The Three Theban Pays are the absolute pillar stone of ancient Greek drama, and in my opinion they contain two of the best plays ever written: Oedipus the King and Antigone. Oedipus the King- because sometimes life's a real bitch. Fate is unavoidable in ancient Greek Tragedy. Trying to avoid it will only lead to it, and doing nothing will lead you there too. So if a God tells you that you will die at the hands of your son, and that he will then go on to steal your wife, you’d best do nothin The Three Theban Pays are the absolute pillar stone of ancient Greek drama, and in my opinion they contain two of the best plays ever written: Oedipus the King and Antigone. Oedipus the King- because sometimes life's a real bitch.
Fate is unavoidable in ancient Greek Tragedy. Trying to avoid it will only lead to it, and doing nothing will lead you there too. So if a God tells you that you will die at the hands of your son, and that he will then go on to steal your wife, you’d best do nothing because it’s going to happen anyway. Any preventative action you take will only lead to the same ending. So, you’re pretty much screwed. You might as well lie down and accept it.
The God's are mean. But, nope, if you’re like the King of Thebes you’ll leave your infant son for dead instead. Poor Oedipus. He really didn’t have much chance in life. He could do nothing to intervene with his own destiny, mainly because his tragic flaw is his lack of awareness about his true origins. He hears a rumour of the prophecy told to his farther, so he endeavours to stay away from him. But, in doing so he is pushed ever closer to his real farther.
That’s the problem with being abandoned at birth; you just don’t know who is who in the world! There’s some irony in this somewhere.
Indeed, it suggests that no free will exists at all because any exertions of the supposed free will lead to the predetermined fate. So every action has been accounted for already. The intended audience may have been aware of these powers but Oedipus and his farther were hapless in their wake. They had to both learn the hard way.
Oedipus had to recognise it, and in the process he shattered his life: it made him tear out his very eyes. Now that’s real grief. There’s no wonder Aristotle made this his model for the perfect play because this is masterful. Aristotle’s theory can be used to assist the reader in understanding how the plot contributes to the tragedy. I couldn’t have read tragedy without it.
Are published in Penguin Classics. His original poetry and his translations. His works include Oedipus at Thebes: Sopho- des' 'Tragic Hero and His Time; The Heroic Temper: Studies in Sophoclean. Book of Classical Literature, and has also collabo- rated with Robert Fagles on the Odyssey and TheThree Theban Plays.
The tragedy is created, in part, by the complexity of its plot which leads towards the catharsis. According to Aristotle’s Poetics the complexity of the plot is established through reversal, recognition and suffering. A simple plot will only establish one of these; therefore, it will have a limited catharsis.
The reversal (peritpeteia) is the change of a state of affairs to its opposite, such as the reversal of Oedipus’ identity. The recognition (anaghorsis) is achieved through the acquiring of knowledge, like the knowledge Oedipus gains of his birth. Aristotle argues that an effective plot has its anaghorisis bound up with the peritpeteia. This is because it, “carries with it pity or fear” such as these following lines: 'O god- All come true, all busting to light! O light- now let me look my last on you!
I stand revealed at last-” (Lines 1305-9) I hope I didn’t lose anyone or bore them to death with my summary of Poetics. The structure is the key; it is everything in delivering the plot.
If, in the cathartic moment, the action can evoke suffering through a combination of a reversal of circumstances during a brutally stark recognition, then the ultimate delivery of pity and fear will be achieved. Such is the case with Oedipus.
Oedipus’s hamartia, his tragic flaw at the core of his being, is his ignorance, and when the veil is lifted he realises the tragedy of the situation; he realises all too late that fate is unshakable and unconquerable. He has unknowingly committed incest with his mother and murdered his farther, so, like I said, life is a real bitch. Oedipus at Colonus Oedipus has been cursed by fate. After unwittingly killing his farther and marrying his own mother, he was cast out of his own land: he was banished by fate. He is now blind, old and has but only one wish: death.
His sister-daughters (children born of incest with his mother) wish to help in this but his son-brothers want him to return to the land of Thebes alive and well. They have heard a new prophecy concerning his fate, and they have grown to fear it. However, as readers of Oedipus the King learnt, trying to change fate only leads to destiny changing the path; ultimately, the destination will always remain the same: there is no escape. Oedipus is resigned to let the wind take him wherever it may go. He has learnt that he has no power. His past remerges, a dangerous past that the world considers criminal. It is one he tried to avoid, but, again, he could never escape from it.
King Creon, Oedipus’ taciturn brother in law is especially angry at Oedipus for the death of Jocasta hurt him severely. It's very easy to judge others in such a situation, but as Oedipus retorts: 'One thing, answer me just one thing. If, here and now, a man strode up to kill you, you, you self-righteous --- what would you do? Investigate whether the murderer were your farther or deal with him straight off? Well I know, as you love your life, you’d pay the killer back, not hunt around for justification.
' As a sequel to Oedipus the King and a prequel to Antigone this play is very much the middle of The Three Theban Plays. Oddly, it seems to be read far less than the other two plays, which I think is a bit of a shame. Granted, it lacks the autonomy of the others, but it is just as important in understanding the trilogy. And this is the crux of the play; it is Oedipus’ moment to defend himself, and give voice to his actions which he was not responsible for.
At the same time, the plot foreshadows and leads straight into Antigone and explains much about King Creon's choices. In terms of action- I speak of the technical connotations of the word as defined by Aristotle in Poetics- the play is lacking. There is very little in the way of tragic elements.
It was only performed after Sophocles’ death when the glory days of Athens had set. The play was a reminder to its audiences of what had been lost, Oedipus served as a reminder of an age gone by, one that would never return. Reading the play today, I see the same sense of departure. This line for example as spoke by the Chorus: “Then it’s the end of Athens, Athens is no more!' I love reading Ancient Greek drama; it is so well crafted; it is straightforward yet complex; it is sophisticated yet bold and bloody. Sort of odd really when considering the fact that all deaths were off stage, but you still get the idea from it.
I’d love see some modern reproductions of it live. Antigone Antigone is a real heroine; she stands up for what she believes in. She was faced with a strong dilemma.
The law of man, the word of her uncle the king, demands that her brother's body remains unburied in the open with no funeral rights, to be savaged by animals. For King Creon, this is a symbolic justice for a traitor and a rebel, but the laws of the God’s, and the ruling of Antigone’s own mind, demands that she gives him libations (death rights) that all men deserve. She buries the body and faces the consequences of the crime. Download Compaq Presario Cq43 Wifi Driver. Creon: And still you had the gall to break this law? Antigone: Of course I did. It wasn't Zeus, not in the least, who made this proclamation-not to me Nor did that justice, dwelling with the gods beneath the earth, ordain such laws for men. Nor did I think your edict had such force that you, a mere mortal, could override the gods.
So, like I said she’s a heroine, for standing up against tyranny, but she isn’t the play’s tragic hero: it’s clearly King Creon. Who has the right of this situation? It is easy to brand Creon a tyrant, though to do so overlooks the reasoning behind his actions. In punishing Antigone’s dead brother, her rebellious dead brother, he is sending a political message to those that threaten the peace of Thebes. In reality he is being an effective, albeit harsh, ruler.
When his niece breaks his law, he has no choice but to punish her as he would any man. He couldn’t allow her to be an exception to the rule, to do so would be to undermine the law of the land and his politics: it would be to make him a hypocrite. But, to sentence her to death, that’s a little extreme. Thus, Sophocles presents a beautifully conflicted situation. There is no longer a discernible sense of right or wrong, only a thin line of morality that separates a tyrant from a man of justice. And his conviction only gets worse; he refuses to hear what his son and the city (the chorus) think about the situation. He only sees his narrow-minded sense of justice, and ignores the effects it will have on his loved ones.
He has no doubts about his actions, and demonstrates the questionable nature of a cold approach to kingship. The laws of man are not always right. Something Creon simply cannot perceive.
To his mind, he is morally right, a man of good character and a king of honour. Is this not the most dangerous of leaders? Creon: I will take her down some wild, desolate path never trod by men, and wall her up alive in a rocky vault, and set out short rations, just the measure piety demands to keep the entire city free of defilement.
There let her pray to the one god she worships: Death—who knows?—may just reprieveher from death. Or she may learn at last, better late than never, what a waste of breath it is to worship Death. And this is what makes him the play’s tragic hero.
His hamartia, his tragic flaw in Aristotle terms, is his severe lack of judgement, and his inability to perceive the wrongness of his decree. The reversal, recognition and suffering come in the form of the priest Tiresias, an old wise man who speaks to the Gods.
He tells Creon what will happen if he persists down his current path, and after much resistance, Creon finally relents his folly. But it is far too late. The blood has already been shed.
Tragedy has already struck, death has already struck: Creon is left in tatters. It is the hardest of lessons to learn. So what do we learn from this? Greek tragedy was didactical in purpose; it was used as a learning tool, a means of imparting wisdom to the audience. What is Sophocles message? For me it’s quite simple: open your eyes and your heart. Never presume that you are right and an absolute morale authority.
For Creon, his realisation came too late. The result was a sacrifice he will never forget, Antigone's death, and the one most readers seem to sympathise with. But I implore you to look further into the play, and consider the full role of Creon.
To overlook him is to overlook the point of the work: “All men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.” This play is a spectacular piece of work, though I think reading the other two plays helps to elucidate its greatness.
For me, this book is one everybody should read at least once in their lifetime. Oidipous epi Kolōnōi = Oedipus tyrannus coloneus and Antigone, Sophocles Oedipus at Colonus (also Oedipus Coloneus, Ancient Greek: Οἰδίπους ἐπὶ Κολωνῷ, Oidipous epi Kolōnōi) is one of the three Theban plays of the Athenian tragedian Sophocles. It was written shortly before Sophocles' death in 406 BC and produced by his grandson (also called Sophocles) at the Festival of Dionysus in 401 BC. تاریخ نخستین خوانش: بیست و ششم آگوست سال 1974 میلادی عنوان: سه نمایشنامه: اودیپوس شاه، اودیپوس در کولونوس، آن Oidipous epi Kolōnōi = Oedipus tyrannus coloneus and Antigone, Sophocles Oedipus at Colonus (also Oedipus Coloneus, Ancient Greek: Οἰδίπους ἐπὶ Κολωνῷ, Oidipous epi Kolōnōi) is one of the three Theban plays of the Athenian tragedian Sophocles. It was written shortly before Sophocles' death in 406 BC and produced by his grandson (also called Sophocles) at the Festival of Dionysus in 401 BC. تاریخ نخستین خوانش: بیست و ششم آگوست سال 1974 میلادی عنوان: سه نمایشنامه: اودیپوس شاه، اودیپوس در کولونوس، آنتیگون؛ مترجم: محمد سعیدی؛ زیرنظر: احسان یارشاطر؛ تهران، بنگاه ترجمه و نشر کتاب، نخستین بار سال 1334، در 196 ص؛ عنوان: افسانه های تبای؛ اثر: سوفوکلس؛ ترجمه: شاهرخ مسکوب؛ مشخصات نشر: تهران، خوارزمی، 1352، در 376 ص، شابک: ؛ چاپ دوم 1356، چاپ چهارم 1385، موضوع: ادیپ، نمایشنامه، اساطیر یونان، قرن پنج پیش از میلاد افسانه های تبای، اثر ماندگار ادیب مشهور یونانی (آتنی) سوفوکلس هستند. در یادداشتی کوتاه در ابتدای کتاب، چنین آمده: «نمایشنامه های: «ادیپوس شهریار»، «ادیپوس در کلنوس»، و «آنتیگونه»، پیش از این با عنوانهای: «ادیپ شهریار»، «ادیپ در کلنوس»، و «آنتیگون»، جداگانه به چاپ رسیده اند.
این سه نمایشنامه براساس اسطوره ی دودمان لابداسید ها نوشته شده، و دوره ای از سرگذشت افسانه ای خاندان شاهی شهر «تبای» را مینمایانند. موضوع هر سه نمایشنامه، به هم پیوسته، و مراحلی از پایان سرنوشت یک خانواده است.
از همینرو اینبار، هر سه نمایشنامه در یک مجلد، و به نام «افسانه های تبای» به چاپ میرسد.» پایان نقل. This Robert Fagles translation is beautiful--far superior to other versions I've read (Fitts/Fitzgerald or David Greene's, for instance). The language is vibrant and compelling, an important asset for reading drama on the page. If you've not read Sophocles since a forced-and-indifferent slog during high school, I'd encourage you to rediscover it in a better light with this translation. Highly recommended. This was my first time reading all three 'Oedipus plays' in succession, and I appreciated th This Robert Fagles translation is beautiful--far superior to other versions I've read (Fitts/Fitzgerald or David Greene's, for instance).
The language is vibrant and compelling, an important asset for reading drama on the page. If you've not read Sophocles since a forced-and-indifferent slog during high school, I'd encourage you to rediscover it in a better light with this translation. Highly recommended. This was my first time reading all three 'Oedipus plays' in succession, and I appreciated that this volume presents them chronologically by Sophocles' date of composition rather than sequentially according to their place in the Theban myth. It's helpful to think of the three plays not as a 'trilogy,' but rather three separate tellings of the myth. This is how the Greek audiences would have seen them, and this arrangement also serves to better highlight Sophocles' development as a playwright.
The introductory essays by Bernard Knox are also a joy to read for those who are interested, but they're by no means a requirement for the general reader. The plays will stand on their own merit, with or without the introductory material. (At the very least, though, I'd suggest reading the brief summary of the Theban myths on pp. 27-29 for background if you're not already familiar with the story.). Of happiness the crown and chiefest part Is wisdom, to hold the gods in awe. This is the law That, seeing the stricken heart Of pride brought down, We learn when we are old.
I felt an urge to return to the stories that set my mind on fire, way down the tunnels of time, and I chose blindly, or so I thought. Enjoying them even more today than I did the first two dozen times I read them, I nonetheless wondered why these plays. In the middle of reading half a dozen other books, I still f Of happiness the crown and chiefest part Is wisdom, to hold the gods in awe. This is the law That, seeing the stricken heart Of pride brought down, We learn when we are old. I felt an urge to return to the stories that set my mind on fire, way down the tunnels of time, and I chose blindly, or so I thought. Enjoying them even more today than I did the first two dozen times I read them, I nonetheless wondered why these plays.
In the middle of reading half a dozen other books, I still felt restless, and kept circling the bookcases, looking for something more satisfying. If ever there was a time to read, and understand Greek tragedy, it is now, given how the latest political events are shaping our world. In a time fraught with willing blindness, much as Oedipus himself adopts an unwillingness to see the truth before him, these plays are a reminder of the dangers that can ensue when we choose not to see what is so plainly before us.
The three plays combined seem to ask the same question: what is the duty of the citizen in the state: to uphold those laws imposed upon them by one man's invention, in The State, be that man ever so stubborn, or so wrong; or to listen to the heart and uphold the greater laws of Nature, and inherently, Humanity. It is a push-pull of the heart and mind and not so easily resolved as it would seem; and, because we are not gods, the right answer, The Truth, often comes too late, as it did with Creon. Is there a time, ever, in humanity, when the prophecies were heeded in time? Or are we doomed to repeat this process, to the very end of time itself.
Not even Sophocles can offer an answer on that one. *Note: I only read Oedipus Rex and Antigone, not Oedipus at Colonus. There is literally nothing I could tell you about these plays that you don't already know from the thousands of books and movies that have referenced or been influenced by Oedipus ever since it was first performed. Four stars for overall story and dramatic themes, two stars because I didn't find it a very engaging or enjoyable read, averaged out to a nice three. Five stars for literary importance, though. The self-fulfilling prop *Note: I only read Oedipus Rex and Antigone, not Oedipus at Colonus. There is literally nothing I could tell you about these plays that you don't already know from the thousands of books and movies that have referenced or been influenced by Oedipus ever since it was first performed.
Four stars for overall story and dramatic themes, two stars because I didn't find it a very engaging or enjoyable read, averaged out to a nice three. Five stars for literary importance, though. The self-fulfilling prophecy is one of my favourite plot devices, and Oedipus delivers a shockingly good one (and it's more than the fact that he bangs his mum, for those of you who haven't read it). Very complex and interesting. I also love the theme of destiny and free will (which are also explored further in Antigone).
Damn, did those Greeks love to torture their heroes. I thoroughly enjoyed this translation of Sophocles Theban plays. Robert Fagles placed the plays in the order written, rather than in their dramatic chronology. At first I thought this was strange, but I followed his lead and read 'Antigone' first. Now, after reading Oedipus the King and Oedipus at Colonus, I have a much greater feeling for Antigone's suffering and a much better understanding of Creon's perspective as well. Now I'm ready to re-read Antigone better armed with the facts of their re I thoroughly enjoyed this translation of Sophocles Theban plays. Robert Fagles placed the plays in the order written, rather than in their dramatic chronology.
At first I thought this was strange, but I followed his lead and read 'Antigone' first. Now, after reading Oedipus the King and Oedipus at Colonus, I have a much greater feeling for Antigone's suffering and a much better understanding of Creon's perspective as well. Now I'm ready to re-read Antigone better armed with the facts of their respective histories. Beyond that, what can I say about Sophocles? He treats these myths with genius skills, contemporary mastery of his times and a deep understanding of his fellow Athenians. An amazing accomplishment and an important work for any serious student of drama or literature to read deeply and repeatedly.
The Thug perspective: *************** 2015 reread: Everything I said above and then some. The more Greek drama I read, the more I understand the sources and obsessions of western literature. Alternate title: in which everyone stabs or hangs themselves. Seriously, this book features a hell of a lot of suicide. And I get it - finding out that you've been banging your son for the past 15-20 years can't be a pleasant experience. But this just ended up feeling repetitive to me.
The biggest problem with this one for me, I suspect, is that all the action in the story takes place off stage. And I totally understand why that's the case, but it means that all the reader/viewer gets is recaps Alternate title: in which everyone stabs or hangs themselves. Seriously, this book features a hell of a lot of suicide. And I get it - finding out that you've been banging your son for the past 15-20 years can't be a pleasant experience. But this just ended up feeling repetitive to me. The biggest problem with this one for me, I suspect, is that all the action in the story takes place off stage.
And I totally understand why that's the case, but it means that all the reader/viewer gets is recaps of what's been happening off stage, and frankly? Antigone was probably the most interesting of the three plays for me, but even that wasn't the most fascinating subject matter. So I appreciate them for their historical merit and value. But I won't be rereading them in a hurry.
Not over-rated. Fagles' translation is solid, much clearer than his Aeschylus, though I actually prefer the opacity he brought to that text. Of course, that might have been in Aeschylus.
I will never learn Greek well enough to tell. Antigone was the earliest of these plays, though the last within the narrative. I can't help but read it with my Hegel glasses on: the clash between Creon and Antigone is an example of a failed conceptual grasp of the world, in which the claims on us of family/ So. Not over-rated. Fagles' translation is solid, much clearer than his Aeschylus, though I actually prefer the opacity he brought to that text. Of course, that might have been in Aeschylus.
I will never learn Greek well enough to tell. Antigone was the earliest of these plays, though the last within the narrative. I can't help but read it with my Hegel glasses on: the clash between Creon and Antigone is an example of a failed conceptual grasp of the world, in which the claims on us of family/tradition/ancient gods cannot be accommodated by our living in larger, civic communities. Divine law and human law sometimes do not go together, but only a tyrant would insist on hewing to the latter alone. Removing the Hegel glasses, I can see that Creon, to his credit, does change his mind.
But this being Greece, by then it's all too late. The 'lesson', if you like, is simply that one has to exercise excellent judgment in these matters. This question of judgment works through the Oedipus plays, as well; each tyrant (Oedipus in OK, Creon in OC) fails to use good judgment; the good king Theseus does exercise it, and thus Athens rules etc etc. I know we're 'meant' to think that these plays are really about always bowing down to the gods and accepting fate, but that just doesn't square with what actually happens: Athens succeeds because of Theseus's wisdom just as much as his piety; Thebes will eventually fall because of its kings' folly just as much as their impiety. In OK, Oedipus has the chorus's support in his argument with Tiresias, because Oedipus's defeat of the Sphinx acts as proof of his regality; but when he accuses Creon without evidence, they give up on him.
Because by acting without evidence, he shows poor judgment. The best play for reading is easily Oedipus the King, which is horrifying and glorious in equal measure.
Also, if anyone out there knows of a good book on Tiresias, let me know. As for Knox's introductory essays, they're not particularly thrilling.
There's too much plot-summary (good news for freshmen, I guess), and his insights are so skewed ('these plays aren't depressing! They're about how we do have some control over our lives!' ) that it's hard to take him seriously. But they're still worth reading.
So, what did we learn? Circle one 1. Embrace any prophecy, as fighting against it will only make it come true 2. Always give way to anyone playing chicken with you on the road 3. Stay in school and pay special attention to 'riddles,' because only smart people end up with a good career as a king 4. Don't marry the widows of any king, unless you have her DNA checked 5.
If you accidentally marry your mother, don't tell her because she will hang herself 6. If you have two brothers, don't break the law in So, what did we learn?
Circle one 1. Embrace any prophecy, as fighting against it will only make it come true 2. Always give way to anyone playing chicken with you on the road 3.
Stay in school and pay special attention to 'riddles,' because only smart people end up with a good career as a king 4. Don't marry the widows of any king, unless you have her DNA checked 5. If you accidentally marry your mother, don't tell her because she will hang herself 6. If you have two brothers, don't break the law in trying to get them both buried because if you do, eventually you will hang yourself.
The feminist inside of me applauds Antigone (pronounced n-TIG-uh-nee) breaking the law, and not being afraid to admit it later--saying there is a 'higher power' than the authority of the court. Favorite regular part: After Oedipus' 'mother/wife' hangs herself. Oedipus seized a pin from her dress and blinded himself with it. (If it was a broach pin, that must have really hurt because those pins are huge and usually rusty.). Sophocles I: Oedipus The King; Oedipus at Colonus; Antigone (The Complete Greek Tragedies) published: 1954 (my copy is a 33rd printing from 1989) format: 206 page Paperback acquired: May 30 from a Half-Price Books read: July 3-4 rating: 4 Each play had a different translator - (circa 429 bce) - translated by c1942 - (written by 406 bce, performed 401 bce) - translated by c1941 - (by 441 bce) - translated by 42. Sophocles I: Oedipus The King; Oedipus at Colonus; Antigone (The Complete Greek Tragedies) published: 1954 (my copy is a 33rd printing from 1989) format: 206 page Paperback acquired: May 30 from a Half-Price Books read: July 3-4 rating: 4½ Each play had a different translator - (circa 429 bce) - translated by c1942 - (written by 406 bce, performed 401 bce) - translated by c1941 - (by 441 bce) - translated by c1954 Greek tragedy can fun.
After all those rigid plays, that is the lesson of Sophocles. The drama within the dialogue is always dynamic, and sometimes really terrific. I had to really get in the mood to enjoy reading a play by Aeschylus, otherwise I might be bored by the long dull choral dialogues. These three plays are all different and all from different points in Sophocles career, but they each drew me on their own.
Although they are all on the same story line, they were not written together, or in story order. Was first, and was written when Sophocles was still trying to make a name for himself (vs Aeschylus). Came next, when Sophocles was well established. Was apparently written just before Sophocles death, at about age 90. It wasn't performed until several years after his death. All this seems to show in the plays.
Having the sense of an author trying to make a striking impression. Carrying the sense of a master playwright with it's dramatic set ups. Is slower, and more reflective. And two of the main characters are elderly. This is simply a striking play, from the opening lines.
In line 8, Oedipus characterizes himself to children suppliants as 'I Oedipus who all men call the Great.' It shows his confidence, but, as Thebes is in the midst of a suffering famine, it also shows outrageous arrogance - it's the only clear sing of this in the play. Cities Skylines Mods Traffic Manager Download. He is otherwise a noble character throughout.
Of course he doesn't know what's coming. In the course of the play he will learn, slowly, his own tragic story - that a man he had killed in a highway fight was his father, and that his wife, and mother of his four children is also his own mother. As each person resists giving him yet another dreadful piece of information, he gets angry at them, threatening them in disbelief at their hesitancy.
His denial lasts longer than that of Jocasta, his mother/wife, who leaves the play in dramatic fashion herself, first trying to stop the information flow, and then giving Oedipus a cryptic goodbye. And even as his awareness gets worse and worse, he cannot step out of character, the show-off i-do-everything-right ruler, but must continue to pursue the truth to it bitter fullness. A mature play in many ways. It's slow, thoughtful, has much ambiguity, and has many touching moments.
The opening scene is memorable, where a blind Oedipus moves through the wilderness only with the close guidance of his daughter, Antigone. Who will be kind to Oedipus this evening And give the wanderer charity? Though he ask little and receive still less, It is sufficient: Suffering and time, Vast time, have been instructors in contentment, Which kingliness teaches too. But now, child, If you can see a place we might rest.It's interesting to see Creon, Jocasta's brother, turn bad.
But it's more interesting to see Oedipus have a bitter side to him. He maintains his noble character, and that is the point of the play—he is hero because he never did anything bad intentionally, and yet he bears full punishment. But he also makes some interesting calls, essentially setting up a future war between his Thebes and Athens. And, Antigone is striking too.
She saves Oedipus critically several times through her advice or her speech. While sacrificing herself and maintaining real affection for Oedipus, she is also shrewd, stepping forward boldly and changing the atmosphere. This play takes place immediately after what covered in. Polyneices has attacked Thebes with his Argive army, and been repulsed by his brother Eteocles.
Both are sons of Oedipus and they have killed each other in the battle. Creon is now ruler. He is a stiff ruler.
Despite much warning, he refuses to listen to popular opinion, instead threatening it to silence (a clear political point is being made). But the problems start when he refuses to give his attacker Polyneices a proper burial. He threatens death on anyone who does try to bury him. Antigone openly defies this rule, setting up the play's drama. It's an extreme tragedy with a hamlet-like ending where practically everyone dies. I felt there was less here than in the other two plays, but yet there is still a lot.
And it's still fun. Overall I don't imagine citizens of Thebes liked these plays. There is an unspoken sense of noble Athen poking fun its neighbor throughout.
But, as it's not Athens, they give the playwright freedom to work in otherwise dangerous political points - and those are clearly there. But, mostly, these were fun plays. They don't need to be read as a trilogy. They were not meant that way, despite the plot-consistency.
Each is independent. There are four more plays by Sophocles. I'm actually going to save them and start Euripides next. Because I think Sophocles is something to look forward to and that might push me through the next bunch. As always, I am torn among the many translations. I have this Penguin edition, translated by Robert Fagles (1982), and the older (1949) translation by Dudley Fitts & Robert Fitzgerald. Fagles' translation reads well, but so does Fitzgerald's.
Fitzgerald breaks down the play to scenes, which I like--even though these are short plays, I find Fagles' no-break translation rather tiresome. (I have no idea which style is more faithful to the ancient Greek original.) Sometimes the two translations As always, I am torn among the many translations. I have this Penguin edition, translated by Robert Fagles (1982), and the older (1949) translation by Dudley Fitts & Robert Fitzgerald. Fagles' translation reads well, but so does Fitzgerald's.
Fitzgerald breaks down the play to scenes, which I like--even though these are short plays, I find Fagles' no-break translation rather tiresome. (I have no idea which style is more faithful to the ancient Greek original.) Sometimes the two translations are so quite different that I wonder if they come from the same original (perhaps there are variations?) Here is the same speech by Antigone: Fitzgerald I dared.
It was not God's proclamation. That final Justice That rules the world below makes no such laws. Your edict, King, was strong, But all your strength is weakness itself against The immortal unrecorded laws of God.
They are not merely now: they were, and shall be, Operative for ever, beyond man utterly. I knew I must die, even without your decree: I am only mortal.
And if I must die Now, before it is my time to die, Surely this is no hardship: can anyone Living, as I live, with evil all about me, Think Death less than a friend? Fagles Of course I did. It wasn't Zeus, not in the least, who made this proclamation--not to me. Nor did that Justice, dwelling with the gods beneath the earth, ordain such laws for men. Nor did I think your edict had such force that you, a mere mortal, could override the gods, the great unwritten, unshakable traditions. They are alive, not just today or yesterday: they live forever, from the first of time, and no one knows when they first saw the light.
These laws--I was not about to break them, not out of fear of some man's wounded pride, and face the retribution of the gods. Die I must, I've known it all my life-- how could I keep from knowing?--even without your death-sentence ringing in my ears. And if I am to die before my time I consider that a gain.
Who on earth, alive in the midst of so much grief as I, could fail to find his death a rich reward? As you see, Fagles tends to be wordy. And where did the line 'not out of fear of some man's wounded pride' come from? (I sorta like it, however. Ah, the two equally proud characters--Antigone and Creon. I can see both sides' points.) These plays were offered at events to honor Dionysus, the god of joy and entertainment. I find it interesting that tragedies were the main part of this theatrical event.
Apparently, ancient Greeks knew the positive, cleansing effect of a good cry. Star missing because I don't know Greek, and this translation is older than I am.
I read Antigone in trans as a college freshman, taught Oedipus a couple dozen times, always applicable to the current epidemic--AIDS/ HIV, or whatever, first scene, citizens prostrate before the ruler who brought on the disaster, unbenownst. NOW we have a BENOWNST disaster-bringer to prostrate ourselves before--the Swamp-Drainer with his Cabinet of Swamp Monsters. And the Congress, the Full Swamp, has just eliminat Star missing because I don't know Greek, and this translation is older than I am. I read Antigone in trans as a college freshman, taught Oedipus a couple dozen times, always applicable to the current epidemic--AIDS/ HIV, or whatever, first scene, citizens prostrate before the ruler who brought on the disaster, unbenownst. NOW we have a BENOWNST disaster-bringer to prostrate ourselves before--the Swamp-Drainer with his Cabinet of Swamp Monsters.
And the Congress, the Full Swamp, has just eliminated the non-partisan Ethics Committee, made it part of the partisan Congressional Ethics, as my physician friend has said, 'Didn't take 'em long to hook up the sewer system to the swamp.' But I still don't know what to think of reading lit in trans., which I usually avoid. Just haven't committed to learn ancient Greek. I've read a bit of Seneca's Oedipus, but. And here's a translation from 1939.
Classic, but not classical, what? I was surprised I didn't like this as well as the others, simply because it was more elegant in style and therefore marginally harder to read for meaning. Antigone didn't come across on a quick read with the raw spirit I perceived in the other plays. What I did love about this translation: the lessons taught to Creon by Tiresius and even by his own son Haemon were so elegant and expansive: 'It's no disgrace for a man, even a wise man, to learn many things and not to be too rigid. You've seen trees I was surprised I didn't like this as well as the others, simply because it was more elegant in style and therefore marginally harder to read for meaning.
Antigone didn't come across on a quick read with the raw spirit I perceived in the other plays. What I did love about this translation: the lessons taught to Creon by Tiresius and even by his own son Haemon were so elegant and expansive: 'It's no disgrace for a man, even a wise man, to learn many things and not to be too rigid. You've seen trees by a raging winter torrent, how many sway with the flood and salvage every twig, but not the stubborn--they're ripped out, roots and all. Bend or break.' The Chinese have a similar saying. It's good advice to anyone, though one recognizes there is a difference between stubbornness and enlightened principle, which should not be comprised with easy solutions.
I loved Haemon telling his father: 'What a splendid king you'd make of a desert island--you and yourself alone.' Later, Tiresius tries again to warm Creon, 'Take these things to heart, my son, I warn you.Stubbornness brands you for stupidity--pride is a crime.
No, yield to the dead! Never stab a fighter when he's down. Where's the glory, killing the dead twice over?' And the Chorus at the end, telling us 'Wisdom is by far the greatest part of joy, and reverence toward the gods must be safeguarded. The mighty words of the proud are paid in full with mighty blows of fate, and at long last those blows will teach us wisdom.' We'll learn it easy or learn it hard, but wisdom comes.
At what price? This edition tells us slightly more about why Creon hates Polynices but not why Polynices did what he did.
Polynices returned to Thebes 'consumed with one desire--to burn them roof to roots.' While his brother Eteocles is 'crowned with a hero's honors.'
This play is so brilliant, it is difficult to imagine someone could ruin it. This translation by Robert Fagles is masterly in the old style, and the Introduction and Notes are authored by Bernard Knox. Did not read the other plays at this time. Most English translations of, say, the Greek New Testament are shepherded by a conviction that the original words had divine inspiration and so are best rendered verbatim wherever possible.
At the same time, there generally is a concession (for good or ill) to the reality that if what results is not sufficiently lofty and reverential in tone, the faithful are unlikely to accept it. Attempts at classical Greek drama and poetry tend to be guided by rather different considerations: The translator's Most English translations of, say, the Greek New Testament are shepherded by a conviction that the original words had divine inspiration and so are best rendered verbatim wherever possible. At the same time, there generally is a concession (for good or ill) to the reality that if what results is not sufficiently lofty and reverential in tone, the faithful are unlikely to accept it. Attempts at classical Greek drama and poetry tend to be guided by rather different considerations: The translator's audience may consist of fellow scholars, reluctant undergraduate students, or an adventurous minority of the general public; and each of these groups will have particular demands.
Too often work thus emerges which is precise but lifeless, or loosely interpreted to conform to the structures of 19th-century-style Anglo-American poetry, or so liberally seasoned with present-day colloquialisms as to jar the reader repeatedly out of the proper period and setting. For the most part, Paul Roche navigates skilfully through these hazards in trying his hand at Sophocles's Oedipus trilogy, and has produced a rendition that is readable, yet preserves classical distinctiveness.
Once or twice in the first play a turn of phrase does feel awkwardly modern, but such flashes are rare and soon either disappear or blend into the overall arc of the stories. That Roche is himself a poet clearly enriched the labour, and his reflections, in the Introduction, on the essence of poetry and the challenge of its transmission across lines of language, era, and culture border on the profound. Poetry lies somewhere between meaning and music, sense and sound.,' he writes; and in this region he attempts to set Sophocles's work. He echoes the meter of the original without imitating it exactly, and preserves more of the Greek dramatic structure (complete with `strophes' and `antistrophes') than do many other translations available.
Yet Roche remains mindful that this is also a PLAY, and manages the formalized dialogue with an eye (or ear) to the possibility of his version itself turning up on stage. He also provides an afterword outlining principles to guide such performance. The reader of this translation whose only prior encounter with the Oedipus legend was some now-vaguely-remembered lesson in school, or perhaps Edith Hamilton's summary, may be surprised at how effectively one is drawn in. Roche, like Sophocles before him, succeeds in bringing the remote and legendary close enough to touch, while allowing it to remain sufficiently mysterious to stir the imagination. I had to read Antigone, the third play in The Oedipus Cycle, in the 9th or 10th grade.
The teacher filled us in about the occurrences in Oedipus Rex, but our starting point was only with Antigone. My memory fails to recall which grade exactly, but I certainly remember how my English teacher made it deathly boring. I can't remember which teacher, but it still clings to my memory his or her words about Oedipus' 'fatal flaw.' This was repeated over and over I guess to sound like an expert. One of t I had to read Antigone, the third play in The Oedipus Cycle, in the 9th or 10th grade. The teacher filled us in about the occurrences in Oedipus Rex, but our starting point was only with Antigone. My memory fails to recall which grade exactly, but I certainly remember how my English teacher made it deathly boring.
I can't remember which teacher, but it still clings to my memory his or her words about Oedipus' 'fatal flaw.' This was repeated over and over I guess to sound like an expert. One of the fatal flaws for me in studying Sophocles' masterpieces was to present the last of the trilogy in the very dry teaching mode of my teacher. Great literature was ruined. I couldn't for the life of me at the time believe what the teacher was saying that Antigone was classic literature.
I was squirming in the seat reading it and hating every class lecture, reading, and discussion. I don't know if reading the entire Oedipus Cycle at the time would have helped me to have a different view or not. Thirty years later I have evolved in taste.
It started happening in the 12th grade. It takes a special teacher to know how to bring alive antique and ancient literature, and Mr. Harwood did with Hamlet in his advanced English class. Following a school year in his class, even sitting through the classes of stodgy old English professors in college wasn't so bad after 12th grade English, but it took me three decades to come back to Sophocles, and I'm very happy I did. I should have come back sooner since my used copy has been on the shelf at least 20 years.
This is a marvelous translation. The language runs smooth and elegantly. The drama and the desire to know what will happen next made this a page turner for me.
2500 years later The Oedipus Cycle holds up very well. Although this is Greek tragedy there are a few flashes of humor, especially in Antigone. This translation includes a commentary following Oedipus at Colonus and Antigone and also an index of names.
Was the only play I read out of this anthology of Sophoclean tragedies. It was surprisingly quite amusing. I thought it would be more.
Well, tragic really. The ugly sobbing kind of tragedy - Titanic style.
But instead it read like a soap opera. The drama scale was beyond imaginable. We had people dying and crying left, right and centre. It was fantastic! The writing was good too.
It had the feel of a ancient Shakespearean play but was much more 'readable'. There was no need to have was the only play I read out of this anthology of Sophoclean tragedies. It was surprisingly quite amusing. I thought it would be more. Well, tragic really.
The ugly sobbing kind of tragedy - Titanic style. But instead it read like a soap opera.
The drama scale was beyond imaginable. We had people dying and crying left, right and centre. It was fantastic! The writing was good too. It had the feel of a ancient Shakespearean play but was much more 'readable'. There was no need to have a dictionary sitting on your lap as you read it.
The wording was sophisticated but got the point across clearly at the same time. I'd recommend it to anyone wanting to get a better understanding of plays - this one is supposedly the best tragedy ever written - or wants to know more about ancient Greek literature. Sophocles (born c. 496 bc, Colonus, near Athens [Greece]—died 406, Athens), (Greek:; German editions:, Russian:, French editions: ) was an ancient Greek tragedy playwright. Not many things are known about his life other than that he was wealthy, well educated and wrote about one hundred and twenty three plays (of which few are extant). One of his best known plays Sophocles (born c.
496 bc, Colonus, near Athens [Greece]—died 406, Athens), (Greek:; German editions:, Russian:, French editions: ) was an ancient Greek tragedy playwright. Not many things are known about his life other than that he was wealthy, well educated and wrote about one hundred and twenty three plays (of which few are extant). One of his best known plays is 'Oedipus the King' (Oedipus Rex). “If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action.
In fact, we expect to be shown that he is in some way responsible for what happens to him.” —.
Bookmark Author Subjects;; Summary The two volumes of essays and translations of the tragedies of Sophocles and Euripides are the accumulation of some twelve years' of producing ancient plays for contemporary audiences and actors. The play-texts themselves, therefore, are intended to be accessible and speakable, in the first instance, and to convey as much of the flavour of the original Greek as any translation is able. They are there to be used.
The style, though personal to a degree, is an attempt to maintain the tone and t. Wikipedia Read associated article: Bookmark Work ID 5910070.