"Oedipus Rex" ("Oedipus the King") is not only the most read of all the Greek tragedies, it is also the most misread of the Greek dramas. The play's reputation exists in part because it was presented as the paragon of the dramatic form by Aristotle in his "Poetics," and it may well be because of that fact that "Oedipus Rex" was one of the relatively few plays by Sophocles to be passed down from ancient times. When I have taught Greek tragedies in various classes students have reconsidered the play in terms of key concepts such as harmartia ("tragic error of judgment"), angonrisis ("recognition"), peripeteia ("reversal"), catharsis, etc., and they usually agree this play provides the proverbial textbook examples of these terms.
"Oedipus Rex" ("Oedipus the King") is not only the most read of all the Greek tragedies, it is also the most misread of the Greek dramas. The play's reputation exists in part because it was presented as the paragon of the dramatic form by Aristotle in his "Poetics," and it may well be because of that fact that "Oedipus Rex" was one of the relatively few plays by Sophocles to be passed down from ancient times. When I have taught Greek tragedies in various classes students have reconsidered the play in terms of key concepts such as harmartia ("tragic error of judgment"), angonrisis ("recognition"), peripeteia ("reversal"), catharsis, etc., and they usually agree this play provides the proverbial textbook examples of these terms.
"Oedipus Rex" ("Oedipus the King") is not only the most read of all the Greek tragedies, it is also the most misread of the Greek dramas. The play's reputation exists in part because it was presented as the paragon of the dramatic form by Aristotle in his "Poetics," and it may well be because of that fact that "Oedipus Rex" was one of the relatively few plays by Sophocles to be passed down from ancient times. When I have taught Greek tragedies in various classes students have reconsidered the play in terms of key concepts such as harmartia ("tragic error of judgment"), angonrisis ("recognition"), peripeteia ("reversal"), catharsis, etc., and they usually agree this play provides the proverbial textbook examples of these terms.
The primary benefit of this book is access to the original Greek text, however, it would not have been too much to expect a decent English translation to accompany it, rather than the cold, vacuous and reductionist job carried out by Mr. Lloyd-Jones. What exactly his sorry excuse is I really can't imagine unless, like many British translators of the Greek classics who come out of Oxford or Cambridge, he simply hates the author and his ideas.* He certainly seems to hate the poetry that caused Percy Shelley to describe the dramatist as the "the Greek Shakespeare." Not something you would have noticed courtesy of Mr. Lloyd-Jones.
(*Presumably the Public Relations job is in the introduction to vol. I, which I have not read)
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The murder of Clytemnestra by her son Orestes is unique in Greek mythology in that it is the one story for which we have extant versions by all three of the great tragic poets. Consequently, it is insightful to notice how each tragedy privileges different parts of the story. In "Choephoroe" ("The Libation Bearers") by Aeschylus, the middle part of his "Orestia" trilogy, Orestes is obedient to the gods in avenging the death of his father and the pivotal scene is the confrontation between mother and son when Clytemnestra begs for her life. In "Electra" by Euripides the title character has to persuade Orestes to go through with the deed and the dramatic confrontation is now between mother and daughter. In the Sophocles version of "Electra" the emphasis ... Read More:
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"Antigone" (441 BC), written by Sophocles, is a very old and well-known play. It is a tragedy, because in the end things go wrong for nearly every everyone. I say nearly for everybody because if you pay attention when you read this book, you will have enjoyed a good play, and appreciated the various themes the author tackles in it. So, in that case, things won't go wrong for you :)
The plot is not complicated. Creon is a king, and Antigone is his niece. Creon orders that Antigone's brother, recently killed, must remain without sepulture, due to the fact that he was a traitor. The punishment for anybody who defies his orders will be death. Despite knowing that, Antigone cannot help but think her duty forces her to give sepulture to her brother, ... Read More:
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The primary benefit of this book is access to the original Greek text, however, it would not have been too much to expect a decent English translation to accompany it, rather than the cold, vacuous and reductionist job carried out by Mr. Lloyd-Jones. What exactly his sorry excuse is I really can't imagine unless, like many British translators of the Greek classics who come out of Oxford or Cambridge, he simply hates the author and his ideas.* He certainly seems to hate the poetry that caused Percy Shelley to describe the dramatist as the "the Greek Shakespeare." Not something you would have noticed courtesy of Mr. Lloyd-Jones.
(*Presumably the Public Relations job is in the introduction to vol. I, which I have not read)
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Following the ending of "Oedipus the King," Oedipus was exiled from Thebes, blind and a beggar. We learn from "Oedipus at Colonus" that his sons, Eteocles and Polyneices engaged in a civil war for the throne of Thebes (covered in "Seven Against Thebes" by Aeschylus). The two brothers kill each other and Creon (Manos Katrakis), brother of Jocasta, becomes king. He orders that Eteocles, who nobly defended his city, shall receive an honorable burial, but that Polyneices, for leading the Argive invaders, shall be left unburied. This leads Antigone (Pappas), sister to both of the slain brothers, to have to choose between obeying the rule of the state, the dictates of familial binds, and the will of the gods. This, of course, is the matter at the heart of this classic ... Read More:
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