By Professor James C. Hogan B.A. M.A. Ph.D.
James C. Hogan introduces every one play by means of highlighting particular and interpretive difficulties appropriate to that play prior to turning to a line-by-line research. the road research is complete, starting from the meanings of phrases and words that pertain to various Greek rules and associations to metaphor and imagery particular to every play in addition to plots and borrowings from previous poetry, types, and characterizations.Along together with his exam of the seven extant performs of Sophocles in English translations, Hogan offers a basic advent 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
On the controversial issues, I have referred the reader to more comprehensive treatments in English. Compared with Aeschylus, Sophoclean drama is more subtle, problematic, and ambiguous in ethical and psychological matters. A commentator may feel obliged to eludicate certain issues more fully than Aeschylus requires. I have yielded to the temptation to explain purpose and character, but on the more controversial points I have given the reader an account of, or reference to, other interpretations.
Thus, while some divinities are associated with moral and social functions, and in some contexts Ares is simply War, Aphrodite Love, Greek religion does not present deity as concerned with the moral or spiritual improvement of man. Man must respect and fear divine power; he is not expected to love the gods. To illustrate with small matters, both Creon (OK 64449) and Lichas (Tr 399401) take oaths, and Zeus is the god who oversees the sanctity of oaths. Creon swears truly and is taken seriously; Lichas forswears himself, though the truth is soon forced from him.
Seven 927ff. suggests their fratricidal struggle resulted from the curse of their incestuous begetting, while Seven 785ff. " Turning from uncertainties and problems to Sophocles, we may say he had a good deal of freedom to develop the particulars of the Theban plays as he wished and that he made significant changes and additions. In the first place, in the Oedipus the King Oedipus' curse on himself and probable exile are hardly demanded by the tradition, nor need Sophocles have postponed the discovery so long as he did.