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 might be 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 used to be his improvement of a primary tragic determine, confronted with a try out of will and personality, risking obloquy and dying instead of compromise his or her rules: it's awesome that Antigone and Electra either have a girl as their intransigent 'hero'. Antigone dies quite overlook her accountability to her kin, Oedipus' choice to save lots of 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 bright translations mix beauty and modernity, and are outstanding for his or her lucidity and accuracy. Their sonorous diction, economic climate, and sensitivity to the various metres and modes of the unique musical supply cause them to both compatible for analyzing or theatrical peformance.

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

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Additional info for Antigone, Oedipus the King, Electra (Oxford World's Classics)

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Dumb Presagers”: Poetry and Theater in Shakespeare’s Sonnets’, SQ 52 (2001), 222–54; and Shakespeare, National Poet–Playwright (Cambridge University Press, 2004). 28. E. J. ), Latin Literature (Cambridge University Press, 1982), vol. ), The Cambridge History of Classical Literature (Cambridge University Press, 1982–5), 2: 433. 29. ) (New York: Bantam Doubleday, 1982). 30. ), The Cambridge Companion to Virgil (Cambridge University Press, 1997), p. 2. 31. The Horatian connection is neglected, but for Marlowe as an Erasmian ironist, see Judith Weil, Christopher Marlowe: Merlin’s Prophet (Cambridge University Press, 1977).

Detroit: Gale Research Group, 1987, 62: 212–31. Greenblatt, Stephen. ‘Marlowe and the Will to Absolute Play’. Renaissance SelfFashioning: More to Shakespeare. University of Chicago Press, 1980, pp. 193– 221. Healy, Thomas. Christopher Marlowe. Plymouth, Northcote House in Association with the British Council, 1994. Kocher, Paul. Christopher Marlowe: A Study of His Thought, Learning, and Character. 1946; New York: Russell, 1962. Leech, Clifford. Christopher Marlowe: Poet for the Stage. ). New York: AMS Press, 1986.

36–7). Whatever Marlowe’s intentions might have been, we can guardedly classify his translation of Lucan’s first book as a republican document – perhaps the first great literary representation of republicanism in the English ‘Renaissance’. Because Lucan’s First Book shows up in the Stationers’ Register with Hero and Leander, we may see how these two proto-epic documents at the end of Marlowe’s career cohere with documents traditionally placed at the beginning, in elegy and tragedy (Ovid’s Elegies and Dido), thereby completing a Marlovian cursus that imitates the generic pattern of Ovid’s career.

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