Antigone, Oedipus the King, Electra (Oxford World's by Sophocles

By Sophocles

Love and loyalty, hatred and revenge, worry, deprivation, and political ambition: those are the factors which thrust the characters portrayed in those 3 Sophoclean masterpieces directly to their collision path with catastrophe.

Recognized in his personal day as maybe the best of the Greek tragedians, Sophocles' acceptance has remained undimmed for 2 and a part thousand years. His maximum innovation within the tragic medium used to be his improvement of a relevant tragic determine, confronted with a attempt of will and personality, risking obloquy and dying instead of compromise his or her ideas: it's impressive that Antigone and Electra either have a lady as their intransigent 'hero'. Antigone dies particularly forget her accountability to her family members, Oedipus' selection to avoid wasting his urban ends up in the terrible discovery that he has devoted either incest and parricide, and Electra's unremitting anger at her mom and her lover retains her in servitude and despair.

These brilliant translations mix attractiveness and modernity, and are awesome for his or her lucidity and accuracy. Their sonorous diction, economic system, and sensitivity to the numerous metres and modes of the unique musical supply lead them to both appropriate for examining or theatrical peformance.

Readership: scholars of all collage degrees in drama, classics, comparative literature, theatre reports. A-level `Classical Civilization' scholars.

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Extra resources for Antigone, Oedipus the King, Electra (Oxford World's Classics)

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The critic in search of modern “goodness” and moral didacticism finds this dramatic achievement radically distasteful and goes to work to show that, though it is represented as success, the central action is somehow dispraised by the poet who staged it. (A. Burnett xiii–xv)24 When Orestes splits Aegisthus’ spine with a cleaver and a chorus of maidens “fall into raptures” at his death-convulsions, moderns “are nauseated and sure that Euripides meant them to be so” (A. Burnett 235). But were public-theater audiences basically congregations?

Prosser considers it the culmination of the genre (70). Dollimore, 32 Rampant revenge through The Spanish Tragedy, The Jew of Malta, Titus Andronicus, Hamlet, Antonio’s Revenge, Hoffman, and The Revenger’s Tragedy€– several of them wildly popular€ – breathing a collective sigh of relief when in 1609 The Atheist’s Tragedy provided a Christian standard for a hero’s behavior? By notable gyrations, critics explain away apparently sympathetic avengers. 23 Or critics declare joy in revenge to be ironic, the dramatist lurking in the shadows, smiling ruefully at the futility of it all.

Broude doesn’t explore the implications of applying “revenge” to private, public, and divine retribution. Stretching one word over disparate widespread persistence of poverty and inequality,” loss of confidence in “the welfare state and Britain’s international role”€ – even the Profumo scandal with its Jacobean whiff of a sexually decadent court (166–7). Such a culturally embedded reading is in tune with my approach. 26 Wide interest in equity underlines the era’s concern with fairness. This was a: dynamic time for thinking about equity:€Protestantism and vernacular translations of the Bible gave equity a renewed importance as a religious idea … humanism reexamined Greek and Roman ideas … the conflict between courts of common law and Chancery triggered an ongoing discourse about the nature of law and equity … the civil war gave a new prominence to equity as a term of radical liberty.

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