the top of fir trees that he pulled down, then letting them spring back which caused the victim to launched into the air and fall back down to the ground. Theseus killed Sinis in the same manner.
Jakob Ayrer wrote the play Theseus (1618). Racine's Phèdre (1677) features Theseus as well as Hippolytus and the title character Phaedra. Theseus is a prominent character as the Duke of Athens in William Shakespeare's plays, A Midsummer Night's Dream and The Two Noble Kinsmen. Hippolyta also appears in both plays.
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Later, slave women were brought in to play minor female characters and in comedy as well. A theatrical culture flourished in ancient Greece from 700 BC. At its centre was the city-state of Athens , which became a significant cultural, political, and religious place during this period, and the theatre was institutionalised there as part of a ...
The population of Plataea came to Athens as suppliants after the destruction of their city in 427 BC, a few years before the performance of this play. They were allowed to stay in Athens and, exceptionally, they were granted Athenian citizenship. This event may have influenced the play and its reception. [3]