Oedipus at Colonus
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. -
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. -
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. -
Meet the Philosophers of Ancient Greece
Meet the Philosophers of Ancient Greece Everything You Always Wanted to Know About Ancient Greek Philosophy but didn’t Know Who to Ask Edited by Patricia F. O’Grady MEET THE PHILOSOPHERS OF ANCIENT GREECE Dedicated to the memory of Panagiotis, a humble man, who found pleasure when reading about the philosophers of Ancient Greece Meet the Philosophers of Ancient Greece Everything you always wanted to know about Ancient Greek philosophy but didn’t know who to ask Edited by PATRICIA F. O’GRADY Flinders University of South Australia © Patricia F. O’Grady 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Patricia F. O’Grady has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identi.ed as the editor of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask 1. Philosophy, Ancient 2. Philosophers – Greece 3. Greece – Intellectual life – To 146 B.C. I. O’Grady, Patricia F. 180 Library of Congress Cataloging-in-Publication Data Meet the philosophers of ancient Greece: everything you always wanted to know about ancient Greek philosophy but didn’t know who to ask / Patricia F. -
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. -
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”. -
Thebaid 2: Oedipus Descendants of Cadmus
Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway. -
The Story of Oedipus: Prequel to Antigone
The Story of Oedipus: Prequel to Antigone • LAIUS is left an orphaned minor by his father Labdacus • AMPHION AND ZETHUS rule Thebes (Build the Cadmeia) and exile Laius • Laius goes to live in Elis (PISA) with King Pelops (son of Tantalus son of Zeus) • Laius becomes very good friends with young Chrysippus, youngest child of King Pelops • Laius and Chrysippus run away together (or Laius rapes Chrysippus). Pelops curses Laius. • Laius returns to Thebes and becomes King • Laius marries his cousin Jocasta, but they are childless • Laius goes to Delphi and intends to ask Apollo's advice; Apollo announces that Laius will have a child who will kill him • Laius and Jocasta have a baby son (Oedipus) whom they plan to kill. The royal shepherd is ordered to dispose of the child on Mt. Cithaeron. Instead he gives Oedipus to the royal Corinthian shepherd. • The Royal Corinthian Shepherd takes the child back to the childless king and queen of Corinth (Polybus and Merope), who adopt him. • At about the age of 18, at a dinner party, one of Oedipus' friends makes a rude remark about his not being a real Corinthian but only adopted. Oedipus is shocked and shamed, and goes off to Delphi to ask Apollo about the truth. • Apollo tells Oedipus he is doomed to kill his father and sleep with his mother. • Oedipus unknowingly kills his father Laius (within hours, at The Three Ways) • Oedipus kills the SPHINX on the way from the Three Ways to Thebes • Oedipus is received at Thebes as a national hero, and invited to marry the recently widowed queen Jocasta. -
Polis As Player in Aeschylus' Seven Against Thebes This Paper Will
Polis as Player in Aeschylus’ Seven Against Thebes This paper will focus on the city in Aeschylus’ Seven Against Thebes and argue that the city itself plays a prominent role not just in locating the action, but also in participating in it as a fundamental part of the curse on the house of Laius. Previous scholarship has focused on the absence of Polynices as a speaking character in Aeschylus’ Seven Against Thebes: some have argued that his absence indicates Aeschylus’ sole focus on Eteocles (Kitto 1966, 47), even denying any rightful claim to dike on Polynices’ part (cf. Gagarin 1976, 122 n. 11). The implication of this stance is that Eteocles’ death is predicated solely on Oedipus’ curse on his sons (785-787) and is not caused by any wrongful action on his part. Contrary to this view, I will argue that Eteocles’ death is caused by his mistreatment of the city, and I will suggest that this type of mistreatment is the driving force behind the curse on the family. Aeschylus’ emphasis on intergenerational misfortune is well-known as the basis on which his trilogies are built, and scholarly attention has revolved around human action and interaction as the manifestations of intergenerational conflict. I will argue that, in addition to the human players, the city of Thebes must also be understood as an active participant in and focal point of this intergenerational narrative. This paper will explore the various personifications of the city, first as mother and caretaker in Eteocles’ opening speech (10-15), and later more general ones that speak of the city as one entity (793, 803, 900) comprising its physical structures (795, 901). -
William Blake and the Vision of the Ancients
Colby Quarterly Volume 27 Issue 3 September Article 7 September 1991 Benediction of Metaphor at Colonus: William Blake and the Vision of the Ancients Margaret J. Downes Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 27, no.3, September 1991, p.174-183 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Downes: Benediction of Metaphor at Colonus: William Blake and the Vision Benediction of Metaphor at Colonus: William Blake and the Vision of the Ancients by MARGARET J. DOWNES A LTHOUGH he is of two minds about the praiseworthiness of the ancient ..l\. Greeks, William Blake greatly admired the roots oftheir literature. "Let it here be Noted," he writes in "A Vision of the Last Judgment," "that the Greek Fables originated in Spiritual Mystery & Real Visions.... The Nature of my Work is Visionary or In1aginative; it is an Endeavour to Restore what the Ancients call'd the Golden Age" (K605).1 However, Blake does not tell us just which works of classical antiquity best evidence for him the sparks of those ancient fires of liberated imagination. Blake read Greek and Latin and con1ments, sometimes with praise and sometimes with disdain, on a number ofthe ancient authors-Homer, Aristotle, Euripides, Plato, andVirgil, for example. In general he admires theircapacityfor inspiration but rebukes them for perverting that divine quality in the service of war or tyranny, whether political or mental. -
Seven Against Thebes [PDF]
AESCHYLUS SEVEN AGAINST THEBES Translated by Ian Johnston Vancouver Island University, Nanaimo, BC, Canada 2012 [Reformatted 2019] This document may be downloaded for personal use. Teachers may distribute it to their students, in whole or in part, in electronic or printed form, without permission and without charge. Performing artists may use the text for public performances and may edit or adapt it to suit their purposes. However, all commercial publication of any part of this translation is prohibited without the permission of the translator. For information please contact Ian Johnston. TRANSLATOR’S NOTE In the following text, the numbers without brackets refer to the English text, and those in square brackets refer to the Greek text. Indented partial lines in the English text are included with the line above in the reckoning. Stage directions and endnotes have been provided by the translator. In this translation, possessives of names ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hermes and Hermes’ are both two-syllable words). BACKGROUND NOTE Aeschylus (c.525 BC to c.456 BC) was one of the three great Greek tragic dramatists whose works have survived. Of his many plays, seven still remain. Aeschylus may have fought against the Persians at Marathon (490 BC), and he did so again at Salamis (480 BC).