Introduction to Aeschylus, Seven Against Thebes
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Research Chronicler ISSN-2347-503X International Multidisciplinary Research Journal
www.rersearch-chronicler.com Research Chronicler ISSN-2347-503X International Multidisciplinary Research journal Oedipus Rex in English and Arabic Drama: An Analogy Fathia S. Al-Ghoreibi Department of European Languages, King Abdul-Aziz University. Jeddah, Saudi Arabia Abstract The present paper deals with the Oedipal theme as was treated by Sophocles in Oedipus Rex and then imitated first in Oedipus written in collaboration by John Dryden and Nathaniel Lee in English literature, and then in Arabic literature by Tawfiq Al-Hakim in his King Oedipus and Ali Ahmed Bakathir in Oedipus' Tragedy. The study investigates changes made by the three writers in the plot and main characters and in some issues and dramatic elements of the tragedy. These changes are introduced by the playwrights to make their versions acceptable to their contemporary audiences. The purposes of the three writers are considered to see how far they have succeeded in fulfilling them. Key Words: Greek myth, Arabic drama, adaptation, social and political criticism Most of the men of letters who treated or suffering greatly. In trying to find the rather wrote on the Oedipus myth were cause of their misery, the citizens come to under the impact, to varying extents, of King Oedipus as suppliants to urge him Sophocles' masterpiece, Oedipus Rex. The deliver their town. The oracle brought present study will shed light on points of from Delphi is essentially the same with congruence and differences in Sophocles' the four playwrights. In Oedipus Rex, tragedy on the one hand, and Dryden' Creon reveals Phoebus' order to wreak Oedipus, Al-Hakim's King Oedipus and vengeance on Laius' murderer so as to put Bakathir's Oedipus' Tragedy on the other. -
The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
The Dream Narrative As a Mode of Female Discourse in Epic Poetry
Transactions of the American Philological Association 140 (2010) 195–238 Incohat Ismene: The Dream Narrative as a Mode of Female Discourse in Epic Poetry* emma scioli University of Kansas summary: This article examines Ismene’s nightmare in book 8 of Statius’s Thebaid by contextualizing it within the epic’s narrative, comparing it with the dream narrations of other female characters in epic poetry, and aligning it with other typically female modes of subjective expression in epic, such as weaving, teichoscopy, and lamentation. My analysis shows that by exposing the diffi- culties inherent in retelling a dream, Statius demonstrates sympathy with the female perspective on the horrific war that constitutes the central action of his poem and foreshadows the subsequent inadequacy of words in reaction to such horror. i. introduction: ismene begins ismene, daughter of oedipus, is a character who has virtually no presence in the narrative of Statius’s Thebaid either before or after the small section devoted to the retelling of her dream and its aftermath (8.607–54); for this reason, the intricacy and allusiveness of this passage are all the more striking. In this scene, Ismene recounts to her sister Antigone a dream she has had, in which her wedding to her fiancé Atys is violently interrupted by a fire. After questioning the dream’s origin, Ismene discounts its meaning as incongruous with her understanding of her own waking reality and resumes * Shorter versions of this paper were delivered at the University of Rome, Tor Vergata, in 2004 and the 2005 APA meeting in Boston. I would like to thank audience members at both venues for useful feedback. -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
The Iphis Incident: Ovid's Accidental Discovery of Gender Dysphoria
Athens Journal of History - Volume 7, Issue 2, April 2021 – Pages 95-116 The Iphis Incident: Ovid’s Accidental Discovery of Gender Dysphoria By Ken Moore* This article examines what the author argues is Ovid's accidental discovery of gender dysphoria with recourse to an incident in the Metamorphoses. The author argues that Ovid has accidentally discovered gender dysphoria as evidenced through the character of Iphis in Book IX of the Metamorphoses. It is unlikely that Ovid could have imagined the ramifications of such a “discovery”; however, the “symptoms” described in his narrative match exceedingly closely with modern, clinical definitions. These are explored in the article along with how Ovid may have, through personal experience, been able to achieve such a penetrating, albeit accidental, insight. The wider, epistemological context of this topic is considered alongside Ovid's personal circumstances which may have contributed to his unique understanding of a condition that modern science has only recently identified. There are relatively few examples from ancient Greek and Roman literature that entail individuals having experienced something like the modern condition of transgenderism. One stands out above the others for sheer detail, along with emotional and psychological depth, that resonates quite well with issues faced by modernity. This is to be found in Ovid’s brief narrative about Iphis, at the end of book IX of the Metamorphoses. The text of this short episode is crucial in order to come to grips with this subject and I have included most of it here, in quotes as well as in appendices, as I deem it relevant to our understanding. -
Female Familial Relationships in Valerius' Argonautica and Statius
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid Sophia Warnement Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Classical Literature and Philology Commons Recommended Citation Warnement, Sophia, "Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid" (2021). Undergraduate Honors Theses. Paper 1619. https://scholarworks.wm.edu/honorstheses/1619 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Classical Studies from The College of William and Mary by Sophia Irene Warnement Accepted for ______Honors___________________________ (Honors, Highest Honors) __Vassiliki Panoussi___________________ Vassiliki Panoussi, Director __Molly Swetnam-Burland____________ Molly Swetnam-Burland __Jennifer Gülly___ ____________________ Jennifer Gülly Williamsburg, VA May 07, 2021 Table of Contents ACKNOWLEDGMENTS .......................................................................................................................................... -
The Chorus of Aeschylus' Choephori
UC Berkeley Cabinet of the Muses: Rosenmeyer Festschrift Title The Chorus of Aeschylus' Choephori Permalink https://escholarship.org/uc/item/8zv1j39h Author McCall, Marsh Publication Date 1990-04-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California THE CHORUS OF AESCHYLUS’ CHOEPHORI* Marsh McCall Stanford University I wish to ask two questions about the chorus of Choephori. First, who exactly are they? Second, what dramatic personality and functions does Aeschylus give to them, and are these congruent with what we might, or do, expect? Even with the appearance of Garvie’s fine and thorough commentary on Choephori,1 there is nothing approaching consensus on either of these questions. I think it possible to settle the first and more concrete one and to advance understanding of the second, though in an unsettling way. At the end of the paper, I shall offer an opinion on how the particular investigation of the Choephori chorus may relate to the further and even more basic question: in what sense, if at all, is there a unified choral voice throughout the Oresteia or throughout Aeschylus? * * * * * First, then, identity. The chorus of Choephori consist either of unspecified foreign slave women or of specifically Trojan slave women, but which? Commentators and critics are split. As a sample, Verrall, Tucker, Wilamowitz, Lattimore are for unspecified generic foreign slave women; Conington, Sidgwick, Rose, Lloyd-Jones for specifically Trojan slave women.2 And many scholars, no matter how detailed their discussion of the play and its chorus—Lebeck, Taplin, and Garvie3 may serve as examples—, make no real attempt at a firm identification at all. -
Seven Tragedies of Sophocles Oedipus at Colonus
Seven Tragedies of Sophocles Oedipus at Colonus Translated in verse by Robin Bond (2014) University of Canterbury, Christchurch, New Zealand Seven Tragedies of Sophocles : Oedipus at Colonus by Robin Bond (Trans) is licensed under a Creative Commons Attribution 4.0 International License. Available at: http://hdl.handle.net/10092/10505 Oedipus at Colonus (Dramatis Personae) Oedipus Antigone Xenos Chorus of Attic Elders Ismene Theseus Creon Polyneices Messenger Seven Tragedies of Sophocles : Oedipus at Colonus Page 2 Oedipus Antigone, my child, since I am blind and old, what is this place that we have reached, to whom belongs the city here and who will entertain the vagrant Oedipus today with meagre gifts? My wants are small and what I win is often less, but that small gain is yet sufficient to content me; for my experience combines with length of life and thirdly with nobility, teaching patience to a man. If, though, my child, you see some resting place beside the common way or by some precinct of the gods, 10 then place me there and set me down, that we may learn our whereabouts; our state is such we must ask that of the natives here and what our next step is. Antigone Long suffering, father Oedipus, as best as my eyes can judge, the walls that gird the town are far away. It is plain to see this place is holy ground, luxuriant with laurel, olives trees and vines, while throngs of sweet voiced nightingales give tongue within. So rest your limbs here upon this piece of unhewn stone; your journey has been long for a man as old as you. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
Prometheus, the Firebringer
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1983 Volume II: Greek and Roman Mythology Prometheus, the Firebringer Guide for Curriculum Unit 83.02.03 by Kelley O’rourke Prometheus, the Firebringer is a unit developed for the Conte School theatre curriculum but it could be easily adapted and used in an English or Language Arts class. The Titan, Prometheus, was chosen to be the center of this unit as he is one of the few figures to appear in both the ancient narrative and dramatic forms of Greek mythology. This unit uses the stories of Prometheus to teach basic theatre skills using a Creative Dramatics approach. Ancient literature sources such as Hesiod and Aeschylus are utilized as well as modern retellings. These stories will be explored in a variety of ways. Students will be led through an organic and graduating theatre process as they enter the world of Greek Mythology. Prometheus and his myths are the core of this curriculum unit, but students in reading about Prometheus will also study the Greek myth of Creation and will be exposed to the other Greek Gods. Prometheus is a major character in the tale of Zeus’ rise to power and his stories are entwined through many of the Greek myths such as the stories of Heracles and Io. In studying the myths of Prometheus students will see how the Greek myths were presented as one long narrative with characters weaving in and out of the ancient sources. Students will also be able to compare the myths as they appear in ancient and modern versions after reading the materials selected for this unit. -
Jocasta and the Sin of Thebes Bernadette Waterman Ward
Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit. -
Stravinsky Oedipus
London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.