The three theban plays pdf

Continue For scripting software, see Ships, see SS Sophocles (1900) and SS Sophocles (1921). ancient Athenian tragic playwright SophoclesBorn497/496 BC Colonus, AtticaDied406/405 BC (aged 90-92) AthensOccupationTragedianGenreTragedyNotable works by Ajax Antigone Oedip Rex Electra Oedip in Colon Sophocles (/ ˈsɒfəkliːz/; 1 Greek: Σοφοκλῆς Sophocles, pronounced so.pho.klɛ̂ ːs; c. 497/6 - winter 406/5 BC) is one of three ancient Greek tragedies whose plays have survived. His first plays were written later than, or modern with, those of Aeschylus; and earlier than, or modern with, those of Euripides. Sophocles has written more than 120 plays, but only seven of them have survived in full form: Ajax, Antigone, Women of Trachis, Oedip Rex, Electra, Philotte and Oedipne in Colon. For almost fifty years, Sophocles was the most famous playwright in the dramatic competitions of the city-state of Athens, which took place during the religious holidays of Leneya and Dionysius. He participated in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen contests, and was sometimes defeated by Sophocles; Euripides won four. The most famous tragedies of Sophocles are related to Oedipal and Antigone: they are usually known as Teban's plays, although each of them was part of a different tetralogy (other members of which are now lost). Sophocles influenced the development of the drama, most importantly by adding a third actor (attributed to aristotle Sophocles; to Aeschylus Themistius), thus reducing the importance of the choir in the presentation of the plot. He also developed his characters more than previous playwrights. The poet's marble relief, perhaps Sophocles Sophocles, son of Sofill, was a wealthy member of the rural deme (small community) of Hippeyos Colon in Attica, which was to be the setting for one of his plays; and he was probably born there a few years before the Battle of Marathon in 490 BC: the exact year is unclear, but 497/6 is likely. He was born into a wealthy family (his father was an armor manufacturer) and highly educated. His first artistic triumph was in 468 BC, when he took the first prize in Dionysusia, defeating the current master of Athenian drama, Aeschylus. According to Plutarch, the victory came in an unusual circumstance: instead of following the usual custom of selecting the judges by party, the archon asked Mr. Simon and the other strategists present to decide the winner of the contest. Plutarch further claims that after this loss Eshilus soon left for Sicily. Although Plutarch says it was Sophocles' first production, it is now believed that his first production was probably in 470 BC Triptolemus, probably was plays presented by Sophoclamy at this festival. In 480 BC, Sophocles was chosen to lead the Paean (choral singing to God), celebrating the Greek victory over the Persians at the Battle of Salamis. Early in his career, the politician Simon may have been one of his patrons; but, if he were, there was no ill will to bear Pericles, Cimon's rival, when Cimon was ostracized in 461 BC In 443/2, Sophocles served as one of Helinotamai, or treasurers of Athens, helping to manage the city's finances during Pericles' political domination. In 441 BC, according to Vita Sophoclis, he was elected one of ten generals, executive officials in Athens, a junior colleague of Pericles; and he served in the Athenian campaign against Samos. He was supposed to be elected to this position as a result of his production of Antigone, but this is the most incredible. In 420 BC he was chosen to receive the image of Asclepius in his own home when the cult was introduced in Athens, and had no proper place (τέμενος). For this, the Athenians gave him a posthumous epithet Dexion (receiver). But some doubts give this story. He was also elected in 411 BC as one of the commissioners (probouloi), who reacted to the disastrous destruction of the Athenian expeditionary forces in Sicily during the Peloponnese War. saw during his life both the Greek triumph in the Persian wars and the bloodshed of the Peloponnese War. The most famous is the assumption that he died of tension by trying to read a long sentence from his Antigone without stopping to catch his breath. Another story suggests he choked while eating grapes at the Anthesteria festival in Athens. A third believes he died of happiness after winning the final in The City of Dionysius. A few months later, the poet-comedian in a play called Muse wrote a eulogy: Blessed by the sofas, who had a long life, was a man, happy and talented, and a writer of many good tragedies; and he ended his life well without suffering from any misfortunes. However, according to some reports, his own sons tried to make him incompetent towards the end of his life; and that he had denied their accusation in court by reading out his new Oedipne in Colon. One of his sons, Iophon, and a grandson named Sophocles also became playwrights. The sexuality of the Ancient Source, the work of Athena sophistov at the dinner, contains references to the sexuality of Sophocles. In this work, a character named Myrtil claims that Sophocles was partial to boys, just as Euripides was partial to women. δὲ ἦν ὁ Σοφοκλῆς, ὡς Εὐριπίδης φιλογύνης); and tells an anecdote attributed to Jona Chios about Sophocles' flirtation with a serving boy at a symposium: βούλει and ἡδέως πίνειν; [...] βραδέως τοίνυν καὶ πρόσφερέ μοι καὶ ἀπόφερε τὴν κύλικα. Do you want me to enjoy my drink? [...] Then hand me the cup nicely and slowly, and take it back nicely and slowly too. He also says that Hieronymus Rhodes, in his historical notes, claims that Sophocles once led the boy outside the city walls for sex; and that the boy grabbed Sophocles' cloak (χλανίς, klani), leaving his own robe the size of a child (παιδικὸν ἱμάτιον) for Sophocles. Moreover, when Euripides heard about it (it was much discussed), he ridiculed the contemptuous treatment, saying that he himself had sex with the boy, but did not give him anything more than his usual fee (ἀλλὰ μηδὲν προσθεῖναι), or but that nothing was withdrawn (ἀλλὰ μηδὲν προεθῆναι). In response, Sophocles composed this elegy: Ἥλιος ἦν, οὐ παῖς, Εὐριπίδη, ὅς χλιαίνωνγυμνὸν ἐποίησεν σοὶ δὲ φιλοῦντι † ἑταίραν †Βορρᾶς ὡμίλησε. σὺ δ ̓ οὐ σοφός, ὃς τὸν Ἔρωτα,ἀλλοτρίαν σπείρων, λωποδύτην ἀπάγεις. It was the Sun, Euripides, not the boy that made me hotand stripped me to the ground. But the North Wind was with you when you kissed † the courtesan †. You're not that smart about arresting Eros for stealing clothes while you're seing another person's field. The works and legacy portrait of the Greek actor Euion in Andromeda Sophocles, circa 430 BC Sophocles is known for innovations in the dramatic structure; deeper character development than previous playwrights; and, if it were not Aeschylus, the addition of a third actor, which further reduced the role of the choir, and increased opportunities for development and conflict. Eshilus, who dominated Athenian drama at the beginning of Sophocles' career, took a third actor into his job. In addition to the third actor, Aristotle attributes Sophocles to the introduction of skenography, or scenery; but it is also attributed elsewhere to someone else (Vitruvius, Agatharhus Samos). After the death of Eshilus, in 456 BC, Sophocles became an outstanding playwright in Athens, winning competitions for the eighteen Dionysius, and six Festivals of Lena. His reputation was such that foreign rulers invited him to visit their courts; but unlike Eschilus, who died in Sicily, or Euripides, who spent time in Macedon, Sophocles never accepted any of these invitations. Aristotle in his poetry 335 BC), used Oedip Rex Sophocles as an example of supreme achievement in tragedy. Only two of the seven surviving plays can be dated securely: Philoctetes, 409 BC; Oedipal in Colon, 401 BC (staged after his death by his grandson). Of the others, Electra shows a stylistic resemblance to these two, suggesting that it was probably written in a later part of his career; Ajax, Antigone and The Trachiniae tend to think early, again based on stylistic elements; and Oedipes Rex is put in the middle period. Most of Sophocles's plays show underwater early fatalism and the beginning of socratic logic as the basis of a long tradition of Greek tragedy. The pieces of Theban play three games: Oedipus Rex (also called Oedipus Tyrannus or Oedipus King), Oedipus on Colonus, and Antigone. All three relate to the fate of Thebes during and after the reign of King Oedip d'. They were often published under the same cover; But Sophocles wrote them for individual festival competitions, with distinction from many years. Teban's plays are not an appropriate trilogy (i.e. three plays presented as a continuous narrative) nor a deliberate series; they contain inconsistencies. Sophocles has also written other plays related to the Fibes, such as Epigony, but only fragments have survived. The themes of the three plays are related to the story of Oedipus, who killed his father and married his mother, not knowing that both were his parents. His family has been cursed for three generations. In Oedip the Rex, Oedip d'Adip is the main character. His infanticide is planned by his parents, Laym and Iokasta, to prevent him from fulfilling the prophecy; but a servant, who was entrusted with infanticide, through a number of intermediaries passes the baby to a childless couple who adopt him, not knowing his history. Oedipuse eventually learns of the Delphic Oracle's prophecy that he would kill his father and marry his mother; he tries to escape from his destiny without harming those he knows as his parents (at the moment he does not know that he was adopted). Oedipes meets a man at a crossroads accompanied by servants; Oedipus and the man fight, and Oedipus kills the man (who was his father, Liam, although at the time none of them knew). He becomes the ruler of Thebes after solving the riddle of the Sphinx and in the process marries the widowed queen, his mother Iocasta. Thus, the scene is set for horror. When the truth comes out, following from another true but confusing prophecy from Delphi, Jokasta commits suicide, Oedipes blinds himself and leaves Thebes. At the end of the play, order is restored. This recovery is observed when Creon, The Brother of Iokast, becomes king, and when Oedipal, before going into exile, asks Creon to take care of his children. Oedip the children will always bear the brunt of shame and humiliation In Oedipus, in Colonus, exiled Oedipus and his daughter Antigone arrive in colon, where they face Hezia, King of Athens. Oedipes dies, and the feud begins between his sons Pauline and Eteokles. In Antigone, the main character is Oedipne's daughter, Antigone. She faces a choice: to allow the body of her brother Polyneices to remain unburied, outside the city walls, exposed to the devastating effects of wild animals, or to bury it and face death. The king of the land, Creon, forbade the burial of the Polyneites because he was a traitor to the city. Antigone decides to bury his body and face the consequences of his actions. Creon sentences her to death. In the end, Creon is convinced to release Antigone from punishment, but his decision comes too late and Antigone commits suicide. Her suicide causes the suicide of two other close to King Creon: his son, Hemon, who was supposed to impersonate Antigone, and his wife Eurydice, who committed suicide after losing his only surviving son. The compositions and inconsistencies of Oedipus in Colonus, written during the thirty-six years of Sophocles' career and were not composed in chronological order, were instead written in the order of Antigone, Oedipus Rex, and Oedipus in Colon. They were also not composed as a trilogy - a group of plays that would be performed together, but the rest were parts of three different groups of plays. As a result, there are some inconsistencies: in particular, Creon is the undisputed king at the end of Oedipus Rex and, in agreement with Apollo, alone decides to expel Oedipus from Thebes. Creon is also instructed to take care of the daughters of Oedip Antigone and Ismen at the end of Oedip Rex. Unlike other plays there is some struggle with the sons of Oedip Eteocles and Polynices regarding continuity. In Oedipus in Colonus, Sophocles tries to turn these inconsistencies into a whole: Isman explains that in light of their tainted pedigree, her brothers were first ready to cede the throne to Creon. However, they eventually decided to take responsibility for the monarchy, and each brother challenges the other's right to succeed. In addition to being in a decidedly stronger position in Oedipus in Colon, The Ethics and Polynica are also guilty: they agree (l. 429, Theodoridis, tr.) to expel their father, which is one of his most bitter accusations against them. Other plays In addition to The Feban's three plays, there are four surviving plays by Sophocles: Ajax, the women of Trachis, Electra and Philoctetes, the latter of which won the first prize in 409 BC, in which he participated. Ajax focuses on the proud hero of the Trojan War, the telmonic Ajax, who is driven to betrayal and, ultimately, suicide. Ajax becomes seriously upset when Achilles' armour is presented instead of myself. Despite his animosity towards him, Odysseus persuades the kings Menely and Agamemnon to give Ajax a proper burial. Trachis Women (named after the Grass-based women who make up the choir) dramatizes Deyaneira accidentally killing Hercules after he completed his famous twelve works. Deceived, thinking that it is the charm of love, Deyaneira applies poison to the item of clothing Hercules; this poisoned robe leads to her death agonizing death. After learning the truth, Deyaneira committed suicide. Electra roughly corresponds to the plot of The Libation of the Carriers of Eshilus. It details how Electra and Oreste avenged the murder of their father, Agamemnon Klaytemnestra and Aegistus. Philoctetes retells the story of Philoctet, the archer who was left on Lemnos by the rest of the Greek fleet on his way to Troy. Upon learning that they could not win the Trojan War without the Philoctet bow, the Greeks sent Odysseus and Neoptolemus to take it away; However, due to an earlier betrayal of the Greeks, Philoctetes refuses to return to the army. Only the appearance of Heracles' deus ex machina convinces Philoctet to go to Troy. Fragmentary plays Although a list of more than 120 titles of plays related to Sophocles are known and presented below, little is known about the exact dating of most of them. The philoctes are known to have been written in 409 BC, and Oedip in Colon was known to have been executed only in 401 BC, posthumously, at the initiative of Sophocles' grandson. The convention on the writing of plays for Greek festivals was to present them in the tetralogy of three tragedies along with one satirical play. Along with unknown dating overwhelmingly of the more than 120 game titles, it's also largely unknown how the plays were grouped. It is known, however, that the three plays, referred to in the modern era as Teban plays, were never performed together in Sophocles' own life, and therefore not a trilogy (which they are sometimes mistakenly regarded as). Fragments of Ichnut (Tracking Satyrs) were discovered in Egypt in 1907. They make up about half of the play, making it the best-preserved satirical play after Cyclops Euripides, which survives in its entirety. Epigoni fragments were discovered in April 2005 by Oxford University classics using infrared technology previously used for satellite imaging. Tragedy tells the story of the second siege of Thebes. A number of other Sophoclin works have survived only fragments, Including: Aias Lotros (Ajax Lokrian) Aias Mastigoforos (Ajax Khlist-Bearer) Aigeus (Aegisthus) Aegisthus Aichmaletides (Plen) Women) Aitiope (Ethiopians), or Memnon Ahayon Sillogos (Ahea Collection) Achilles Erastai (men) Akrisios Aleada (Sons of Aleus) Alees Alexandros Alkmeon Amfiaraus Amhitrion Aikos Andromash Ankenoma Antenoridai (Sons of Antenora) Athamas (two versions of production) Atrey, or Mikenaii Kamikoi Cassandra Sedalin Cerberus Chryseis Clytemnestra Colchis Kofoy (Mute Ones) Craze Crisis (Court) DadalUs Danae Dionysias Dolopes Epigoni (Descendant) Erifil Eris Eumelus Euryalus Eurypylus Eurysaces (Elena's Wedding) Geracle Epi Hippodonus Hybris Hydrophoroi (Waterbearers) Inachos Iobates Iokles Ion Iphipenia Ixian Lacaenae (Lacaenian Women) Laocon Larisaioi Lemnia (Lemni) Polyidos Meliax Minos Momus Musai (Muse) Cape (Miceans) Nauplis Cataploy (Arrival) Pirkaev (Fires of Nauplius) Nausikaa, or Plyntriai Niobe Odysseus Acanthoplex (Odysseus Scourged with spikes) Odysseus Mainomenos (Odysseus Gone Mad) Oeneus Oenoma Palausmedes Pandora, or Firocopoy (Hammer-Strikers) Peleas Peleus Fayakes Phaedra Philoctetes In Troy Fineuse (two versions) Phoenix Frixus Frigues (Frigis) Ftiotids Poimemes (The Shepherds) Polyxen Priam Prokris Risotoma (Root-Catters) Salmon Sinon Sysif Skyrioi (Skirians) Skytai (Scythians) Sindeipnoy (Snackers) or, Banquets) Tantalus Telephus Tereus Teukros (Teucer) Thamyras Theseus Thyestes Troilus Triptolemos Tympanistai (Drummers) Tyndares Tyro Iro Kiromen (Teucer) Tiro Anagno (Tyro Again). Xoanephoroi (Image-Bearers) Sophocles view of his own work There is a passage of the Plutarch De Profectibus tract in Virtute 7, in which Sophocles discusses his own growth as a writer. The likely source of this material for Plutarch was the Epidemic of Jonah Chios, a book that recorded many of Sophocles' conversations; but the Hellenistic dialogue about the tragedy in which Sophocles appeared as a character is also plausible. The first is a likely candidate who contained Sophocles' reasoning about his own development because Ion was a friend of Sophocles, and the book is known to have been used by Plutarch. Although some interpretations of Plutarch's words suggest that Sophocles said he imitated Eshilus, the translation does not fit grammatically, nor does the interpretation that Sophocles said he ridiculed Eshilus's works. C. M. Bowra argues for the following line translation: After practicing to the full bigness of Aeschylus, then the painful ingenuity of my own invention, now in the third stage I change to the kind of diction that is the most expressive character and best. Sophocles' opinion of Eshilus was ambiguous. He certainly respected him enough to imitate his work in his career, but he had doubts about Aeschylus's style, and thus did not support his imitation. The first stage of Sophocles, in which he imitated Eshilusu, was marked by The Eshilin fanfare in the language. Sophocles' second stage was entirely his own. He presented new ways to evoke the feeling of the audience, as in his Ajax, when Ajax mocked Athene, then the scene emptied so that he could commit suicide alone. Sophocles mentions the third stage, unlike the other two, in his discussion of its development. The third stage pays more attention to diction. His characters spoke in a way that was more natural to them and more expressive of their individual sense of character. See also the Theatre of Ancient Greece Notes and Jones, Daniel; Roach, Peter, James Hartman and Jane Setter, eds. Cambridge English pronouncing the dictionary. 17th edition. Cambridge UP, 2006. b c d e f g h i j Sommerstein (2002), p. 41. The exact number is unknown, the Court says he wrote 123, another ancient source says 130, but no exact number is possible, see Lloyd-Jones 2003, page 3. Vessels (Finkel et al.): s.v. Σοφοκλῆς. Sophocles in encyclopedia Britannica - LLoyd-Jones, H. (ed. and trans.) (1997). Introduction, in Sophocles I. Sophocles. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 9. ISBN 9780674995574. b c d Freeman, page 247. b c Sommerstein (2007), p. xi. Lloyd-Jones 1994, page 7. Freeman, page 246. - Simon's life 8. Plutarch errs in the death of Eshilus during this trip; he continued to produce drama in Athens for another ten years. - Encyclopedia of the world drama McGraw-Hill: International reference work in 5 volumes, Volume 1, Sophocles. Beer 2004, page 69. Lloyd-Jones 1994, page 12. Lloyd-Jones 1994, page 13. Clinton, Kevin Epidauria and the arrival of Asclepius in Athens, in an ancient Greek cult practice from Epigraphic Evidence, edited by R. Hegg, Stockholm, 1994. Lloyd-Jones 1994, page 13. Lloyd-Jones 1994, page 12-13. Schultz 1835, page 150-51. Lucas 1964, page 128. Cicero tells this story in his De Senectute 7.22. Sommerstein (2002), 41-42. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 53. ISBN 9780674996731. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 52. ISBN 9780674996731. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 52. ISBN 9780674996731. - Athena (2011). Learned the banquets, Tom. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 53. ISBN 9780674996731. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. 56-57. ISBN 9780674996731. Fortenbaugh, William Wall. Liko and Traos and Hieronymus Rhodes: Text, translation and discussion. Transaction Publishers (2004). ISBN 978-1-4128-2773-7. page 161 - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 57. ISBN 9780674996731. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 56. ISBN 9780674996731. Sophocles (1992). Greek lyrics, Volume IV: Bacchylides, Corinna, and others. Campbell, D.A. (Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. 333. ISBN 9780674995086. Sophocles (1992). Greek lyrics, Volume IV: Bacchylides, Corinna, and others. Campbell, D.A. (Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. 332. ISBN 9780674995086. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 58. ISBN 9780674996731. - Athena (2011). He studied banquets, Volume VII. Douglas Olson, S. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 59. ISBN 9780674996731. Lloyd-Jones 1994, page 9. Lloyd-Jones 1994, page 9. Aristotle. Ars Poetics. The first printed edition of seven pieces by Aldous Manuchia in Venice 1502: Sophoclis tragaediae (sic) septem cum commentariis. Despite the addition of 'cum commentariis' in the title, Aldine does not include the ancient sholia in Sophocles. They had to wait until 1518, when Janus Laskaris brought the relevant edition in Rome. Lloyd-Jones 1994, 8-9. Scullion, 85-86, rejects attempts to date Antigone just before 441/0 based on an anecdote that the game led to Sophocles' election as a general. On other grounds it cautiously offers around 450 BC b c Sophocles, Ed Gren and Lattimore, p. 1-2. See, for example: Sophocles: Theban Plays, Penguin Books, 1947; Sophocles I: Oedip d'Eedip King, Oedipne in Colon, Antigone, University of Chicago, 1991; Sophocles: Theban Plays: Antigone/King Oidipous/Oidipous in Colonus, Focus Publishing/R. Pullins Company, 2002; Oedip Sophocles Oedipne Rex, Oedipne in Colon, Antigone, Harvest Books, 2002; Sophocles, works, Classical Library, Tom E. London, W. Heinemann; New York, Macmillan, 1912 (often reprinted) - 1994 Loeb, however, prints Sophocles in chronological order. b Murray, Matthew, newly read Oxyrhynchus Papiri Show works by Sophocles, Luciana and others archive April 11, 2006 at Wayback Machine, Theatermania, April 18, 2005. Received on July 9, 2007. Sophocles. Oedip the King. Norton Anthology of Western Literature. General Peter Simon. 8th ed. Vol. 1. New York: Norton, 1984. 648–52. Print. ISBN 0-393-92572-2 - Freeman, 247-48. Lloyd-Jones 2003, 3-9. b Seaford, page 1361. Sophocles (1997). Sophocles I. Lloyd-Jones, H. Cambridge, Massachusetts; London, England: Lebe Classical Library, Harvard University Publishing House. page 11. ISBN 9780674995574. Bowra, page 386. Bowra, page 401. Bowra, page 389. Bowra, page 392. Bowra, page 396. Bowra, 385-401. Links Beer, Josh (2004). Sophocles and the tragedy of Athenian democracy. Greenwood Publishing. ISBN 0-313-28946-8 Bowra, C.M. (1940). Sophocles on his own development. American Journal of Philology. 61 (4): 385–401. doi:10.2307/291377. JSTOR 291377. Finkel, Raphael. Adler room: sigma,815. Ships on the line: Byzantine lexicography. Received on March 14, 2007. Freeman, Charles. (1999). Greek Achievements: The Foundation of the Western World. New York: Viking press. ISBN 0-670-88515-0 Hubbard, Thomas K. (2003). Homosexuality in Greece and Rome: Source of the main documents. Johnson, Marguerite and Terry Ryan (2005). Sexuality in Greek and Roman society and literature: Source. Routledge. ISBN 0-415-17331-0, 978-0-415-17331-5 Lloyd Jones, Hugh and Wilson, Nigel Guy (1990). Sofoclis: Fabula. Oxford classical texts. Lloyd-Jones, Hugh (ed.) (1994). Sophocles: Ajax. Electra. Oedipne Tyrann. Edited and translated by Hugh Lloyd-Jones, Swan Classical Library No. 20. Lloyd-Jones, Hugh (ed.) (1994). Sophocles: Antigone. Trachis, women. Philoctetes. Oedipes in Colon. Edited and translated by Hugh Lloyd-Jones, Swan Classical Library No. 21. Lloyd-Jones, Hugh (ed.) (1996). Sophocles: Fragments. Edited and translated by Hugh Lloyd-Jones, Lebe Classical Library No. 483. Lucas, Donald William (1964). Greek tragic poets. W. W. Norton and Co Plato Plato in Twelve Volumes, Vols. 5 and 6 translation by Paul Shorey. Cambridge, Massachusetts, Harvard Press University; London, William Heinemann Ltd. 1969. Schulz, Ferdinand (1835). De vita Sophoclis poetae commentatio. Phil Diess., Berlin. Scullion, Scott (2002). Tragic Dates, Classic quarter, new sequence 52, page 81-101. Seaford, Richard A. S. (2003). Satirical drama. Simon Hornblower and Anthony Spaufort (Oxford Classical Dictionary: Oxford University Publishing House). 1361. Smith, Philip (1867). Sophocles. In William Smith(The Dictionary of Greek and Roman Biography and Mythology. 3. Boston: Little, Brown, and Company. 865-73. Archive from the original on February 2, 2007. Received on February 19, 2007. Sommerstein, Alan Herbert (2002). Greek playwrights and playwrights. Routledge. ISBN 0-415-26027-2 Sommerstein, Alan Herbert (2007). General introduction of pp. xi-xxix in Sommerstein, A.H., Fitzpatrick, D. and Tallboy, T. Sophocles: Selected Fragmentary Plays: Volume 1. Aris and Phillips. ISBN 0-85668-766-9 Sophocles. Sophocles I: Oedip King, Oedipne in Colon, Antigone. 2nd o. Gren, David and Lattimore, Richard, eds. Chicago: University of Chicago, 1991. Encyclopedia Britannica, Inc. Macropedia of Knowledge in depth. New encyclopedia Britannica Volume 20. Chicago: Encyclopedia Britannica, Inc., 2005. 344–46. External wikiquote links has quotes related to: Sophocles Wikisource has original work written or about: Sophocles Wikimedia Commons has media related to Sophocles. Library Resources about Sophocles Online Book Resources in your library Resources in other libraries By Sophocles Online Books Resources in your library Resources in other libraries Sophocles in encyclopedia Britannica Works Sophocles in the project Gutenberg works Sophocles on Faded Page (Canada) works on or about Sophocles on the Internet Archive of Sophocles's works in LibriVox (public domain audiobook) Sophocles works in Perseus Digital Library (Greek and English) SORGLL: Sophocles, Electra 1126-1170; read Rachel Kitzinger extracted from the second of sophocles three theban plays. the three theban plays pdf. the three theban plays robert fagles. the three theban plays robert fagles pdf. the three theban plays summary. the three theban plays penguin classics pdf. the three theban plays pdf free download. the three theban plays by sophocles

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