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 causes which thrust the characters portrayed in those 3 Sophoclean masterpieces directly to their collision path with catastrophe.

Recognized in his personal day as possibly the best of the Greek tragedians, Sophocles' recognition has remained undimmed for 2 and a part thousand years. His maximum innovation within the tragic medium was once his improvement of a vital tragic determine, confronted with a attempt of will and personality, risking obloquy and dying instead of compromise his or her rules: it truly is amazing that Antigone and Electra either have a girl as their intransigent 'hero'. Antigone dies fairly forget her responsibility to her kinfolk, Oedipus' choice to avoid wasting his urban leads to 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 vibrant translations mix attractiveness and modernity, and are outstanding for his or her lucidity and accuracy. Their sonorous diction, economic climate, and sensitivity to the numerous metres and modes of the unique musical supply cause them to both compatible for studying 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)

Sample text

If I do the higher work the slave will look up to me and never grudge me his service if I acknowledge its value to me and treat him decently. In fact his industry will no longer be slavery, for we shall both be doing our bit, I for him and he for me. But if I make the downward choice and idle and loaf, woe betide me; for there is no future now in the world for idlers and loafers. If white civilization breaks down through idleness and loafing based on slavery—and remember that modern historical research has discovered that half a dozen civilizations like ours have broken down through just that canker in them—then, as likely as not, the next great civilization will be a negro civilization.

Filling [her] lap with babies,” which is what the Black Girl does after settling down in Voltaire’s garden and villa and marrying the Irishman. The tension in the letter—and there is considerable inner tension— emanates from a source other than Mabel Shaw herself; it originates in Shaw’s aroused consciousness of the inherent problem of her mission, that of grafting a white, European-orientated religion on a black, African culture. He took this problem with him when he sailed for South Africa and included it as a major feature of his cogitations in the “interview” he drafted when still at sea; it was uppermost in his mind when he disembarked.

18 Did Shaw have to resist the temptation to include his name with Voltaire and Dickens? Certainly the conflation of “shocked and scandalized” with “laughing” points to him as much as it does to these predecessors. Then in the four-scene play Great Catherine (first performed in 1913), Voltaire features as a major point of reference offstage. I quote at length, Antecedents 15 the better to show how Shaw incorporates and establishes Voltaire’s intellectual preeminence within the conventions of farce: THE SERGEANT .

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