By R. P. Winnington-Ingram
During this interpretation of the seven extant tragedies of Sophocles, Professor Winnington-Ingram presents now not a lot an easy account of Sophocles as an exploration of his tragic imaginative and prescient of the area. The Sophoclean 'hero' lies on the centre of this imaginative and prescient. Taking the performs separately yet with out wasting sight of the only constant brain at the back of them, the writer faces the questions of the way the hero is to be seemed, what we're to make of the fates he suffered and the divine powers who managed these fates. He proceeds by means of an in depth research of what Sophocles wrote, by means of shut recognition to shape and recurrent subject matters, and particularly through shut research of a couple of choral odes. scholars of Greek drama will locate that this distinctive research offers beneficial insights into the which means of the tragedies. Greek within the textual content is translated or paraphrased, in order that the booklet may also be of curiosity to scholars of the literature and drama of different cultures.
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Extra resources for Sophocles: An Interpretation
Great though these are, he is still greater. Or so the Chorus believes. ). 37 Yet the rumour could be true; and, if true, it could only be that a god was responsible. Artemis perhaps or Ares repaying a slight. ) Some such explanation is required, since 'never in your right mind (
1736 and Eur. Andromache 1215 refer to a stretch of life. For aion as part of the vocabulary o f fate, see ch. 7 p. 151. Half-an-hour with Ellendt makes this clear; and, though he uses expressions like *ut plerumque commode interpreteris €\€iv\ his o w n amplifications generally reveal how misleading this is. g. Ajax 503). At Phil. 795 the object of the verb is vooov and the whole point resides in its long continuance. C. Moussy, Recherches sur rp€
Then the fierce warrior acclaimed for his exploits, and bringing joy to his friends; now cut off from human society, even from his friends, consorting only with his sick mind. What was implied is made explicit in the words which follow, with a third expression of time (TCL TTplv epya). W e return to the past, but to a more recent past. For how had this come about? Because his heroic achievements had been rejected by those who should have been his friends, because of the Judgement of the Arms. 'The former works of his hands, works of the greatest arete' had counted for nothing.