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آن شاعر بزرگ از زبان خدایان فقط میگوید «بجویید تا بیابید» همین و بس.
-شاهرخ مسکوب
-شاهرخ مسکوب
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The Theban Plays #1–3
The Oedipus Cycle: Oedipus Rex, Oedipus at Colonus, Antigone
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English versions of Sophocles’ three great tragedies based on the myth of Oedipus, translated for a modern audience by two gifted poets.
259 pages, Paperback
First published January 1,-0450
This edition
- Format
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259 pages, Paperback
- Published
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November 1, 2002 by Mariner Books
- ISBN
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9780156027649
- ASIN
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015602764X
- Language
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English
Characters More characters
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Antigone
In Greek mythology, Antigone is a Theban princess, and a character in several ancient Greek tragedies. She is the daughter of Oedipus, king of Thebes. Her mother is Jocasta. In another variation of the myth, her mother is Euryganeia. She is a sister of Po...
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Ismene
In Greek mythology, Ismene is a Theban princess. She is the daughter and half-sister of Oedipus, king of Thebes, daughter and granddaughter of Jocasta, and sister of Antigone, Eteocles, and Polynices. She appears in several tragic plays of Sophocles: at t...
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Oedipus
Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus fulfilled a prophecy that he would end up killing his father and marrying his mother, thereby bringing disaster to his city and family.The story of Oedipus is the subje...
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Odysseus
A legendary Greek king of Ithaca and a hero of Homers epic poem the Odyssey. Odysseus also plays a key role in Homers Iliad.Husband of Penelope, father of Telemachus, and son of Laërtes and Anticlea, Odysseus is renowned for his brilliance, gu...
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Heracles
Heracles (Ancient Greek: Ἡρακλῆς, Hēraklēs, from Hēra, "Hera", and kleos, "glory"), was a divine hero in Greek mythology, the son of Zeus and Alcmene, foster son of Amphitryon and great-grandson (and half-brother) of Perseus. He was the greatest of the Gr...
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Philoctetes
Philocthetes, according to Greek mythology, was the son of King Poeas of Meliboea in Thessaly. He was a Greek hero, famed as an archer, and a participant in the Trojan War. Philoctetes is also mentioned in Homers Iliad, Book 2, which describes his e...
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Sophocles (497/496 BC-406/405 BC), (Greek: Σοφοκλής; German: Sophokles, Russian: Софокл, French: Sophocle) was an ancient Greek tragedian, known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes, and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions, and was sometimes defeated by Sophocles; Euripides won four.
The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.
The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.
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تجربهای که شاید بعدا دوباره اتفاق نیافته. مثل تب خاکی روی پشتبوم
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Read for University!
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I thoroughly enjoyed this translation of Sophocles Theban plays. Robert Fagles placed the plays in the order written, rather than in their dramatic chronology. At first I thought this was strange, but I followed his lead and read 'Antigone' first. Now, after reading Oedipus the King and Oedipus at Colonus, I have a much greater feeling for Antigone's suffering and a much better understanding of Creon's perspective as well. Now I'm ready to re-read Antigone better armed with the facts of their respective histories.
Beyond that, what can I say about Sophocles? He treats these myths with genius skills, contemporary mastery of his times and a deep understanding of his fellow Athenians. An amazing accomplishment and an important work for any serious student of drama or literature to read deeply and repeatedly.
The Thug perspective:
https://www.youtube.com/watch?v=dMD18...
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2015 reread:
Everything I said above and then some. The more Greek drama I read, the more I understand the sources and obsessions of western literature.
Beyond that, what can I say about Sophocles? He treats these myths with genius skills, contemporary mastery of his times and a deep understanding of his fellow Athenians. An amazing accomplishment and an important work for any serious student of drama or literature to read deeply and repeatedly.
The Thug perspective:
https://www.youtube.com/watch?v=dMD18...
***************
2015 reread:
Everything I said above and then some. The more Greek drama I read, the more I understand the sources and obsessions of western literature.
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سوای از اینکه با یک اثر ادبی طرفیم که هر علاقهمندی میتونه بخوندش، با یک منبع درسی برای دانشجویان هنرهای نمایشی و روانشناسی مواجهایم که خوندنش برای اونها یک ضرورت به حساب میآد.
کتاب شامل یک مقدمه به شدت جذاب از شاهرخ مکسوب، نمایشنامههای "ادیپ شهریار"، "ادیپ در کلنوس " و "آنتیگنه" و مقالهی "آنتیگنه و لذت تراژیک" از آندره بونار است.
کتاب شامل یک مقدمه به شدت جذاب از شاهرخ مکسوب، نمایشنامههای "ادیپ شهریار"، "ادیپ در کلنوس " و "آنتیگنه" و مقالهی "آنتیگنه و لذت تراژیک" از آندره بونار است.
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So... not over-rated. Fagles' translation is solid, much clearer than his Aeschylus, though I actually prefer the opacity he brought to that text. Of course, that might have been in Aeschylus. I will never learn Greek well enough to tell.
Antigone was the earliest of these plays, though the last within the narrative. I can't help but read it with my Hegel glasses on: the clash between Creon and Antigone is an example of a failed conceptual grasp of the world, in which the claims on us of family/tradition/ancient gods cannot be accommodated by our living in larger, civic communities. Divine law and human law sometimes do not go together, but only a tyrant would insist on hewing to the latter alone. Removing the Hegel glasses, I can see that Creon, to his credit, does change his mind. But this being Greece, by then it's all too late. The 'lesson', if you like, is simply that one has to exercise excellent judgment in these matters.
This question of judgment works through the Oedipus plays, as well; each tyrant (Oedipus in OK, Creon in OC) fails to use good judgment; the good king Theseus does exercise it, and thus Athens rules etc etc... I know we're 'meant' to think that these plays are really about always bowing down to the gods and accepting fate, but that just doesn't square with what actually happens: Athens succeeds because of Theseus's wisdom just as much as his piety; Thebes will eventually fall because of its kings' folly just as much as their impiety. In OK, Oedipus has the chorus's support in his argument with Tiresias, because Oedipus's defeat of the Sphinx acts as proof of his regality; but when he accuses Creon without evidence, they give up on him... because by acting without evidence, he shows poor judgment. And so on.
The best play for reading is easily Oedipus the King, which is horrifying and glorious in equal measure. Also, if anyone out there knows of a good book on Tiresias, let me know.
As for Knox's introductory essays, they're not particularly thrilling. There's too much plot-summary (good news for freshmen, I guess), and his insights are so skewed ("these plays aren't depressing! They're about how we do have some control over our lives!") that it's hard to take him seriously. but they're still worth reading.
Antigone was the earliest of these plays, though the last within the narrative. I can't help but read it with my Hegel glasses on: the clash between Creon and Antigone is an example of a failed conceptual grasp of the world, in which the claims on us of family/tradition/ancient gods cannot be accommodated by our living in larger, civic communities. Divine law and human law sometimes do not go together, but only a tyrant would insist on hewing to the latter alone. Removing the Hegel glasses, I can see that Creon, to his credit, does change his mind. But this being Greece, by then it's all too late. The 'lesson', if you like, is simply that one has to exercise excellent judgment in these matters.
This question of judgment works through the Oedipus plays, as well; each tyrant (Oedipus in OK, Creon in OC) fails to use good judgment; the good king Theseus does exercise it, and thus Athens rules etc etc... I know we're 'meant' to think that these plays are really about always bowing down to the gods and accepting fate, but that just doesn't square with what actually happens: Athens succeeds because of Theseus's wisdom just as much as his piety; Thebes will eventually fall because of its kings' folly just as much as their impiety. In OK, Oedipus has the chorus's support in his argument with Tiresias, because Oedipus's defeat of the Sphinx acts as proof of his regality; but when he accuses Creon without evidence, they give up on him... because by acting without evidence, he shows poor judgment. And so on.
The best play for reading is easily Oedipus the King, which is horrifying and glorious in equal measure. Also, if anyone out there knows of a good book on Tiresias, let me know.
As for Knox's introductory essays, they're not particularly thrilling. There's too much plot-summary (good news for freshmen, I guess), and his insights are so skewed ("these plays aren't depressing! They're about how we do have some control over our lives!") that it's hard to take him seriously. but they're still worth reading.
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Of happiness the crown and chiefest part
Is wisdom, to hold the gods in awe.
This is the law
That, seeing the stricken heart
Of pride brought down,
We learn when we are old.
I felt an urge to return to the stories that set my mind on fire, way down the tunnels of time, and I chose blindly, or so I thought. Enjoying them even more today than I did the first two dozen times I read them, I nonetheless wondered why these plays ... and why now? In the middle of reading half a dozen other books, I still felt restless, and kept circling the bookcases, looking for something more satisfying. If ever there was a time to read, and understand Greek tragedy, it is now, given how the latest political events are shaping our world.
In a time fraught with willing blindness, much as Oedipus himself adopts an unwillingness to see the truth before him, these plays are a reminder of the dangers that can ensue when we choose not to see what is so plainly before us.
The three plays combined seem to ask the same question: what is the duty of the citizen in the state: to uphold those laws imposed upon them by one man's invention, in The State, be that man ever so stubborn, or so wrong; or to listen to the heart and uphold the greater laws of Nature, and inherently, Humanity.
It is a push-pull of the heart and mind and not so easily resolved as it would seem; and, because we are not gods, the right answer, The Truth, often comes too late, as it did with Creon.
Is there a time, ever, in humanity, when the prophecies were heeded in time? Or are we doomed to repeat this process, to the very end of time itself.
Not even Sophocles can offer an answer on that one.
Is wisdom, to hold the gods in awe.
This is the law
That, seeing the stricken heart
Of pride brought down,
We learn when we are old.
I felt an urge to return to the stories that set my mind on fire, way down the tunnels of time, and I chose blindly, or so I thought. Enjoying them even more today than I did the first two dozen times I read them, I nonetheless wondered why these plays ... and why now? In the middle of reading half a dozen other books, I still felt restless, and kept circling the bookcases, looking for something more satisfying. If ever there was a time to read, and understand Greek tragedy, it is now, given how the latest political events are shaping our world.
In a time fraught with willing blindness, much as Oedipus himself adopts an unwillingness to see the truth before him, these plays are a reminder of the dangers that can ensue when we choose not to see what is so plainly before us.
The three plays combined seem to ask the same question: what is the duty of the citizen in the state: to uphold those laws imposed upon them by one man's invention, in The State, be that man ever so stubborn, or so wrong; or to listen to the heart and uphold the greater laws of Nature, and inherently, Humanity.
It is a push-pull of the heart and mind and not so easily resolved as it would seem; and, because we are not gods, the right answer, The Truth, often comes too late, as it did with Creon.
Is there a time, ever, in humanity, when the prophecies were heeded in time? Or are we doomed to repeat this process, to the very end of time itself.
Not even Sophocles can offer an answer on that one.
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این کتاب را سالها پیش خواندم، زمانی که به روانکاوی فروید-لکانی بسیار علاقه داشتم و به خاطر نظریۀ «عقده اُدیپ» فروید سراغ این کتاب رفتم و از خواندن آن به شدت لذت بردم، به گونهای که در طول یکی دو هفته هر کدام از سه نمایشنامه را چندین بار خواندم! بعدها که با نیچه آشنا شدم و ستایش او از یونان باستان و فرهنگ تراژیک یونان باستان و به ویژه نمایشنامه نویسهای بزرگ آن دوران را دیدم و با تحلیلهای نیچه از تراژدی و فرهنگ تراژیک یونان بایتان آشنا شدم بیش از پیش به ارزش واقعی این نمایشنامهها پی بردم و دوست داشتم که بار دیگر این کتاب و البته دیگر نمایشنامههای تراژیک یونان باستان را بخوانم، باشد که این آرزو برآورده شود
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