document_title: Greek tragedy

question_text: what is the end of a greek play called

question_tokens: what is the end of a greek play called

text: Greek tragedy

text: Etymology[edit]

text: Aristotelian hypothesis[edit]

text: The origin of the word tragedy has been a matter of discussion from ancient times. The primary source of knowledge on the question is the Poetics of Aristotle. Aristotle was able to gather first-hand documentation from theater performance in Attica, which is inaccessible to scholars today. His work is therefore invaluable for the study of ancient tragedy, even if his testimony is open to doubt on some points.

text: According to Aristotle, tragedy evolved from the satyr dithyramb, an Ancient Greek hymn, which was sung along with dancing in honor of Dionysus. The term τραγῳδία, derived from τράγος "goat" and ᾠδή "song", means "song of the goats," referring to the chorus of satyrs. Others suggest that the term came into being when the legendary Thespis (the root for the English word thespian) competed in the first tragic competition for the prize of a goat (hence tragedy).[1]

text: Alexandrian hypothesis[edit]

text: Alexandrian grammarians understood the term τραγῳδία as a "song for the sacrifice of the goat" or "song for the goat", believing the animal was a prize in a race, as attested by Horace's Ars Poetica:

text: "The poet, who first tried his skill in tragic verse for the paltry prize of a goat, soon after exposed to view wild satyrs naked, and attempted raillery with severity, still preserving the gravity of tragedy."

text: Other hypotheses[edit]

text: There are other suggested etymologies for the word tragedy. The Oxford English Dictionary adds to the standard reference to "goat song", that:

text: As to the reason of the name, many theories have been offered, some even disputing the connection with ‘goat’.[2]

text:
J. Winkler proposed that "tragedy" could be derived from the rare word tragizein (τραγίζειν), which refers to "adolescent voice-change" referring to the original singers as "representative of those undergoing social puberty".
[3] D'Amico, on the other hand, suggests that tragoidía does not mean simply "song of the goats", but the characters that made up the satyr chorus of the first Dionysian rites.[4]

text:
Other hypotheses have included an etymology that would define the tragedy as an ode to beer. Jane Ellen Harrison pointed out that Dionysus, god of wine (a drink of the wealthy classes) was actually preceded by Dionysus, god of beer (a drink of the working classes). Athenian beer was obtained from the fermentation of barley, which is tragos in Greek. Thus, it is likely that the term was originally meant to be "odes to spelt," and later on, it was extended to other meanings of the same name. She writes:
"Tragedy I believe to be not the 'goat-song', but the 'harvest-song' of the cereal
tragos, the form of spelt known as 'the goat'."
[5]

text: The evolution of tragedy[edit]

text: Origin of tragedy[edit]

text: The origin of Greek tragedy is one of the unsolved problems of  classical scholarship. Ruth Scodel notes that, due to lack of evidence and doubtful reliability of sources, we know nearly nothing about tragedy's origin.[6] Still, R.P. Winnington-Ingram points out that we can easily trace various influences from other genres.[7] The stories that tragedy deals with stem from epic and lyric poetry, its meter — the iambic trimeter — owed much to the political rhetoric of Solon, and the choral songs' dialect, meter and vocabulary seem to originate in choral lyric. How these have come to be associated with one another remains a mystery however.

text: Speculating on the problem, Scodel writes that:

text: "Three innovations must have taken place for tragedy as we know it to exist. First, somebody created a new kind of performance by combining a speaker with a chorus and putting both speaker and chorus in disguise as characters in a story from legend or history. Second, this performance was made part of the City Dionysia at Athens. Third, regulations defined how it was to be managed and paid for. It is theoretically possible that all these were simultaneous, but it is not likely."[6]

text: From dithyramb to drama[edit]

text: Aristotle writes in the Poetics that, in the beginning, tragedy was an improvisation "by those who led off the dithyramb",[8] which was a hymn in honor of Dionysus. This was brief and burlesque in tone because it contained elements of the Satyr play. Gradually, the language became more serious and the meter changed from trochaic tetrameter to the more prosaic iambic trimeter. In Herodotus Histories[9] and later sources,[10] the lyric poet Arion of Methymna is said to be the inventor of the dithyramb. The dithyramb was originally improvised, but later written down before performance. The Greek chorus of up to 50 men and boys danced and sang in a circle, probably accompanied by an aulos, relating to some event in the life of Dionysus.[11]

text:
Scholars have made a number of suggestions about the way the dithyramb changed into tragedy.
"Somebody, presumably Thespis, decided to combine spoken verse with choral song. ... As tragedy developed, the actors began to interact more with each other, and the role of the chorus became smaller.[6]" Scodell notes that:

text: The Greek word for “actor” is hypocrites, which means “answerer” or “interpreter,” but the word cannot tell us anything about tragedy’s origins, since we do not know when it came into use.[6]

text: Also, Easterling says:

text:
There is ..  much to be said for the view that hypokrites means 'answerer'. He answers the questions of the chorus and so evokes their songs. He answers with a long speech about his own situation or, when he enters as messenger, with a narrative of disastrous events ... Naturally, the transformation of the leader into an actor entailed a dramatization of the
chorus.[11]

text: The first tragedies[edit]

text: Tradition attributes Thespis as the first person to represent a character in a play. This took place in 534 BC during the Dionysia established by Peisistratus.[12] Of his tragedies we know little except that the choir was still formed by Satyrs and that, according to Aristotle, he was the first to win a dramatic contest, and the first (ὑποκριτής) who portrayed a character rather than speaking as himself. Moreover, Themistius, a writer of the 4th century AD, reports that Thespis invented the prologue as well as the spoken part (ῥῆσις). Other playwrights of the time were Choerilus, author of probably one hundred and sixty tragedies (with thirteen victories), and Pratinas of Phlius, author of fifty works, of which thirty-two are satyr plays.[13] We have little record of these works except their titles. At this time, satyr plays were presented alongside tragedies. Pratinas definitely competed with Aeschylus and worked from 499 BC.

text: Another playwright was Phrynichus.[14] Aristophanes sings his praises in his plays: for example, The Wasps presents him as a radical democrat close to Themistocles. Besides introducing dialogues in iambic trimeter and including female characters for the first time, Phrynichus also introduced historical content to the genre of tragedy (e.g. in the Capture of Miletus). His first victory in a contest was in 510 BC. At this time, the organization of plays into trilogies began.

text: Aeschylus: the codification[edit]

text: Aeschylus was to establish the basic rules of tragic drama.[15] He is credited with inventing the trilogy, a series of three tragedies that tell one long story, and introduced the second actor, making the dramatization of a conflict possible. Trilogies were performed in sequence over a full day, sunrise to sunset. At the end of the last play, a satyr play was staged to revive the spirits of the public, possibly depressed by the events of the tragedy.[note 1]

text: In the work of Aeschylus, comparing the first tragedies with those of subsequent years, there is an evolution and enrichment of the proper elements of tragic drama: dialogue, contrasts, and theatrical effects.[16] This is due to the competition in which the older Aeschylus was with other playwrights, especially the young Sophocles, who introduced a third actor, increased plot complexity and developed more human characters, with which the audience could identify.[citation needed]

text: Aeschylus was at least partially receptive to Sophocles' innovations, but remained faithful to a very strict morality and a very intense religiosity. So, for instance, in Aeschylus, Zeus always has the role of ethical thinking and action.[note 2] Musically Aeschylus remains tied to the nomoi, rhythmic and melodic structures developed in the Archaic period.[citation needed]

text: The reforms of Sophocles[edit]

text: Plutarch, in the Life of Cimon, recounts the first triumph of the young talented Sophocles against the famous and hitherto unchallenged Aeschylus.[17] This competition ended in an unusual manner, without the usual draw for the referees, and caused the voluntary exile of Aeschylus to Sicily. Many innovations were introduced by Sophocles, and earned him at least twenty triumphs.[18] He introduced a third actor, increased the number of chorus members to fifteen; he also introduced scenery and the use of scenes.

text: Compared to Aeschylus, the chorus became less important in explaining the plot and there was a greater emphasis on character development and conflict. In Oedipus at Colonus, the chorus repeats "not to be born is best." The events that overwhelm the lives of the heroes are in no way explained or justified, and in this we see the beginning of a painful reflection on the human condition, still current in the contemporary world.[citation needed]

text: The realism of Euripides[edit]

text: The peculiarities that distinguish the Euripidean tragedies from those of the other two playwrights are the search for technical experimentation, and increased attention for feelings, as a mechanism to elaborate the unfolding of tragic events.[19]

text: The experimentation carried out by Euripides in his tragedies can be observed mainly in three aspects that characterize his theater: he turned the prologue into a monologue informing the spectators of the story's background, introduced the deus ex machina and gradually diminished the choir's prominence from the dramatic point of view in favor of a monody sung by the characters.

text: Another novelty of Euripidean drama is represented by the realism with which the playwright portrays his characters' psychological dynamics. The hero described in his tragedies is no longer the resolute character as he appears in the works of Aeschylus and Sophocles, but often an insecure person, troubled by internal conflict.[citation needed]

text: He uses female protagonists of the plays, such as Andromache, Phaedra and Medea, to portray the tormented sensitivity and irrational impulses that collide with the world of reason.[20]

text: Structure[edit]

text: The structure of Greek tragedy is characterized by a set of conventions. The tragedy usually begins with a prologue, (from pro and logos, "preliminary speech") in which one or more characters introduce the drama and explain the background of the ensuing story. The prologue is followed by the parodos(entry of the characters/group) (πάροδος), after which the story unfolds through three or more episodes (ἐπεισόδια, epeisodia). The episodes are interspersed by stasima (στάσιμoν, stasimon), choral interludes explaining or commenting on the situation developing in the play. The tragedy ends with the exodus (ἔξοδος), concluding the story. Some plays do not adhere to this conventional structure. Aeschylus' "The Persians" and "Seven Against Thebes" for example, have no prologue.

text: Language[edit]

text: The Greek dialects used are the Attic dialect for the parts spoken or recited, and a literary Doric dialect for the vocals. For the metre, the spoken parts mainly use the iambic (iambic trimeter), described as the most natural by Aristotle,[8] while the choral parts rely on a variety of meters.  Anapaests were typically used as the chorus or a character moved on or off the stage, and lyric metres were used for the choral odes.  These included Dactylo-epitrites and various Aeolic metres, sometimes interspersed with iambics.  Dochmiacs often appear in passages of extreme emotion.[21]

text: Greek tragedy in dramatic theory[edit]

text: Mimesis and catharsis[edit]

text: As already mentioned, Aristotle wrote the first critical study of the tragedy: the Poetics. He uses the concepts of mimesis (μίμησις, "imitation"), and catharsis or katharsis (κάθαρσις, "cleansing") to explain the function of tragedy. He writes: "Tragedy is, therefore, an imitation (mimēsis) of a noble and complete action [...] which through compassion and fear produces purification of the passions."[22] Whereas mimēsis implies an imitation of human affairs, catharsis means a certain emotional cleansing of the spectator. What exactly is meant by "emotional cleansing" (κάθαρσις των παθήματων) however, remains unclear throughout the work. Although many scholars have attempted to define this element vital to the understanding of Aristotle's Poetics, they remain divided on the subject.[23]

text: Gregory, for instance, argues that there is "a close relationship between tragic katharsis and the transformation of pity and fear [...] into essentially pleasurable emotions in the theater".

text:
Katharsis, on this reading, will denote the overall ethical benefit that accrues from such an intense yet fulfillingly integrated experience. Exempt from the stresses that accompany pity and fear in social life, the audience of tragedy can allow these emotions an uninhibited flow that ... is satisfyingly attuned to its contemplation of the rich human significance of a well-plotted play. A katharsis of this kind is not reducible to either ‘‘purgation’’ or ‘‘purification.’’
[24]

text:
Lear[23]
promotes as "the most sophisticated view of katharsis", the idea that it "provides an education for the emotions." "Tragedy ... provides us with the appropriate objects towards which to feel pity or fear."

text: The three unities[edit]

text: The three Aristotelian unities of drama are the unities of time, place and action.

text:
Unity of action: a play should have one main action that it follows, with no or few subplots.
Unity of place: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place.
Unity of time: the action in a play should take place over no more than 24 hours.

text: Aristotle asserted that a play must be complete and whole, in other words, it must have unity, i.e. a beginning, a middle and an end. The philosopher also asserted that the action of epic poetry and tragedy differ in length, "because in tragedy every effort is made for it to take place in one revolution of the sun, while the epic is unlimited in time."

text: These unities were considered key elements of the theatre until a few centuries ago, although they were not always observed (such as by authors like Shakespeare, Calderón de la Barca and Moliere).

text: Apollonian and Dionysian: the analysis of Nietzsche[edit]

text: Friedrich Nietzsche at the end of the 19th century highlighted the contrast between the two main elements of tragedy: firstly, the Dionysian (the passion that overwhelms the character) and the Apollonian (the purely pictorial imagery of the theatrical spectacle).[25]

text: Contrasted with that is nemesis, the divine punishment that determines the fall or death of the character.

text: In ancient Greek culture, says Nietzsche, "there is a conflict between the plastic arts, namely the Apollonian, and non-plastic art of music, the Dionysian."

text: "Both drives, so different from each other, go side by side, mostly in open discord and opposition, always provoking each other to new, stronger births, in order to perpetuate in themselves the struggle of opposites which is only apparently bridged over by the common word 'art'; until, finally, by a wonderful act of Hellenic 'will,' they seem to pair up and in this pairing, at last, produce Attic Tragedy, which is as much a Dionysian as an Apollonian artwork."[26]

text: The tragic theatre as a mass phenomenon[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2013) (Learn how and when to remove this template message)

text: Greek tragedy as we understand it today, was not merely a show, but rather a collective ritual of the polis.[note 3] It took place in a sacred, consecrated space (the altar of the god stood at the center of the theatre).

text: A spectator of a Greek dramatic performance in the latter half of the fifth century B.C. would find himself seated in the theatron, or koilon,a semi-circular, curved bank of seats, resembling in some respects the closed end of a horseshoe stadium. ... Below him, in the best location in the theatre, is the throne of the priest of Dionysus who presides in a sense over the whole performance. The theatron is large-in fact, the one in Athens, in the Theatre of Dionysus, with its seats banked up on the south slope of the Acropolis, seated approximately 17,000 persons.

text:
The spectator sees before him a level circular area called the orchestra,
which means literally the "dancing place". ... In the centre of the orchestra stands an
altar. A part of the dramatic action will take place in the orchestra, as
well as the manoeuvres and dance figures performed by the Chorus as
they present their odes. To the right and left of the theatron are the
paradoi, which are used not only by the spectators for entering and
leaving the theatre, but also for the entrances and exits of actors and
the Chorus. Directly beyond the circular orchestra lies the skene or scene building. ... In most plays the skene represents the facade of a house, a palace, or a temple.
The skene normally had three doors which served as additional entrances and exits
for the actors. Immediately in front of the scene-building was a level
platform, in the fifth century B.C. in all probability only a single step
above the level of the orchestra. This was called the proskenion or logeion where much of the dramatic action of the plays takes place. Flanking the
proskenion were two projecting wings, the so-called paraskenia. It must
be remembered that the skene, since at first it was only a wooden structure,
was flexible in its form, and was probably modified frequently.[27]

text: The theatre voiced ideas and problems from the democratic, political and cultural life of Athens. Tragedies can discuss use the Greek mythical past as a metaphor for the deep problems of current Athenian society.[28] In such plays, "the poet alludes directly to fifth-century events or developments, but moves them back into the mythological past. In this category [can be placed] Aeschylus’ Persians and Oresteia."[29]

text: In the case of Aeschylus' tragedy The Persians, it was performed in 472 BC in Athens, eight years after the battle of Salamis, when the war with Persia was still in progress. It tells the story of the Persian fleet's defeat at Salamis and how the ghost of former Persian King Darius accuses his son Xerxes of hubris against the Greeks for waging war on them.

text: "The possibility that a reflection of Athens is to be seen in Aeschylus’ Persian mirror could explain why the poet asks his audience to look at Salamis through Persian eyes and elicits great sympathy for the Persians, including Xerxes."[30]

text: Other tragedies avoid references or allusions to 5th century BC events, but "also draw the mythological past into the present."

text: The bulk of the plays in this category are by Euripides. Strains of fifth-century Athenian rhetoric, sketches of political types, and reflections of Athens’ institutions and society lend plays of this category a distinctly fifth-century Athenian flavor. The emphasis in Euripides’ Orestes on political factions, for example, is directly relevant to the Athens of 408 BCE.[30]

text: The performances of the tragedies took place in Athens on the occasion of the Great Dionysia, feasts in honor of Dionysus celebrated in the month of Elaphebolion, towards the end of March.[note 4] It was organized by the State and the eponymous archon, who picked three of the richest citizens to pay for the drama's expenses. In the Athenian democracy wealthy citizens were required to fund public services, a practice known as liturgy.

text: During the Dionysia a contest took place between three plays, chosen by the archon eponymous. This procedure might have been based on a provisional script, each of which had to submit a tetralogy consisting of three tragedies and a satyr play. Each tetralogy was recited in one day, so that the recitation of tragedies lasted three days. The fourth day was dedicated to the staging of five comedies.[note 5] At the end of these three days a jury of ten people chosen by lot from the body of citizens chose the best choir, best actor and best author. At the end of the performances, the judges placed a tablet inscribed with the name of their choice inside an urn, after which five tablets were randomly selected. The person who received the highest amount of votes won. The winning author, actor and choir were thus selected not purely by lot, but chance did play a part.

text: The passion of the Greeks for the tragedy was overwhelming: Athens, said the critics, spent more on theatre than on the fleet. When the cost for the shows became a sensitive subject, an admission fee was instated, alongside the so-called theorikon, a special fund to pay for festival's expenses.[31]

text: The surviving tragedies[edit]

text: Of the many tragedies known to have been written, full-length texts by only three authors, Aeschylus, Sophocles and Euripides, survive.

text: Aeschylus[edit]

text: Seventy-nine titles of Aeschylus' works are known (out of about ninety works),[32] both tragedies and satyr plays. Seven of these have survived, including the only complete trilogy which has come down from antiquity, the Oresteia, and some papyrus fragments:[33]

text:
The Persians (Πέρσαι / Persai), 472 BC;
 Seven Against Thebes (Ἑπτὰ ἐπὶ Θήβας / Hepta epi Thebas), 467 BC;
 Suppliants (Ἱκέτιδες / Hiketides), probably 463 BC;
The trilogy Oresteia (Ὀρέστεια / Oresteia), 458 BC, consisting of:
Agamemnon (Ἀγαμέμνων / Agamemnon);
Choephoroi (Χοηφόροι / Choefοroi);
Furies (Εὐμενίδες / Eumenides);
Prometheus Bound (Προμηθεὺς δεσμώτης / Prometheus desmotes) of uncertain date and considered spurious by some scholars.[note 6]

text: Sophocles[edit]

text: According to Aristophanes of Byzantium, Sophocles wrote 130 plays, 17 of which are spurious; the Suda lexicon counted 123.[34][note 7] Of all Sophocles's tragedies, only seven remain intact:

text:
Ajax (Αἴας / Aias) around 445 BC;
Antigone (Ἀντιγόνη / Antigone), 442 BC;
Women of Trachis (Tραχίνιαι / Trachiniai), date unknown;
Oedipus Rex (Οἰδίπoυς τύραννoς / Oidipous Tyrannos) around 430 BC;
Electra (Ἠλέκτρα / Elektra), date unknown;
Philoctetes (Φιλοκτήτης / Philoktētēs), 409 BC;
Oedipus at Colonus (Oἰδίπoυς ἐπὶ Κολωνῷ / Oidipous epi Kolōnōi), 406 BC.

text: Apart from the plays that have survived in their entirety, we also possess a large part of the satyr play Ἰχνευταί or Trackers, which was found at the beginning of the 20th century on a papyrus containing three-quarters of this work.[35]

text: Euripides[edit]

text: According to the Suda, Euripides wrote either 75 or 92 plays, of which survive eighteen tragedies and the only complete surviving satyr play, the Cyclops.[36]

text: His extant works are:[37]

text:
Alcestis (Ἄλκηστις / Alkestis), 438 BC;
Medea (Μήδεια / Medeia), 431 BC;
Heracleidae (Ἡρακλεῖδαι / Herakleìdai), c. 430 BC;
Hippolytus (Ἱππόλυτος στεφανοφόρος / Ippolytos stephanoforos), 428 BC;
The Trojan Women (Τρώαδες / Troades), 415 BC;
Andromache (Ἀνδρομάχη /Andromache), date unknown;
Hecuba (Ἑκάβη / Hekabe), 423 BC;
Suppliants (Ἱκέτιδες / Hiketides), 414 BC;
Ion (Ἴων / Ion);
Iphigenia in Tauris (Ἰφιγένεια ἡ ἐν Ταύροις / Iphighèneia he en Taurois);
Electra (Ἠλέκτρα / Elektra);
Helen (Ἑλένη / Helene), 412 BC;
Heracles (Ἡρακλῆς μαινόμενος / Herakles mainomenos);
The Phoenician Women (Φοινίσσαι / Phoinissai) circa 408 BC;
Orestes (Ὀρέστης /Orestes), 408 BC;
Iphigenia in Aulis (Ἰφιγένεια ἡ ἐν Αὐλίδι / Iphighèneia h en Aulìdi), 410 BC;
The Bacchae (Βάκχαι / Bakchai), 406 BC;
Cyclops (Κύκλωψ / Kuklops) (satyr);
Rhesus (Ῥῆσος / Resos) (possibly spurious).

text: Notes[edit]

text:
Jump up ^ Some discussion exists on the function of satyr plays, however. See: Griffith (2002).

Jump up ^ An exception is Prometheus Bound, in which Zeus strikes tyrannical attitudes.

Jump up ^ Paul Judges Emilio assumed that it was for this reason that the construction of the theatre needed a certain size to hold all the free citizens of Athens. See his History of Theatre in Italy p. 18.

Jump up ^ The Dionysia was also called Great Dionysia, to distinguish them from rural areas, plays a minor that took place in winter in countries around Athens.

Jump up ^ During the Peloponnesian War the number of comedies was reduced to three, to be performed once a day, at the end of the tetralogies. It has been argued, the Athenians took this decision due to their financial situation at the time.

Jump up ^ The presence of attacks on Zeus casts doubt onto the authorship of Aeschylus's Prometheus Bound.

Jump up ^ Some scholars equate the two sources, assuming an error of Aristophanes, of 17 instead of 7. Cf. Rossi & Nicolai (2006) 93.


document_title: Ellen Harvelle

question_text: when did ellen and jo come back in supernatural

root

text: Ellen Harvelle

text: Plot[edit]

text: An old friend of John Winchester, Ellen Harvelle is the wife of hunter William Anthony Harvelle and the mother of Jo Harvelle. She runs Harvelle's Roadhouse, a saloon and pub frequented by hunters of supernatural creatures. When Sam and Dean Winchester arrive there in the second season episode "Everybody Loves a Clown", a wary Ellen holds them at gunpoint until she learns that they are John's sons.[1] She gives them information regarding a dangerous hunter named Gordon Walker in "Bloodlust",[2] while Sam and Dean later explain to her in "Simon Said" about the demon Azazel's planned war against humanity.[3] Her relationship with the brothers is strained in the episode "No Exit", where she reveals that she believes her husband's death was the result of a mistake made by John Winchester while they were working together on a hunt.[4] However, she admits to Sam in "Hunted" that her husband's death was not John's fault and that she had forgiven him a long time ago. She also does not blame the brothers for Jo's decision to go off hunting by herself.[5]

tag: p

text: The Roadhouse is destroyed by demons in "All Hell Breaks Loose, Part One", and her whereabouts are unknown throughout the episode.[6] It is revealed in "Part Two" that she had left the Roadhouse to run a few errands. She, the Winchesters, and fellow hunter Bobby Singer track Azazel's activities to a cemetery surrounded by a giant devil's trap made of railroad tracks. Unable to step inside the giant symbol without becoming trapped and powerless, Azazel forces the human Jake Talley to do his bidding. The hunters are unable to stop Jake from opening a gateway to Hell in a mausoleum there, and the devil's trap is broken as hundreds of demons are released into the world. As the brothers then kill Azazel, Ellen and Bobby close the gateway.[7]

text: In the fifth season episode "Good God, Y'all!", Ellen reappears with Jo to help fellow hunter Rufus kill demons that have laid siege to a small town. By the time the Winchesters arrive, it appears that Jo, Rufus, and some other townspeople have become demonically possessed. However, Ellen and Dean eventually realize that War, one of the Four Horsemen of the Apocalypse, is making the townspeople see each other as demons. Sam and Dean break War's spell just as Ellen is about to be killed by one of the town's residents.[8] In "Abandon All Hope...", Ellen and Jo once again team up with the brothers to find Lucifer and kill him. Upon their arrival in a seemingly abandoned small town, however, they are attacked by the demon Meg and a pack of hellhounds. Jo is severely mauled, forcing them to barricade themselves inside a hardware store. Knowing that her wounds are fatal and that Lucifer must be stopped, Jo convinces them to build a bomb and to use her as bait for a trap. Ellen stays behind and opens the front doors while the Winchesters escape onto the roof. After Jo dies in her arms, Ellen blows up the building, killing the hellhounds and herself in the process.[9]

text: When the angel Balthazar changes history in the sixth season episode "My Heart Will Go On" so that the Titanic never sank, Ellen is restored to life and is married to Bobby. However, the original timeline is eventually restored.[10]

text: Characterization[edit]

text:
“
Everyone always loved her because they thought she was this kick-ass broad, but to see Ellen go out with pride, dignity, and emotion was necessary.
”

— Ferris on her character's emotional side.[11]

tag: table

text: Series creator Eric Kripke felt that Ellen brought a "maternal energy" to the series, and described the character as "a lioness, which is tough and badass and 'You touch my children, I will kill you.'"[12] Likewise, actress Samantha Ferris described her as a "gun-toting, beer-slinging, bar-owning broad" with a "very maternal core".[13] Ferris also feels that, despite Ellen having gone through a lot in her life, she is cautious rather than jaded, and is "very protective of the things she has in her life", especially her daughter Jo and the Winchesters.[13] Thus, her main concern is Jo's safety, which prompts her to forbid her daughter from going on hunts. When she realizes that she can no longer stop Jo from doing what she wants, Ellen becomes her hunting partner, deciding it is the best way to look after her.[8] By the time of Ellen's final appearance, actress Alona Tal came to view their characters more as equals rather than mother and daughter.[14]

text: Development[edit]

text: Due to the father-son dynamics of the hunting world depicted in the series' first season with the Winchesters, the writers decided to explore a mother-daughter relationship, resulting in the introduction of Ellen and her daughter Jo.[12] The name originated from the writers' decision to base her on the "tough yet emotionally-vulnerable" characters portrayed by actress Ellen Barkin.[15] Ellen was meant to have a "true and honest platonic friendship" with John Winchester, and her backstory of her husband having been killed due to John's mistake was added to the storyline to explain why John never mentioned the Roadhouse to his sons.[15] Ferris auditioned for the role, and feels that she was exactly what they had been looking for. She commented, "I have a certain kind of personality that works specifically with a role, and Ellen is just me on television. They were looking for a tough, strong, yet a little maternal actor, and I struck a chord."[13] Series creator Eric Kripke agrees, feeling that Ferris "really brought the character to life," being "nuanced and complex and tough, yet beautiful and feminine."[12]

text: The writers intended for the character to make only two guest appearances in the third season, which left Ferris "a bit surprised and [disappointed]" at Ellen's lack of involvement.[16] However, her initial return was scrapped due to the 2007–2008 Writers Guild of America strike, and the actress declined a guest appearance in the finale because the lackluster offer "could cost [her] money and work."[17][18][19] The opportunity to return for the fifth season surprised her due to the large time span since her previous appearance. Though she expected her character to eventually die, a devastated Ferris was surprised at how quickly it occurred. However, after speaking to director Phil Sgriccia—he told her that Ellen was the "perfect fodder" for the "kick" that the series needed, and would "go out in a blaze of glory"—the actress came to realize that the character's death made sense.[11] Ellen's last words to Dean—"Kick it in the ass."—was an improvised homage to the late Supernatural executive producer and director Kim Manners, who had died the year before and would often recite the phrase before filming a scene.[11][20]

text: Wanting to "have a surprise in [the new reality]" of the sixth season episode "My Heart Will Go On," the writers considered bringing back various deceased characters. Executive Producer Robert Singer explained that they ultimately decided upon Ellen because "she's a fan favorite" and "in a perfect world, she probably would be a good mate for Bobby."[21]

text: Reception[edit]

text: Critical reception to Ellen has been positive. In their initial appearance, Bryan Enk of UGO felt that the new hunters of the Roadhouse had potential to be the Supernatural equivalent of Buffy the Vampire Slayers's Scooby Gang, comparing Ellen to Buffy's Giles, as she is "the elder who can help guide the boys from a home base and serve as an emotional link to their father, a parental figure without all the melodramatic baggage of the actual father from the first season."[22] Maureen Ryan of Chicago Tribune was "annoyed" at the destruction of the Roadhouse in the second season finale, as she "really loved Ellen."[23] Diana Steenbergen of IGN also favored Ellen from the beginning, believing her to be "a great addition to the show."[24][25] She deemed Ellen "tough and direct, and also female, something the boys don't have a lot of in their lives right now."[24]

text: Steenbergen was happy to see the character return in the fifth season, noting that the show has been missing "smart, tough women who are not evil in general."[26] Tina Charles of TV Guide also welcomed the character back, and enjoyed how Ellen's initial reaction to Dean Winchester in "Good God, Y'all!"—hugging and then slapping him—was "very much in character."[27] Regarding the character's death, Charles noted that "when [Ellen] went down in 'Abandon All Hope[...]' like [she] did, I felt it. [Her death] meant something."[28] Though also happy to see Ellen reappear in the fifth season, Ryan was disappointed at the lack of screentime the character received in "Good God, Y'All!"[29] Commenting on the character's farewells in the fifth season, Ryan noted that Ferris "brought [her] A-game to 'Abandon All Hope…'" She added that "[Ferris fits] perfectly into the 'Supernatural' world because [she understands] that on this show, restraint is everything. It's not necessarily just about what the characters say or do, it's about what they don't say—what they can't find the words for."[30]

text: Having missed Ellen's "maternal influence," Charles was happy to see her return in the sixth season episode "My Heart Will Go On," while Ryan called Ellen's scenes with Bobby in the episode "probably the strongest part of the show."[31] [32] Ellen's reappearance gladdened Steenbergen, who called the character a "force to be reckoned with on the show" and added that "she is still missed."[33]

text: In a poll conducted by SFX for the Top 200 Sexiest Characters In Sci-Fi, Ellen was voted the 77th sexiest female character in fantasy and science fiction film and television.[34]


document_title: Bon Iver discography

question_text: what album is roslyn on by bon iver

question_tokens: what album is roslyn on by bon iver

text: Bon Iver discography

text: Studio albums[edit]

text:
Title
Details
Peak chart positions
Certifications

US
[1]
AUS
[2]
BEL (FL)
[3]
CAN
[4]
DEN
[5]
FRA
[6]
IRE
[7]
NL
[8]
NOR
[9]
NZ
[10]
UK
[11]

For Emma, Forever Ago

Released: February 19, 2008
Label: Jagjaguwar
Formats: LP, CD, digital download

64
32
20
—
33
—
16
61
—
—
42

RIAA: Platinum[12]
ARIA: Platinum[13]
BPI: Gold[14]
IFPI DEN: Gold[15]

Bon Iver, Bon Iver[16][17][18]

Released: June 21, 2011
Label: Jagjaguwar
Formats: LP, CD, digital download

2
2
4
6
1
54
3
15
1
5
4

RIAA: Gold[12]
ARIA: Platinum[13]
BPI: Gold[14]
IFPI DEN: Gold[19]
MC: Gold[20]

22, A Million

Released: September 30, 2016
Label: Jagjaguwar
Formats: LP, CD, digital download

2
2
2
1
3
31
2
8
3
1
2

BPI: Silver[14]

"—" denotes releases that did not chart

text: Extended plays[edit]

text:
Title
Details
Peak chart positions

US
[1]
US
Alt
[21]
US Indie
[22]
US Rock
[23]
DEN
[5]
UK
[11]

Blood Bank

Release date: January 20, 2009
Label: Jagjaguwar
Formats: LP, CD, digital download

16
4
3
6
—
—

iTunes Session

Release date: June 19, 2012
Label: Jagjaguwar
Format: Digital download

87
20
18
36
18
118

"—" denotes releases that did not chart

text: Singles[edit]

text:
Single
Year
Peak chart positions
Album

US
[24]
US
Rock
[25]
BEL (FL)
[3]
DEN
[5]
EUR
[26]
FRA
[6]
IRE
[7]
JPN
[27]
NZ
[10]
UK
[11]

"Skinny Love"
2008
—
—
—
32
—
—
—
—
—
—
For Emma, Forever Ago

"For Emma"
—
—
—
—
—
—
—
—
—
—

"re: Stacks"
—
—
—
—
—
—
—
—
—
—

"Blood Bank"
2009
—
—
—
—
62
54
24
—
—
37
Blood Bank EP

"Calgary"
2011
—
—[A]
—[B]
—
—
—
—
—
—
—
Bon Iver, Bon Iver

"Holocene"
—[C]
—[D]
—[E]
—
—
—
—
39
—
—

"Towers"
2012
—
—
—
—
—
—
—
—
—
—

"Beth/Rest"
—
—
—
—
—
—
—
—
—
—

"22 (OVER S∞∞N)"[F]
2016
—
18
—[G]
—
—
—
—
—
—[H]
—
22, A Million

"10 d E A T h b R E a s T ⚄ ⚄"[I]
—
25
—
—
—
—
—
—
—
—

"33 “GOD”"
—
11
—
—
—
—
—
—
—[J]
—

"—" denotes releases that did not chart

text: Other charted songs[edit]

text:
Single
Year
Peak chart positions
Album

US
Rock
[25]
BEL (FL)
[3]
NZ
[10]
UK
[11]

"I Can't Make You Love Me"
2012
—
—
—
161
"Calgary" single

"Heavenly Father"
2014
—[K]
—
—
—
Wish I Was Here soundtrack

"715 - CRΣΣKS"
2016
21
—
—[L]
—
22, A Million

"29 #Strafford APTS"
23
—
—
—

"666 ʇ"
24
—
—
—

"21 M♢♢N WATER"
35
—
—
—

"8 (circle)"
22
—[M]
—[N]
—

"____45_____"
40
—
—
—

"00000 Million"
36
—
—
—

text: Featured singles[edit]

text:
"Monster" – Kanye West featuring JAY-Z, Rick Ross, Bon Iver & Nicki Minaj (August 27, 2010 – download)
"Lost in the World" – Kanye West featuring Bon Iver (2010)
"Fall Creek Boys Choir" – James Blake & Bon Iver (August 29, 2011)
"Naked" - Travis Scott featuring Justin Vernon (2013)
"I am a God" - Kanye West featuring Justin Vernon (2013)
"Hold My Liquor" - Kanye West featuring Chief Keef & Justin Vernon (2013)
"I'm In It" - Kanye West featuring Assassin & Justin Vernon (2013)
"I Need a Forest Fire" - James Blake featuring Bon Iver (2016)
"Friends" - Francis and the Lights featuring Bon Iver & Kanye West (2016)

tag: ul

text: Selected compilations, soundtracks and guest appearances[edit]

text:
"Brackett, WI" released on Dark Was the Night (February 17, 2009 – 3 x LP & 2 x CD).
"For Emma" (live) released on Live at the World Cafe Vol. 27 (2009 – U.S. CD)
"Skinny Love" (live) released on "Later... Live2 with Jools Holland" (October 12, 2009 – 2 x CD)
"Roslyn" (with St. Vincent) released on The Twilight Saga: New Moon: Original Motion Picture Soundtrack (October 19, 2009 – CD. December 2009 – 2 x LP)
"Flume", "Wisconsin" and "Soft Light" featured on the feature film The Builder by R. Alverson (July 27, 2010 – DVD)
My Beautiful Dark Twisted Fantasy by Kanye West (November 22, 2010 – CD); featuring Bon Iver on six total tracks including "Monster" and "Lost in the World".[31] Writing credits for Justin Vernon and featuring Bon Iver on "Monster" and "Lost in The World".
"The Wolves (Act I & II)" featured on the feature film Rust and Bone (October 29, 2012 - Film)[32]
"The Wolves (Act I & II)" featured on the feature film The Place Beyond the Pines (March 29, 2013 - Film)
"Come Talk To Me" featured on "I'll Scratch Yours" by Peter Gabriel (September 24, 2013)
"Heavenly Father" released on the Wish I Was Here soundtrack (June 20, 2014 - CD/Digital)
"re: stacks" featured in the feature film As Cool As I Am.
"I Need a Forest Fire" features Bon Iver on James Blake's third studio album The Colour in Anything.

text: Promotional videos[edit]

text:
"The Wolves (Acts I & II)" (2008 – directed by Matt Amato, filmed in Fall Creek, Wisconsin, January 2008)
"Take Away Show" – (2008 – Limited 3-track DVD in hand stamped card sleeve, free with copies of For Emma, Forever Ago purchased from Rough Trade Records, November/December 2008)
"Calgary" (2011 – Directed by Andre Durand and Dan Huiting)
"Holocene" (2011 – Directed by Nabil Elderkin, filmed in Iceland)
"Towers" (2012 – Directed by Nabil Elderkin, filmed in Washington state)

text: Related releases[edit]

text:
Night of the Furies Remixed – The Rosebuds (April 2008 – download); featuring Justin Vernon remix of "Get Up, Get Out".
Unmap – Volcano Choir (September 22, 2009 – CD, LP & download); featuring Justin Vernon.
A Decade With Duke – Eau Claire Memorial High Jazz 1 featuring Justin Vernon (December 7, 2009 – U.S.-only 14-track CD & iTunes 8-track download).
Hadestown – Anaïs Mitchell (April 9, 2010 – CD); featuring Justin Vernon.
Relayted by Gayngs (May 2010 – CD, LP); featuring Justin Vernon and Mike Noyce.
"Broken Hearts & Dirty Windows: Songs of John Prine" – by various artists (June 22, 2010 – CD); featuring Justin Vernon.
High Violet by The National (May 11, 2010 – CD, LP download); featuring Justin Vernon.
All We Grow – S. Carey debut album (August 24, 2010 – CD, LP and download); Sean Carey solo album.
"Harbors" – All Tiny Creatures (2011); featuring Justin Vernon.
"Grown Unknown" – Lia Ices (January 25, 2011); song "Daphne" featuring Justin Vernon.
Watch the Throne by Jay-Z & Kanye West (August 12, 2011 – download); writing credits for Justin Vernon on "That's My Bitch", backing vocals on various tracks.

text: Notes[edit]

text:
Jump up ^ "Calgary" did not enter the Rock Songs chart, but peaked at number 42 on the Rock Digital Songs chart.[25]
Jump up ^ "Calgary" did not enter the Flemish Ultratop chart, but peaked at number 31 on the Ultratip chart.[3]
Jump up ^ "Holocene" did not enter the Billboard Hot 100, but peaked at number 18 on the Bubbling Under Hot 100 Singles chart.[24]
Jump up ^ "Holocene" did not enter the Rock Songs chart, but peaked at number 19 on the Rock Digital Songs chart.[25]
Jump up ^ "Holocene" did not enter the Flemish Ultratop chart, but peaked at number 9 on the Ultratip chart.[3]
Jump up ^ "22 (OVER S∞∞N)" was released as a dual single with "10 d E A T h b R E a s T ⚄ ⚄", entitled "22/10".
Jump up ^ "22 (OVER S∞∞N)" did not enter the Flemish Ultratop chart, but peaked at number 22 on the Ultratip chart.[3]
Jump up ^ "22 (OVER S∞∞N)" did not enter the NZ Top 40 Singles Chart, but peaked at number eight on the NZ Heatseekers Singles Chart.[28]
Jump up ^ "10 d E A T h b R E a s T ⚄ ⚄" was released as a dual single with "22 (OVER S∞∞N)", entitled "22/10".
Jump up ^ "33 “GOD”" did not enter the NZ Top 40 Singles Chart, but peaked at number five on the NZ Heatseekers Singles Chart.[29]
Jump up ^ "Heavenly Father" did not enter the Rock Songs chart, but peaked at number 43 on the Rock Digital Songs chart.[25]
Jump up ^ "715 - CRΣΣKS" did not enter the NZ Top 40 Singles Chart, but peaked at number eight on the NZ Heatseekers Singles Chart.[30]
Jump up ^ "8 (circle)" did not enter the Flemish Ultratop chart, but peaked at number 13 on the Ultratip chart.[3]
Jump up ^ "8 (circle)" did not enter the NZ Top 40 Singles Chart, but peaked at number six on the NZ Heatseekers Singles Chart.[30]

tag: ol