Sophocles-Antigone.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Marginalia and Commentaries in the Papyri of Euripides, Sophocles and Aristophanes
Nikolaos Athanassiou Marginalia and Commentaries in the Papyri of Euripides, Sophocles and Aristophanes PhD thesis / Dept. of Greek and Latin University College London London 1999 C Name of candidate: Nikolaos Athanassiou Title of Thesis: Marginalia and commentaries in the papyri of Euripides, Sophocles and Aristophanes. The purpose of the thesis is to examine a selection of papyri from the large corpus of Euripides, Sophocles and Aristophanes. The study of the texts has been divided into three major chapters where each one of the selected papyri is first reproduced and then discussed. The transcription follows the original publication whereas any possible textual improvement is included in the commentary. The commentary also contains a general description of the papyrus (date, layout and content) as well reference to special characteristics. The structure of the commentary is not identical for marginalia and hy-pomnemata: the former are examined in relation to their position round the main text and are treated both as individual notes and as a group conveying the annotator's aims. The latter are examined lemma by lemma with more emphasis upon their origins and later appearances in scholia and lexica. After the study of the papyri follows an essay which summarizes the results and tries to incorporate them into the wider context of the history of the text of each author and the scholarly attention that this received by the Alexandrian scholars or later grammarians. The main effort is to place each papyrus into one of the various stages that scholarly exegesis passed especially in late antiquity. Special treatment has been given to P.Wurzburg 1, the importance of which made it necessary that it occupies a chapter by itself. -
The Formulaic Dynamics of Character Behavior in Lucan Howard Chen
Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Howard Chen All rights reserved ABSTRACT Breakthrough and Concealment: The Formulaic Dynamics of Character Behavior in Lucan Howard Chen This dissertation analyzes the three main protagonists of Lucan’s Bellum Civile through their attempts to utilize, resist, or match a pattern of action which I call the “formula.” Most evident in Caesar, the formula is a cycle of alternating states of energy that allows him to gain a decisive edge over his opponents by granting him the ability of perpetual regeneration. However, a similar dynamic is also found in rivers, which thus prove to be formidable adversaries of Caesar in their own right. Although neither Pompey nor Cato is able to draw on the Caesarian formula successfully, Lucan eventually associates them with the river-derived variant, thus granting them a measure of resistance (if only in the non-physical realm). By tracing the development of the formula throughout the epic, the dissertation provides a deeper understanding of the importance of natural forces in Lucan’s poem as well as the presence of an underlying drive that unites its fractured world. Table of Contents Acknowledgments ............................................................................................................ vi Introduction ...................................................................................................................... -
Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
Llt 121 Classical Mythology Lecture 32 Good Morning
LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL. -
Oedipus and Sophocles’ Oedipus Rex: a Comparative Study مسرحية توفيق الحكيم الملك أوديب ومسرحية سوفكليس أوديب ملكا: دراسة مقارنة
I Tawfiq Al-Hakim’s King Oedipus and Sophocles’ Oedipus Rex: A Comparative Study مسرحية توفيق الحكيم الملك أوديب ومسرحية سوفكليس أوديب ملكا: دراسة مقارنة Prepared by: Israa Jamil Mohammed Supervised by: Professor Tawfiq Yousef A Thesis Submitted in Partial Fulfillment of the Requirements for the Master’s Degree in English Language and Literature Faculty of Arts and Science Department of English Language and Literature Middle East University August 2015 II III IV Acknowledgment My deepest thanks and gratitude are to Allah, the Greatest, who gave me the patience and strength to do this research. My special appreciation and thanks are to my supervisor Professor Tawfiq Yousef who has been a tremendous mentor for me. I would like to thank him for supervising my research and for allowing me to grow as a researcher. His comments, guidance, and advice on my research have been very helpful. Special thanks also are given to my parents. Words cannot express how grateful I am to my father and my mother for all of the sacrifices that have made on my behalf. Their prayers and their support for me were what sustained me thus far. Finally, I would like to thank my brothers and sisters who stood by my side during the period of preparing the thesis. V Dedication I would like to dedicate this research to my parents, who were my strongest supporters throughout this whole experience. I also would like to dedicate it to my brothers and sisters who also supported me. Finally, I dedicate it to my uncles, aunts and friends. -
Clash of the Titans
CLASH OF THE TITANS Written bY John Glenn & Travis Wright Based on the 1981 movie "Clash of the Titans" Written by Beverly Cross May 28, 2008 FADE IN: EXT. ALLEYWAY (VILLAGE) - DUSK Gloomy, last light. From out of the shadows comes -- A DOG. A dog of war. Big, mangy, muscular, scary. As he moves down the alley, the way becomes increasingly choked with fallen structures. and signs of tumult. EXT. BATTLEFIELD - DUSK TRACKING WITH THE DOG as he comes onto a battlefield. The hellish scene is REVEALED TO US SLOWLY -- SERIES OF SHOTS as the Dog traverses a landscape of -- BODIES, frozen in contorted death poses. This was furious, hand-to-hand fighting between human SOLDIERS and nightmare CREATURES, their corpses now in piles to the horizon. The Dog climbs a mound of casualties. At the top, the Dog looks back across the battlefield. The Dog's eyes are sad, his expression weary and disgusted. DISSOLVE TO: EXT. THE PALACE OF ACRISIUS - NIGHT The entrance is patrolled by a dozen PALACE GUARDS. They don't see the Dog pad silently to a fissure in the palace wall and disappear inside. INT. THE PALACE OF ACRISIUS - GREAT HALL - NIGHT Bloodied and battered, the King's GENERALS are disagreeing loudly about strategy. A loud BANGING sound pierces the hubbub, and the officers quiet, turning to -- KING ACRISIUS, a striking man in his prime, his handsome face marked by one crooked scar on his jaw. He commands the room -- KING ACRISIUS Now we end the debate about tactics... and begin to plan for victory. -
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. -
Myth, the Marvelous, the Exotic, and the Hero in the Roman D'alexandre
Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Paul Henri Rogers A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (French) Chapel Hill 2008 Approved by: Dr. Edward D. Montgomery Dr. Frank A. Domínguez Dr. Edward D. Kennedy Dr. Hassan Melehy Dr. Monica P. Rector © 2008 Paul Henri Rogers ALL RIGHTS RESERVED ii Abstract Paul Henri Rogers Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Under the direction of Dr. Edward D. Montgomery In the Roman d’Alexandre , Alexandre de Paris generates new myth by depicting Alexander the Great as willfully seeking to inscribe himself and his deeds within the extant mythical tradition, and as deliberately rivaling the divine authority. The contemporary literary tradition based on Quintus Curtius’s Gesta Alexandri Magni of which Alexandre de Paris may have been aware eliminates many of the marvelous episodes of the king’s life but focuses instead on Alexander’s conquests and drive to compete with the gods’ accomplishments. The depiction of his premature death within this work and the Roman raises the question of whether or not an individual can actively seek deification. Heroic figures are at the origin of divinity and myth, and the Roman d’Alexandre portrays Alexander as an essentially very human character who is nevertheless dispossessed of the powerful attributes normally associated with heroic protagonists. -
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. -
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. -
Antigone's Line
Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1. -
Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen the Dionysian Necessity
Greek and Roman Musical Studies 6 (2018) 247-264 brill.com/grms Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen The Dionysian Necessity Barbara Castiglioni Università di Torino [email protected]/[email protected] Abstract The imagery of Dionysiac performance is characteristic of Euripides’ later choral odes and returns particularly in the Helen’s second stasimon, which foregrounds its own connections with the mimetic program of the New Music and its emphasis on the emancipation of feelings. This paper aims to show that Euripides’ deep interest in con- temporary musical innovations is connected to his interest in the irrational, which made him the most tragic of the poets. Focusing on the musical aspect of the Helen’s second stasimon, the paper will examine how Euripides conveys a sense of the irratio- nal through a new type of song, which liberates music’s power to excite and disorient through its colors, ornament and dizzying wildness. Just as the New Musicians pres- ent themselves as the preservers of cultic tradition, Euripides, far from suppressing Dionysus as Nietzsche claimed, deserves to rank as the most Dionysiac and the most religious of the three tragedians. Keywords Euripides – tragedy – New Music – Dionysus – religion – choral self-referentiality Introduction The choral odes of tragedy regularly involve the Chorus reflecting upon an ear- lier moment in the play or its related myths. In Euripides’ Helen, all three sta- sima are distanced from the action by their mood. The first choral ode follows © koninklijke brill nv, leiden, 2018 | doi:10.1163/22129758-12341322Downloaded from Brill.com09/23/2021 09:44:20AM via free access 248 Castiglioni the successful persuasion of the prophetess, Theonoe, the working out of a good escape plan and high optimism on the part of Helen and Menelaus, but seems to ignore the progress of the play’s action and takes the audience back to the ruin caused by the Trojan war.