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Oedipus Rex at Vicenza in 1585, Antonio Riccoboni 1

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Oedipus Rex at Vicenza in 1585, Antonio Riccoboni 1 SoPHOCLES CLASSICAL HERITAGE VOLUME 4 GARLAND REFERENCE LIBRARY OF THE HUMANITIES VOLUME 1455 CLASSICAL HERITAGE WARD W. BRIGGS, jR., Series Editor Ovm HOMER The Classical Heritage Edited by Katherine Callen King Edited by William S. Anderson TACITUS VERGIL The Classical Heritage Edited by Craig Kallendorf Edited by Ronald Mellor MARTIAL Edited by J.P. Sullivan SoPHOCLES The Classical Heritage Edited by R.D. Dawe SoPHOCLES THE CLASSICAL HERITAGE EDITED BY R. D. DAWE ~ l Routledge ~ ~ Taylor & Francis Group NEW YORK AND LONDON First published by Garland Publishing, Inc This edition published 2011 by Routledge 711 Third Avenue, New York, NY 10017, USA 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright© 1996 by R.D. Dawe All rights reserved Library of Congress Cataloging-in-Publication Data Sophocles : the classical heritage I edited by R.D. Dawe. p. em. - (Classical heritage ; vol. 4) (Garland reference library ofthe humanities ; vol. 1455) Includes bibliographical references. ISBN 0-8153-0334-3 (alk. paper) 1. Sophocles-Criticism and interpretation. 2. Greek drama (Tragedy)-History and criticism. 3. Mythology, Greek, in literature. 4. Sophocles-Stage history. 5. Sophocles-Appreciation. I. Dawe, R. D. (Roger David) II. Series. III. Series: Garland reference library of the humanities ; vol. 1455. PA4417.S692 1996 882'.01-dc20 95-53958 CIP TABLE OF CONTENTS SERIES PREFACE Vll INTRODUCTION IX ACKNOWLEDGMENTS xxvii Letter Describing the Performance of Oedipus Rex at Vicenza in 1585, Antonio Riccoboni 1 Oedipus at Vicenza and Paris: Two Stages in a Saga, Pierre Vidal-Naquet 13 From Preface to Oedipus, Pierre Corneille 33 Letters on Oedipus, Letter III: Containing the Critique of the Oedipus of Sophocles, F. M. A. de Voltaire 35 Remarks upon Oedipus, Pierre Brumoy 45 What Lies behind the Notes: The Translations of the Antigone of Sophocles in the 18th Century, Suzanne Said and Christian Biet 55 Preface: The Oedipus Tyrannus of Sophocles, Thomas Maurice 73 Preface: The Tragedies of Sophocles; Oedipus, King of Thebes, R. Potter 76 From Laokoon, Gotthold Ephraim Lessing 81 From Kritische Walder: Erstes Waldchen, Johann Gottfried von Herder 87 Holderlin's Translations, Wolfgang Schadewaldt 101 Sophocles and Holderlin, R. B. Harrison 111 The Bride of Messina, Florian Prader 137 Life and Political Character of Sophocles-Character of His Different Tragedies, August Wilhelm von Schlegel 159 From The Conversations of Goethe with Eckermann and Soret 171 On the Irony of Sophocles, Connop Thirlwall 179 Lecture XXVIII, John Keble 225 The Oedipus Complex, Sigmund Freud 243 Chapter 10 of From Sophocles to Sartre, Kate Hamburger 251 The Descendants of Labdacus in the Theatrical Works of Jean Cocteau, Demetrios N. Pantelodimos 269 Ancient Tragedy on the Modern Stage, Wolfgang Schadewaldt 283 SERIES PREFACE Ward W. Briggs With the proliferation in the last generation of courses in Western Humanities or Great Books of the Western World, the need to demonstrate the continuity from ancient to modem culture is ever more pressing. Recent years have seen phenomenal interest in the area of studies known as the Classical Tradition, with at least one major journal well established (Classical and Modem Literature) and at least one other in the offing. The Institute for the Classical Tradition at Boston University continues to thrive with conferences and publications both here and abroad. The recent bimillennium of the death of Virgil brought forth a number of volumes in his honor and many of their contributions dealt with his Nachleben. Much the same will undoubtedly be true of the bimillennium of the death of Horace. Despite this interest, there have been no volumes designed to survey the influence of various ancient authors throughout European and American history. This series will present articles, some appearing for the first time, some for the first time in English, dealing with the major points of influence in literature and, where possible, music, painting, and the plastic arts, of the greatest of ancient writers. The editors are published authorities on their authors and they provide introductions that sum­ marize the scope of each author's impact on Western literature and art. This page intentionally left blank INTRODUCTION Sophocles and Posterity The influence of Sophocles from the Renaissance to the present day has not been a steady pressure manifesting itself evenly through the centuries, and those who have written interesting pieces on this author during that period have not done so with a view to smoothing the path of any future editor who might wish to place before the public a continuous and developing discourse. The present volume reflects the discontinuity of its subject matter, and the different aspects of the subject itself. There was a time when it seemed the best arrangement might be to keep in separate sections articles or chapters which dealt with a) the content of Sophocles; b) his translators; c) the various approaches to staging. But there was necessarily much overlap, and in the end it seemed appropriate to adopt a system based on chronology: which is not quite the same thing as date of publication. Thus Vidal-Naquet finds himself in an early posi­ tion, although he has things to say about Freudian interpretations of Sophocles, simply because his article takes as its starting point the Vicenza production of 1585 with which we open. As one surveys the available literature, it becomes apparent that professional Greek scholars have exhibited relatively little enthusiasm for pursuing the fate of Sophocles' work beyond the Roman period. (Sir Richard Jebb and Wolfgang Schadewaldt are two notable exceptions.) For the most part pieces dealing with Sophocles and X have been written from the standpoint of those who are more interested in X than in Sophocles. This is in the nature of the subject, and does not constitute a bar to inclusion. But there is something else which has acted as such a bar, and since any editor of a volume such as this must feel more regret X Sophocles at what he has had to exclude than pleasure at what he has been able to include, it is necessary to say at once what that something is. Essentially it is a matter of relevance. Commonly an author will be found who is discussing the influence not of Sophocles in particular but of Greek trag­ edy in general. One might, for example, expect to find a chapter on Hegel's views on Sophocles, but they are distributed through his works in a way that does not lend itself to helpful reproduction. A similar prob­ lem presented itself with the unpublished dissertation of a former pupil of mine, Mr. J. M. Parry. His thesis is called English Attitudes to Greek Tragedy 1491-1971, and can be found as item no. 8630 in the section in the Cambridge University Library which contains doctoral dissertations: its date is 1973. How useful and entertaining a guide this may be to others who may find themselves drawn into this area of study may be gauged from a few excerpted jottings. How many of us knew, for instance, that Aeschylus wrote "the most indifferent things in a Tragick Huff," 1 even if we had long suspected that Aristotle is "unenlivened by a single ray of poetic genius and utterly destitute of the colouring of imagination. "2 How should we respond to the sentiment "Who has not read Oedipus Tyrannus but sighs when he reflects that Sophocles was not a Christian?" 3 Or to the exhortation of the stage manager: "Now, ladies and gentlemen, remember this is classical. Breadth! Breadth! No particu­ lar attention to meanings. "?4-an exhortation already anticipated perhaps by some of the older school of translators: for what Eduard Fraenkel in the mid-twentieth century rendered as "in harmony therewith say 'woe, woe!', but may the good prevail!" (Aeschylus Agam. 158-159) had been more memorably given to us by Potter in the eighteenth century as "Sound high the strain, the according notes prolong, I Till conquest listens to the raptured song. "5 Justified or not, there is a certain charm in seeing and hearing a translation such as that, and there is much to be learnt from the unspoken assumptions that lie behind the various versions offered us over the centuries, as we shall see for ourselves in the two chapters on eighteenth-century French translations of Sophocles and on Holderlin. It is a pity that limitations of space have made it impossible to include a selection from all the versions on offer. A dip into Francklin (1759) is enough to make some of us wish we had a copy on our own bookshelves for constant reference and delight. I R. Rapin, Reflections on Aristotle's Treatise of Poesie, made English by T. Rymer (1674) p. 117. 2 Mrs. Carter, Letters, ed. Pennington (1817) II. 22. 3 The Harrovian, April 1828. 4 Atlantic Monthly vol. 116 (1912) p. 663. 5 R. Potter, The Tragedies of Aeschylus (1777). Introduction xi But it is time to set regrets behind us, and to pass from what we have kept out of this book to what we have let into it, and to give the reader a guide to what is to come. We begin with the year 1585, and a performance in Vicenza of Oedipus Rex in the translation by Orsatto Giustiniani. There exist a number of documents relating to this perform­ ance.6 We have chosen to print the most thoughtful, and least adulatory, the one by Antonio Riccoboni, who with Aristotle's Poetics and com­ mentators on it as his guide finds much to criticize both with the play as Sophocles wrote it and in various aspects of its staging at Vicenza.
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