Oedipus the King • Antigone • Electra • Ajax Trachinian Women • Philoctetes • Oedipus at Colonus The greatest of the Greek tragedians, Sophocles wrote over 120 plays, surpassing his older contemporary Aeschylus and the younger Euripides in literary output as well as in the number of prizes awarded his works. Only the seven plays in this volume have survived intact. From the complex drama of Antigone, the heroine willing to sacrifice life and love for a principle, to the mythic doom embodied by Oedipus, the uncommonly good man brought down by the gods, Sophocles possessed a tragic vision that, in Matthew Arnold’s phrase, “saw life steadily and saw it whole.” This one-volume paperback edition of Sophocles’ complete works is a revised and modernized version of the famous Jebb translation, which has been called “the most carefully wrought prose version of Sophocles in English.”* *Moses Hadas
Sophocles I contains the plays “Antigone,” translated by Elizabeth Wyckoff; “Oedipus the King,” translated by David Grene; and “Oedipus at Colonus,” translated by Robert Fitzgerald. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
In this wide-ranging and stimulating book, a leading authority on the history of medicine and science presents convincing evidence that Dutch commerce, not religion, inspired the rise of science in the sixteenth and seventeenth centuries. Harold Cook scrutinizes a wealth of historical documents relating to the study of medicine and natural history in the Netherlands, Europe, Brazil, South Africa, and Asia during this era, and his conclusions are fresh and exciting. He uncovers direct links between the rise of trade and commerce in the Dutch Empire and the flourishing of scientific investigation. Cook argues that engaging in commerce changed the thinking of Dutch citizens, leading to a new emphasis on such values as objectivity, accumulation, and description. The preference for accurate information that accompanied the rise of commerce also laid the groundwork for the rise of science globally, wherever the Dutch engaged in trade. Medicine and natural history were fundamental aspects of this new science, as reflected in the development of gardens for both pleasure and botanical study, anatomical theatres, curiosity cabinets, and richly illustrated books about nature. Sweeping in scope and original in its insights, this book revises previous understandings of the history of science and ideas.
A collection that includes the complete texts of Sophocles' Oedipus the King, Oedipus at Colonus, and Antigone—translated by Paul Roche. Revising and updating his classic 1958 translation, Paul Roche captures the dramatic power and intensity, the subtleties of meaning, and the explosive emotions of Sophocles' great Theban trilogy. In vivid, poetic language, he presents the timeless story of a noble family moving toward catastrophe, dragged down from wealth and power by pride, cursed with incest, suicide, and murder. William Carlos Williams called the Roche translation of Antigone “brilliantly successful...as spirited and powerful as the original must have been.” Roche's versions of the Oedipus plays are both stunning and sympathetic, awe-inspiring and intimate, and bring the elemental myths of ancient Greece to life for modern readers. Included in this edition are a glossary of classical names, notes on pronunciation and meter, suggestions for production and acting, and historical material, which offer the reader a greater appreciation of Sophocles' dramatic genius.
With new translations and a new afterword The full texts of the seven extant plays of Sophocles with Paul Roche's revised and updated translations of the Oedipus cycle, and all-new translations of the remaining plays.
Sophocles ... created a masterpiece that in the eyes of posterity has overshadowed every other achievement in the field of ancient drama ...' With these words Dr Dawe sets out the importance of Oedipus Rex. He investigates why it has for so long fascinated the human mind, devoting his introduction to an examination of the story and to the technique employed by Sophocles to unfold the plot. In this revised edition he also argues for the spurious nature of the play's ending. As with the first edition, the commentary deals authoritatively with problems of language and expression, but is enhanced by reflections on the text developed in the twenty years since the publication of that first edition. Written for classical scholars and students, this is a welcome revised edition of a bestselling text.
Sophocles (495-406 B.C.E.), the Greek tragic poet, was born at Colonus in the neighborhood of Athens. The time of his death is fixed by the allusions to it in the Frogs of Aristophanes and in the Muses, which were both produced in 405 B.C., shortly before the capture of Athens. The event of Sophocles life most fully authenticated is his appointment at the age of fifty-five as one of the generals who served with Pericles. The seven extant tragedies probably owe their preservation to some selection made for educational purposes in Alexandrian times. No example of the poet's earliest manner has come down to us. His minor poems, elegies, paeans, etc., have all perished; and of his hundred and odd dramas only seven remain: Antigone, Ajax, Oedipus Rex, Electra, The Trachinian Women, Philoctetes and Oedipus at Colonus. The final estimate of Sophoclean tragedy must largely depend upon the mode in which his treatment of destiny is conceived. Sophocles is often praised for skilful construction. But the secret of his skill depends in large measure on the profound way in which the central situation in each of his fables has been conceived and felt. Concentration is the distinguishing note of tragedy, and it is by greater concentration that Sophocles is distinguished from other tragic poets.
One of the most famous poets from classical antiquity, Sophocles was one of three important ancient Greek tragedians, the others being Aeschylus and Euripides. Writing during the 5th century BC, Sophocles created some one hundred and twenty three plays during his lifetime, of which only seven have survived in their entirety. Included in this edition are those seven complete plays, as translated by Lewis Campbell and include the following: Antigone, Aias (Ajax), Oedipus the King, Electra, The Trachinian Maidens (The Trachiniae), Philoctetes, and Oedipus at Colonus. These classic tragedies are essential reading and their influence on modern literature and drama is a profound one.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. The volume brings together four major works by one of the greatest classical dramarists: Electra, translated by Anne Carson and Michael Shaw, a gripping story of revenge, manipulation, and the often tense conflict of the human spirit; Aias, translated by Herbert Golder and Richard Pevear, an account of the heroic suicide of the Trojan war hero better known as Ajax; Philoctetes, translated by Carl Phillips and Diskin Clay, a morally complex and penetrating play about the conflict between personal integrity and public duty; and The Women of Trachis, translated by C.K. Williams and Gregory W. Dickerson, an urgent tale of mutability in a universe of precipitous change. These four tragedies were originally available as single volumes. This new volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.
Sophocles stands as one of the greatest dramatists of all time, influencing a vast array of artists and thinkers over the centuries. Disturbing and unrelenting, his tragedies portray what Matthew Arnold referred to as 'the turbid ebb and flow of human misery', allowing the audience to stand on the verge of the abyss and confront the waste and disorder of human existence. The heroic myths reinterpreted in the plays locate them within a world in which the extremes of human emotion in its darkest hours can be freely explored. It is, however, the creativity of Sophocles' plays which prevents them from descending into unbridled chaos or despair. The unflinching engagement with heartrending suffering reveals strengths held within the carefully crafted poetry, lyricism, and movement. There is, as Taplin writes, 'no blinking, no evasion, no palliative. ... Out of apparently meaningless suffering comes meaning and form.' This original and distinctive verse translation of four of Sophocles' plays conveys the vitality of his poetry and the vigour of the plays as performed showpieces, encouraging the reader to relish the sound of the spoken verse and the potential for song within the lyrics. Each play is accompanied by an introduction and substantial notes on points of fact and interpretation, drawing on the translator's many years of lecturing on Sophocles at the University of Oxford. Oedipus the King, often regarded as the archetypal tragedy, follows Oedipus, the 'man of sorrow', who has unwittingly chosen to enact his prophesied course by murdering his father and marrying his mother. Aias (or Ajax) tells the story of the warrior whose larger-than-life greatness brings him to harrowing humiliation and then to honourable burial. Philoctetes sees a once-noble hero, nursing his resentment during ten years in marooned isolation, eventually restored to glory at Troy. Oedipus at Colonus depicts the blind Oedipus towards the end of his life wandering as a beggar, but rewarded finally with revenge and a sublime death.
Collects the full texts of Sophocles' seven ancient Greek plays, including updated translations of "Oedipus the King," "Antigone," and "The Women of Trachis," as well as stage directions and prefaces to each play.
These original and distinctive verse translations convey the vitality of Sophocles' poetry and the vigour of the plays in performance, doing justice to both the sound of the poetry and the theatricality of the tragedies.
This new translation of Sophocles' Antigone, one of the cornerstones of Ancient Greek Tragedy, is meant to satisfy several parameters: (i) above all, to provide a text that can be immediately and easily understood and appreciated by a 21st century, English-speaking audience or reader, (ii) in so doing, to remain as faithful to the text and the spirit of the text as is possible, and (iii) neither to promote nor exclude flexibility in staging, choreography, and interpretation. The translator realizes that this is a task that is by its very nature impossible to perfect, and that usually the quality of any attempt is very much in the eye of the beholder. However, he strongly believes that there is an identifiable gap in affordable translations of Ancient Greek Theater, between those efforts that are virtually incomprehensible as a result of their antiquated vocabulary, awkward syntax, opaque idiom, and/or overwrought poetry, and those that take such liberty with the underlying text as to bear little relationship to the spirit of the original. Oliver Evans hopes to fill that gap, and that this translation will be enjoyed by audiences and readers alike. It is intended to be the first in a series of fresh translations of all the extant plays of Sophocles, perhaps to be followed by translations of Euripides and Aeschylus. Oliver Evans was educated at St. Paul's School, London, and Oxford University, where he graduated with a Double First and several awards in Classics. The play itself is, of course, the famous tragedy written by Sophocles (497-406BC) in or before 441BC. For more information on Antigone, the translator suggests starting with the entry in Wikipedia and following the references there. There is no introduction or interpretation in this edition.
Sophocles' Electra is a riveting play with a long and varied reception. Its nuanced treatment of matricidal revenge with all the questions it raises; its compelling depictions of the idealistic, long -grieving, rebellious Electra; her compliant sister; her brother; and her mother; and its superb poetry have all contributed to making this one of Sophocles' most admired plays, as have the moral issues it raises and its political reverberations. In recent decades it has been repeatedly translated, adapted, and produced, sometimes on its own, sometimes in combination with selections from Aeschylus' Libation Bearers and (more often) Euripides' Electra. While the play certainly stands on its own in any language, reading it in the original Greek adds immense value. A commentary on the Greek text would enrich its reading by elucidating the words and world of the ancient language for those who are reading it more than twenty- five hundred years after the play was written. Such a commentary would also contribute to our understanding of other ancient Greek texts, not necessarily because they use the same words in the same way, but by providing information for contrast, comparison, and clarification. This commentary includes an introduction, text and notes, an abbreviations list, a stylistic & metrical terminology list, an appendix of recurrent words, and, a list of irregular verbs and their principal parts.
Theban Plays Of Sophocles The Oedipus Trilogy: Oedipus The King, Oedipus At Colonus and Antigone By Sophocles Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus fulfilled a prophecy that said he would kill his father, and thereby bring disaster on his city and family. The story of Oedipus is the subject of Sophocles's tragedy Oedipus the King, which was followed by Oedipus at Colonus and then Antigone. Together, these plays make up Sophocles's three Theban plays. Oedipus represents two enduring themes of Greek myth and drama: the flawed nature of humanity and an individual's powerlessness against the course of destiny in a harsh universe.
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