<P> 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 . </P> <P> 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 . </P> <P> 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 . </P> <P> 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, 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 . </P>

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