By Sophocles

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

Recognized in his personal day as probably the best of the Greek tragedians, Sophocles' recognition has remained undimmed for 2 and a part thousand years. His maximum innovation within the tragic medium was once his improvement of a significant tragic determine, confronted with a try out of will and personality, risking obloquy and dying instead of compromise his or her ideas: it truly is outstanding that Antigone and Electra either have a lady as their intransigent 'hero'. Antigone dies quite forget her accountability to her relatives, Oedipus' decision to avoid wasting his urban ends up in the awful discovery that he has devoted 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 attractiveness and modernity, and are impressive for his or her lucidity and accuracy. Their sonorous diction, financial system, and sensitivity to the numerous metres and modes of the unique musical supply cause them to both compatible for analyzing or theatrical peformance.

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

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

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Introduction: Figures at the Window 21 3. Article 3, 1922 Constitution cited by Caitríona Beaumont, ‘Gender, Citizenship and the State, 1922–1990’, in Scott Brewster, Virginia Crossman, Fiona Becket and David Alderson (eds), Ireland in Proximity: History, Gender, Space (London and New York: Routledge, 1999), p. 97. 4. See Catríona Beaumont in Ireland in Proximity: History, Gender, Space, p. 97. 5. This discrimination was further solidified in Section 16 of the 1934 Conditions of Employment Bill which sanctioned the right to limit the number of women working in any given industry and to deny further training and promotion to women (on the sexist grounds that they would inevitably marry and therefore be prohibited from further employment).

30, Winter 1993. 44. Anthony Roche, ‘Essays on Contemporary Irish Drama, Barry, Moore, Yeats and Plath’, Colby Quarterly, Vol. XXXIV, No. 4, December 1998, p. 274. 45. Rosalind Clarke, The Great Queens: Irish Goddesses from the Morrígan to Cathleen ni Houlihan (Gerrards Cross: Colin Smythe, 1991), p. 10. 46. Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter (New York: Cornell University Press, 1985), pp. 111, 117. 47. Marina Carr: Plays One, pp. 183, 147. 48. Fidelity was performed in Trinity College with the DU Players in April 2004 and again at the Granary Studio (UCC) in December 2005.

Yeats placed himself at the centre of the nascent theatre of Ireland, and put the Abbey Theatre at its heart. The attractive simplicity of this version of events elides important contributions, including those of a number of women. Even Augusta Gregory, his supporter and nearest theatrical collaborator, was famously betrayed by him in his Nobel Prize for Literature speech, and, until recently, was robbed of acknowledgement of her work on plays like Kathleen ni Houlihan, which he published as sole author.

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