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Sophocles, the Oedipus Cycle: Oedipus Rex, Oedipus at Colonus
- Sales Rank: #1200324 in Books
- Published on: 2002
- Number of items: 2
- Binding: Paperback
- 272 pages
Most helpful customer reviews
46 of 59 people found the following review helpful.
Nothing there
By WednesdayWonders
I got this delivered to my Kindle only to find the books that it claims to be are not there. There is only a very brief synopsis of each book...don't waste you're time...they should pay you to put this on your device.
6 of 6 people found the following review helpful.
Shakesparean Sophocles
By MarinReader
Remember the old records albums like "What if Mozart wrote the Beatles?" Well this antique translation was done in the style, "What if Shakespeare wrote Sophocles." Apparently the translator thought good drama should sound like Shakespeare, but the result is neither Sophocles nor Shakespeare and is generally awful.
10 of 13 people found the following review helpful.
A Must Read: the Fitts-Fitzgerald Translation of "Antigone"
By Curtis Crawford
Dudley Fitts and Robert Fitzgerald first published their excellent translation of "Antigone" in 1939. Having well stood the test of time, it is reprinted in their paperback, "The Oedipus Cycle." My reasons for liking this version better than recent translations by Don Taylor and Paul Roche appear in my Amazon review of the Taylor translation. Here I want to comment on the moral and human issues raised by the play itself, which make it superbly worth reading.
The tragedy begins with an act of civil disobedience by the king's niece, Antigone. It ends with the misery and suicide of Antigone, of Haemon (the king's son), and of Euridice (the queen), together with the utter despair of Creon (the king).
Just before her last exit, Antigone cries out: "But if the guilt Lies upon Creon who judged me, then, I pray, May his punishment equal my own." Her prayer is granted, within minutes of her own death. Declared guilty by the prophet, Teiresias, Creon is punished by the suicides of his son and his wife.
But who or what granted Antigone's prayer? Divine justice? The reader is more than ready to applaud punishment for Creon. But in this form? What have Haemon and Euridice done to deserve their fates? For that matter, what kind of justice condemns Antigone to a punishment equal to Creon's? If what she did was right, as Haemon and Teiresias insist, why punish her at all? Even if death is an unavoidable result of disobeying an unjust king, why isn't it noble and beautiful as hoped for, rather than miserable and shameful as experienced?
What went wrong?
The first move is Creon's: a decree that, under pain of death, no one may bury Polynices (his nephew and Antigone's brother), who has been killed making war against the city. The stated reason for the decree is that enemies must be treated manifestly worse than loyal citizens. But why go to this extreme? One could easily distinguish between an enemy (Polynices) and a patriot (Eteocles, his brother, killed in the same battle) by simple rites for the former and elaborate ones for the latter. Creon completely ignores the conflict between his decree and the hallowed custom of burial rites.
Antigone, aware of the law and the punishment, plans to bury her brother anyway. This action strikes her as beautiful, partly because, unafraid, she will be doing what she enthusiastically believes to be Right. But partly also because she is entranced with the notion of embracing Polynices forever in the world of death. Her sister, Ismene, thinks the plan extreme, but can only counsel submission. Neither woman considers trying first to persuade Creon to amend the decree which, if successful, would make disobedience and its consequences unnecessary. By disobeying, Antigone will challenge Creon's authority as well as his wisdom, making it harder for him to back down. Especially hard in this case, since his acquiescence would look like partiality for a family member, a sin he has pledged to avoid.
Having disobeyed the edict, Antigone is brought before Creon. She eloquently invokes the "divine, everlasting" laws that her disobedience obeyed, but falters when Creon's questioning (a la Socrates) probes her understanding of justice to enemies and patriots. The questions logically point to the solution mentioned above: burial for both, but simple for the enemy and elaborate for the patriot. But no one offers it: neither Antigone, nor Creon, nor the Chorus.
Ismene is summoned. Grief-stricken at Antigone's prospects, she pleads to share the guilt and the punishment. Turned down by Antigone, she puts to Creon a powerful argument: surely he will not execute his son's betrothed. Her love, compassion, courage, gentleness and poise are beautiful, but the formula that might have saved the day does not occur to her.
Creon's son, Haemon, now enters, desperate to rescue his betrothed. He begins by expressing full deference to his father's judgment and authority, hoping this will make it easier for Creon to consider alternatives. Haemon tells Creon that the city completely disagrees with him: it thinks that Antigone's action merits not death, but the highest honors. The confrontation shows great courage in Haemon, but also much dishonesty. That popular opinion, even if favorable, would be as unanimous, as enthusiastic, or as accessible to him as he claims, is not plausible. The opinions he reports are emphatically his own and manifestly contrary to his father's. The initial assertion of deference was a pretext. Creon is enraged. If, instead, Haemon had asked Creon to explain why he thought his edict necessary, might this have led to an assessment of its merits, and might that have opened the way to changing it?
This was the last chance to prevent catastrophe. Haemon rushes out, warning that Antigone's death will cause another. Antigone, waiting for transfer to the tomb where she will be buried alive, laments her fate, feeling now that her death will be ugly and miserable.
Teiresias enters to declare that the country's altars and hearths are all defiled by birds and dogs satiated with Polynices' unburied body. Creon takes this as balderdash that Teiresias has been bribed to concoct. Whereupon Teiresias predicts Haemon's death. Remembering that the old man's prophecies have never been mistaken, Creon finally changes course. He rushes to bury Polynices and then to free Antigone. But too late: Antigone has hanged herself; a grief-stricken Haemon lunges at his father, then kills himself. Hearing the news, the queen also commits suicide. Creon is left inexpressibly miserable and shamed. The Chorus, having offered no criticism when it might have helped, now daringly condemns the grandiose words of proud men, who lack wisdom and piety.
Creon does change course, not in time through reason, but too late and through compulsion. Given his character, would better reasoning have persuaded him? Given the other characters, was better reasoning within their repertory? Was it all inevitable? In practical life we usually assume not. Should the assumption in this play be different?
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