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Written by one of the best-known interpreters of classical literature today, Sophocles and the Language of Tragedy presents a revolutionary take on the work of this great classical playwright and on how our understanding of tragedy has been shaped by our literary past. Simon Goldhill sheds new light on Sophocles' distinctive brilliance as a dramatist, illuminating such aspects of his work as his manipulation of irony, his construction of dialogue, and his deployment of the actors and the chorus. Goldhill also investigates how nineteenth-century critics like Hegel, Nietzsche, and Wagner developed a specific understanding of tragedy, one that has shaped our current approach to the genre. Finally, Goldhill addresses one of the foundational questions of literary criticism: how historically self-conscious should a reading of Greek tragedy be? The result is an invigorating and exciting new interpretation of the most canonical of Western authors.
This title presents a revolutionary take on Sophocles' tragic language and how our understanding of tragedy is shaped by our literary past. The book explores Sophocles' distinctive brilliance as a dramatist while investigating how the 19th-century critics developed a specific understanding of tragedy.
This book examines the lyrical voice of Sophocles' heroes and argues that their identities are grounded in poetic identity and power. It begins by looking at how voice can be distinguished in Greek tragedy and by exploring ways that the language of tragedy was influenced by other kinds of poetry in late fifth-century Athens. In subsequent chapters, Professor Nooter undertakes close readings of Sophocles' plays to show how the voice of each hero is inflected by song and other markers of lyric poetry. She then argues that the heroes' lyrical voices set them apart from their communities and lend them the authority and abilities of poets. Close analysis of the Greek texts is supplemented by translations and discussions of poetic features more generally, such as apostrophe and address. This study offers new insight into the ways that Sophoclean tragedy inherits and refracts the traditions of other poetic genres.
This book contains essays by international experts on Sophocles, asking why he matters, and why he is still read and performed today. His seven surviving tragedies are discussed from a variety of perspectives. A picture emerges of Sophocles' place at the foundations of the tragic tradition and in its perpetual refashioning and renewal.
This generous selection of published essays by the distinguished classicist Charles Segal represents over twenty years of critical inquiry into the questions of what Greek tragedy is and what it means for modern-day readers. Taken together, the essays reflect profound changes in the study of Greek tragedy in the United States during this period-in particular, the increasing emphasis on myth, psychoanalytic interpretation, structuralism, and semiotics.
Focuses on Sophocles' dramatization of fundamental political impasses and applies these to the competing political theories of Thomas, Bacon and Locke.
An exploration of the poetic qualities of the Greek tragic dramatists Aeschylus, Sophocles and Euripides highlighting their similarities and differences.
This book is a wide-ranging study of the language of the tragedian Sophocles. From a detailed analysis of sentence-structure in the first chapter, it moves on to discuss how language shapes the perception of characters, of myths, of gods and of choruses. All chapters are united by a shared concern: how does Sophoclean language engage readers and spectators? Although the book focuses on the original Greek, translations make it accessible to anybody interested in Greek tragedy.
This volume offers an extensive overview of the various ways in which Sophocles’ use of the Greek language is currently being studied. Greatly admired in antiquity, Sophocles’ style only became a serious subject of investigation with Campbell’s Introductory essay On the language of Sophocles (1879). Fourteen chapters, divided into three sections (diction, syntax, pragmatics), discuss the linguistic register and use of gnomai in Ajax’ deception speech, Homeric intertextuality, the style of the Sophoclean satyr-plays in relation to tragedy and comedy, the relation between the repetition of words and focalization, the language of blindness, the image of ‘fire’, the use of deictic pronouns, the semantics of the middle-passive and of counterfactuals, the historic present and the constitution of the text, the suggestive power of descriptions, speech-acts, and strategies of politeness.
Agememnon is the first part of the Aeschylus's Orestian trilogy in which the leader of the Greek army returns from the Trojan war to be murdered by his treacherous wife Clytemnestra. In Sophocles' Oedipus Rex the king sets out to uncover the cause of the plague that has struck his city, only to disover the devastating truth about his relationship with his mother and his father. Medea is the terrible story of a woman's bloody revenge on her adulterous husband through the murder of her own children.