Deus ex machina (ˌdeɪəs_ɛks_ˈmækᵻnə,_ˈmɑːk- , ˈdɛ.ʊs ɛks ˈmaːkhɪnaː; plural: dei ex machina; English "god from the machine") is a plot device whereby a seemingly unsolvable problem in a story is suddenly or abruptly resolved by an unexpected and unlikely occurrence. Its function is generally to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending or act as a comedic device.
Deus ex machina is a Latin calque . The term was coined from the conventions of ancient Greek theater, where actors who were playing gods were brought on stage using a machine. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought them up through a trapdoor. Aeschylus introduced the idea and it was used often to resolve the conflict and conclude the drama. The device is associated mostly with Greek tragedy, although it also appeared in comedies.
Aeschylus used the device in his Eumenides but it became an established stage machine with Euripides. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution and some critics claim that Euripides invented it, not Aeschylus. A frequently cited example is Euripides' Medea in which the deus ex machina is a dragon-drawn chariot sent by the sun god Helios, used to convey his granddaughter Medea away from her husband Jason to the safety of Athens. In Alcestis the heroine agrees to give up her own life to spare the life of her husband Admetus. At the end, Heracles appears and seizes Alcestis from Death, restoring her to life and to Admetus.
Aristophanes' play Thesmophoriazusae parodies Euripides' frequent use of the crane by making Euripides himself a character in the play and bringing him on stage by way of the mechane.
The device produced an immediate emotional response in Greek audiences. They would have a feeling of wonder and astonishment at the appearance of the gods, which would often add to the moral effect of the drama.
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Greek tragedy is a form of theatre from Ancient Greece and Greek inhabited Anatolia. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy. Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of Dionysus, and it heavily influenced the theatre of Ancient Rome and the Renaissance. Tragic plots were most often based upon myths from the oral traditions of archaic epics.
Medea (Μήδεια, Mēdeia) is an ancient Greek tragedy written by Euripides. It is based upon the myth of Jason and Medea and was first produced in 431 BC as part of a trilogy; the two other plays have not survived. The plot centers on the actions of Medea, a former princess of the kingdom of Colchis, and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth. Medea takes vengeance on Jason by murdering his new wife as well as her own two sons, after which she escapes to Athens to start a new life.
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Οἰδίπους Τύραννος, oidípoːs týrannos), or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from Oedipus at Colonus, a later play by Sophocles.