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By Sophocles

Love and loyalty, hatred and revenge, worry, deprivation, and political ambition: those are the explanations which thrust the characters portrayed in those 3 Sophoclean masterpieces directly to their collision path with catastrophe.

Recognized in his personal day as probably the best of the Greek tragedians, Sophocles' popularity has remained undimmed for 2 and a part thousand years. His maximum innovation within the tragic medium used to be his improvement of a primary tragic determine, confronted with a try of will and personality, risking obloquy and dying instead of compromise his or her ideas: it really is awesome that Antigone and Electra either have a girl as their intransigent 'hero'. Antigone dies quite forget her accountability to her relations, Oedipus' decision to save lots of his urban ends up in the awful discovery that he has dedicated either incest and parricide, and Electra's unremitting anger at her mom and her lover retains her in servitude and despair.

These bright translations mix splendor and modernity, and are amazing for his or her lucidity and accuracy. Their sonorous diction, economic climate, and sensitivity to the numerous metres and modes of the unique musical supply lead them to both compatible for studying or theatrical peformance.

Readership: scholars of all collage degrees in drama, classics, comparative literature, theatre experiences. A-level `Classical Civilization' scholars.

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Additional info for Antigone, Oedipus the King, Electra (Oxford World's Classics)

Sample text

Some of the more notable studies devoted to the cultural contexts of Elizabethan iconography are Frances Yates, Astraea: The Imperial Theme in the Sixteenth Century (London: Routledge and Kegan Paul, 1975); Robin Headlam-Wells, Spenser’s “Faerie Queene” and the Cult of Elizabeth (Tottowa, NJ: Barnes & Noble Books, 1983); Susan Frye, Elizabeth I: The Competition for Representation (Oxford: Oxford University Press, 1993); Helen Hackett, Virgin Mother, Maiden Queen; Carole Levin, “The Heart and Stomach of a King”: Elizabeth I and the Politics of Sex and Power (Philadelphia: University of Pennsylvania Press, 1994).

James himself never seems to have solved this problem. The speech to the 1607 parliament was the king’s last address on the topic of the Great Britain project. The issue does, however, take on an increasingly central position in the marriage masques produced between 1606 and 1608, all of which, as we will see, display a deep interest in the politics and poetics of Anglo-Scottish Union. The variations in corporeal imagery that occur during the opening years of James’s English reign evidence a process of rhetorical transition, a shift in the vocabulary of national myth that I will continue to illustrate in this chapter and the following one.

George Parfitt (Harmondsworth: Penguin Books, 1975), 36. 38 Marriage, Performance, and Politics at the Jacobean Court In its closing emphasis on the ocean’s circumscription of privileged political space, Epigram V duplicates the isolationism that characterized the island imagery in panegyric of the 1580s and 1590s. Yet in order to reach this final clause we must pass through images of internal de-insularization. The king is not cast as a defender of national borders, but as a marital priest—a national matchmaker.

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