Statius and Stesichorus. Ariadne: Journal of the Faculty of Philosophy at the University of Crete, 22 (2016), 45-56
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Didactic Poetry: the Hellenistic Invention of a Pre-Existing Genre
in Richard Hunter, Antonios Rengakos, and Evina Sistakou (eds.), Hellenistic Studies at a Crossroads: Exploring Texts, Contexts and Metatexts, Trends in Classics, Supplementary Volume 25 (Berlin 2014) David Sider Didactic poetry: The Hellenistic invention of a pre-existing genre For all that it is almost a cliché that Hellenistic poets were acutely aware of genre —who before Callimachus would or could have boasted of his πολυείδεια?—,¹ discussions, let alone definitions, of didactic poetry as a genre are scarce. Why bother, when it seems so obvious? Look at Aratus and Nicander, whose model was Hesiod, and nothing more need be said. Nonetheless, that will be my aim here. There have of course been many useful studies of classical didactic poetry,² some of which offer various classifications (see below); yet I have long felt that insufficient attention has been paid, both by the ancients themselves and by us today, to the development of the poems called didactic, although modern termi- nology and the ancients are not in complete agreement as to what constitutes a Bibliography at end. Some earlier poets did in fact write in more than one genre, but could have boasted of it only in particular terms, i.e., by specifying “I write poems of type X and Y,” as we see at the end of the Symposium 223d ὁμολογεῖναὐτοὺςτοῦαὐτοῦἀνδρὸςεἶναι κωμῳδίαν καὶ τραγῳδίαν ἐπίστασθαι ποιεῖν, καὶ τὸν τέχνῃ τραγῳδοποιὸν ὄντα <καὶ> κωμῳδοποιὸνεἶναι (“They agreed that the same man can know how to compose both comedy and tragedy, and that the skilled tragic poet is also a skilled writer of comedies”)—to which one can add that Plato has himself done this within this very dialogue, adding satyrography, as Bacon (1959) shows. -
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. -
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 .......................................................................................................................................... -
Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 10-2014 Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. (2014). Theban walls in Homeric epic. Trends in Classics, 6(2), 278-296. doi:10.1515/tc-2014-0015 This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. TC 2014; 6(2): 278–296 Corinne Pache Theban Walls in Homeric Epic DOI 10.1515/tc-2014-0015 Throughout the Iliad, the Greeks at Troy often refer to the wars at Thebes in their speeches, and several important warriors fighting on the Greek side at Troy also fought at Thebes and are related to Theban heroes who besieged the Boeotian city a generation earlier. The Theban wars thus stand in the shadow of the story of war at Troy, another city surrounded by walls supposed to be impregnable. In the Odyssey, the Theban connections are less central, but nevertheless significant as one of our few sources concerning the building of the Theban walls. In this essay, I analyze Theban traces in Homeric epic as they relate to city walls. Since nothing explicitly concerning walls remains in the extant fragments of the Theban Cycle, we must look to Homeric poetry for formulaic and thematic elements that can be connected with Theban epic. -
The Optimistic Rationalist in Euripides: Theseus, Jocasta, Teiresias
UC Berkeley Classical Papers Title The Optimistic Rationalist in Euripides: Theseus, Jocasta, Teiresias Permalink https://escholarship.org/uc/item/0mn5q9c5 Author Mastronarde, Donald J. Publication Date 1986 eScholarship.org Powered by the California Digital Library University of California Postprint from Greek Tragedy and its Legacy: Essays presented to D. J. Conacher, ed. by Martin Cropp, Elaine Fantham, S. E. Scully (Calgary 1986) 201-211 [201]THE OPTIMISTIC RATIONALIST IN EURIPIDES: THESEUS, JOCASTA, TEIRESIAS DONALD J. MASTRONARDE University of California, Berkeley Near the end of Act 3 of Corneille’s Oedipe of 1659, Thésée delivers a ringing denunciation of fatalism:1 Quoi? la nécessité des vertus et des vices D’un astre impérieux doit suivre les caprices, Et Delphes, malgré nous, conduit nos actions Au plus bizarre effet de ses prédictions? L’âme est donc toute esclave: une loi souveraine Vers le bien ou le mal incessamment l’entraîne, Et nous ne recevons ni crainte ni désir De cette liberté qui n’a rien à choisir, Attachés sans relâche à cet ordre sublime, Vertueux sans mérite, et vicieux sans crime. Qu’on massacre les rois, qu’on brise les autels, C’est la faute des Dieux, et non pas des mortels. De toute la vertu sur la terre épandue, Tout le prix à ces dieux, toute la gloire est due; Ils agissent en nous quand nous pensons agir; Alors qu’on délibère on ne fait qu’obéir; Et notre volonté n’aime, hait, cherche, évite, Que suivant que d’en haut leur bras la précipite. D’un tel aveuglement daignez me dispenser. -
Seneca's Phoenician Women — Genre, Structure, Thematic Unity
UDC 821.124 Philologia Classica. 2021. Vol. 16. Fasc. 1 Seneca’s Phoenician Women — Genre, Structure, Thematic Unity Tomasz Sapota University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Poland; [email protected] Iwona Słomak University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Poland; [email protected] For citation: Sapota T., Słomak I. Seneca’s Phoenician Women — Genre, Structure, Thematic Unity. Philologia Classica 2021, 16 (1), 77–89. https://doi.org/10.21638/spbu20.2021.107 This article revises current perspectives on the generic status, composition, and subject mat- ter of Phoenician Women by Seneca. It adopts a new approach, focusing on selected elements of text organisation. In particular, emphasis is given to the construction of characters and the analogies and contrasts between them which were already of interest to ancient poetics and rhetoric. Moreover, the article refers to observations, accurate but isolated and largely ignored, made by scholars who recognised Seneca’s originality and suggested that his plays might have been inspired by the declamatory tradition and should be read in the context of evolving post- classical literature. By adopting this perspective, it becomes possible to bring together a large number of partial conclusions that are related to Phoenician Women as well as other plays by Seneca. What is more important, the work brings to light the purposeful composition of the drama and its thematic unity, allowing us to return to the MS versions that until now have been replaced by conjectures, which often distort the meaning of the text. -
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. -
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. -
Durham E-Theses
Durham E-Theses The legend of Oedipus in fth century tragedy at Athens Bailey, S. K. How to cite: Bailey, S. K. (1955) The legend of Oedipus in fth century tragedy at Athens, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9722/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk r 1 THE LEGEND OF OEDIPUS IN FIFTH CENTURY TRAGEDY AT ATHENS A THESIS SUJ3W:TTED BY S.K. BAILEY FOR THE DEGREE OF MASTER OF LETTERS The aims of the thesis are (a) to mark what has been altered or added to the legend of Oedipus by the three great dramatists of the fifth century, and (b) to show that these alterations and additions were made with a· specific end in view. To further these aims it has been necessary to broaden somewhat the scope of the thesis so as to include in it a gathering together of the pre-Aeechylean versions of the story; in the case of Aeschylus a reconstruction of the two lost plays of the trilogy, and in the case of each poet a personal interpretation of the plays connected with the Oedipus legend. -
The Story of Oedipus
The Story of Oedipus There are many versions of this tragedy, dating from the 5th century BC. This one is ©Jason Buckley 2010, www.thephilosophyman.com The story is set in Ancient Greece Laius & Jocasta were the King and Queen of Thebes Laius & Jocasta, They had a son, which would Thebes normally be a time for great rejoicing. Laius & Jocasta, A son! ...but the king had visited Thebes the Oracle, a priestess who made a terrible prophecy. Laius & Jocasta, A son! The prophecy Thebes of the Oracle “The boy will grow up to kill his father and marry his mother!” “He will kill his father and marry Laius & his mother.” Jocasta, A son! Oracle Thebes So the king had a metal pin hammered through the feet of his own child. He will kill his father and marry Laius & his mother. Jocasta, A son! Oracle Thebes Then he gave the boy to a shepherd. He told the shepherd to A metal pin take him up into the through his mountains and leave him feet to die. He will kill his father and marry Laius & his mother. Jocasta, A son! Oracle Thebes But the shepherd took pity on the boy. He gave him to another shepherd, from A metal pin Corinth on the through his other side of feet the mountains. He will kill his father and marry Laius & his mother. Jocasta, A son! Oracle Thebes Who gave him to the King of Corinth, who was childless. A metal pin through his feet The king named the boy “Oedipus” which means “club foot”.