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A commentary on the plays of Sophocles by Professor James C. Hogan B.A. M.A. Ph.D.

By Professor James C. Hogan B.A. M.A. Ph.D.

James C. Hogan introduces every one play via highlighting particular and interpretive difficulties appropriate to that play sooner than turning to a line-by-line research. the road research is complete, starting from the meanings of phrases and words that pertain to numerous Greek rules and associations to metaphor and imagery particular to every play in addition to plots and borrowings from previous poetry, kinds, and characterizations.Along along with his exam of the seven extant performs of Sophocles in English translations, Hogan presents a common creation to the theatre in Sophocles’ time, discussing staging, the conventions of the Greek theatre, the textual content of the performs, and mythology and faith.

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Extra resources for A commentary on the plays of Sophocles

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7679 The irony is that he will prove a villain (kakos) by doing what the god commands; it is "liar" in his confession at 142122. For kakos see the note to 52223. Commands also means "makes clear," at which moment Creon appears, so that the priest rightly sees a good omen (gracious words) in the happy responsion of word and deed. Your servants interprets the pronoun ("these men"), who may be some of the suppliants. 78132 Translations often do not reflect the formal structure of the Greek dialogue.

All of the plays are in some way political, but for the most part the problems have moved beyond Homer's ken. The Homeric Ajax has become a civic hero before Sophocles' play is staged, and that historical fact gives the hero's lot a special poignancy for the Athenian spectators. Myth tends to emphasize individualism; in tragedy man is a political animal, a citizen of a particular social organization that makes demands, expects his loyalty, and asserts paramount claims on his values. If individualism was a fact of life and literature, the preeminent demands of the polis were no less real.

The choregoi (producers) sometimes spent lavishly on costume and scenic design; significant redesign and staging would have been feasible at night, before Page 6 the next day's tetralogy. The Greeks liked display, liked to paint their temples and statuary, and movable panels, decorated for each play, may have been a common theatrical device. Although the extant Sophoclean plays offer nothing so sensational as the finale of Euripides' Orestes or the destruction of the palace in the Bacchae, some scenes, such as Ajax among the slain animals, the supplication beginning Oedipus the King, and the arrival of the dying Heracles, show that Sophocles knew how to achieve striking effects of spectacle and staging.

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