Search results for: sophocles

Authors: Newton Rathnasiri Ranaweera Kalu Arachchige

Abstract:

Academics argue that Greek myths and legends have had an influence on Buddhist stories: Jataka tales, Theri Gata (Psalms of older Buddhist nuns), and even Mahavansa (a Sri Lankan historical chronicle). However, this article asserts that there is evidence in Sophocles King Oedipus to argue that the Buddha’s life story and key Buddhist concepts have influenced pre-Christian Greek philosophy and literature, especially Sophocles’ King Oedipus. When reading the text with the notion that there could be intertextual relationships or new texts are built on the existing texts and discourses, the reader may see that Sophocles’ play contains incidents that remind them of the special occasions of the Buddha’s life, his utterances and the key Buddhist concepts such as the truth of suffering, cessation of suffering, the three poisons (greed, hatred, and delusion), and finding the truth within one’s own self. The present intertextual study explored only the special occasions of the Buddha’s life to make it more focused and found that Sophocles alludes to the Buddha’s life story in his attempt to raise a moral culprit to a moral hero with higher moral values. This article, however, acknowledges that one needs to cross-check the other historical and philosophical references when claiming that Sophocles has had influence from the Buddha’s life story in King Oedipus.

Keywords: Buddhism, the Buddha’s life story, King Oedipus, Greece, tragedy, Sri Lanka

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Authors: Maria-Agori Gravvani

Abstract:

The part of communication holds a significant place in human life. From the early beginning of human history, humans tried to communicate orally with other people in order to survive and to communicate their needs. The level of education that the majority of the Athenean citizens had the opportunity to acquire in the Classic period was very low. Only the wealthy ones had the opportunity of the upper form of education that led them to a career in politics, while the other ones struggled for their daily survival. In the corpus of Euripides' and Sophocles' tragedies, the type of communication is written, too. Not only in the Iphigenia's tragedies of Euripides but also in the Sophocles' Trachiniae, the use of δέλτος bonds significant messages with people. Those written means of private communication play an important role in the plot of the tragedy and have hidden private messages from their owners. The main aim of this paper is to analyze the power of the deltos' written text in the tragedies of Euripides Ifigenia Taurica and Ifigenia Aulidensis and Sophocles' Trachiniae.

Keywords: deltos, ancient greek tragedy, sophocles, euripides

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Authors: Azza Taha Zaki

Abstract:

Modern drama was characterised by realism and naturalism as dominant literary movements that focused on contemporary people and their issues to reflect the status of modern man and his environment. However, some modern dramatists have often fallen on classical mythology in ancient Greek tragedies to create a sense of the universality of the human experience. The tragic overtones of classical myths have helped modern dramatists in their attempts to create an enduring piece by evoking the majestic grandeur of the ancient myths and the heroic struggle of man against forces he cannot fight. Myths have continued to appeal to modern playwrights not only for the plot and narrative material but also for the vision and insight into the human experience and human condition. This paper intends to study how the reworking of Sophocles’ Antigone by Jean Anouilh in his Antigone, written in 1942 at the height of the Second World War and during the German occupation of his country, France, fits his own purpose and his own time. The paper will also offer an analysis of the vision in both plays to show how Anouilh has used the classical Antigone freely to produce a modern vision of the dilemma of man when faced by personal and national conflicts.

Keywords: Anouilh, Antigone, drama, Greek tragedy, modern, myth, sophocles

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Authors: Azza Taha Zaki

Abstract:

The position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy.

Keywords: classical, drama, O'Neill, modern, tragic

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Authors: Soham Das

Abstract:

Oedipus in Oedipus Rex is necessarily a victim of fate and his own psychology. His curiosity brings about his downfall. Ancient Greek plays weren't just portrayals of some obscure tale but were insights into human nature. Oedipus, although a victim of circumstances, digs his own grave by curiously unravelling his past. Jocasta foresees his doom and begs him to stop, but to no avail. The curiosity of Oedipus forces him, almost like a drug, to explore the mystery regarding his birth. This curiosity is not something extraordinary in Oedipus - it is an intrinsic attribute of human nature. Knowledge is not always desired - whether it is Adam or Oedipus, their curiosity caused their eventual downfall. Oedipus was ill-fated since birth. He did not know that Laius was his biological father and therefore killed him. He arrived at Thebes, solved the riddle of the Sphinx, and married Jocasta without knowing that she, in fact, was his biological mother. He begot children and was living happily with his family when a sudden calamity struck Thebes. The calamity, though at first seemed public in nature, but later proved to be very personal for Oedipus. It drives home the fundamental truth about uncertainty of human life. That Laius was slayed by his own son, even after many precautions, proves the helplessness of humans in front of the designs of fate. Oedipus's mutilation of his eyes is also fated. It was committed by him in the heat of the moment and was certainly not a rational decision. It is evident to any modern reader that Oedipus does not have justice. Destiny treats him unfairly. Oedipus, in fact, defends his actions in Oedipus Rex in its sequel Oedipus At Colonus. The research paper discusses the unhappy fate of Oedipus and the role of destiny and his own curiosity in achieving it.

Keywords: ancient Greek drama, Oedipus Rex, Sophocles, destiny

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Authors: Jaqueline Bohn Donada

Abstract:

The significance of Euripides’ Medea for contemporary literature is noticeable. Even if the bulk of Classical Reception studies does not tend to look carefully and consistently to the literature produced outside the Anglophone world, Brazilian literature offers abundant materials for such studies. Indeed, a certain Classical background can be observed in Brazilian literature at least since 1975 when Gota d’Água [The Final Straw, in English], a play that recreates the story of Medea and sets it in a favela in Rio de Janeiro. Also worthy of notice is Ivo Bender’s Trilogia Perversa [Perverse Trilogy, in English], a series of three historical plays set in Southern Brazil and based on Aeschylus’ Oresteia and on Euripides’ Iphigenia in Aulis published in the 1980s. Since then, a number of works directly inspired by the plays of Aeschylus, Sophocles and Euripides have been published, not to mention several adaptations of Homer’s two epic poems. This paper proposes a comparative analysis of two such works: Grace Passô’s 2017 play Mata teu Pai [Kill your father, in English] and Marcia Lima’s 2019 play Medeia Negra [Black Medea, in English] from the perspective of Classical Reception Studies in an intersection with feminist literary criticism. The paper intends to look at the endurance of Euripides’ character in contemporary Brazilian literature with a focus on how the character seems to have acquired special relevance to the treatment of pressing issues of the twenty-first century. Whereas Grace Passô’s play sets Medea at the center of a group of immigrant women, Marcia Limma has the character enact the dilemmas of incarcerated women in Brazil. The hypothesis that this research aims at testing is that both artists preserve the pathos of Euripides’s original character at the same time that they recreate his Medea in concrete circumstances of Brazilian contemporary social reality. At the end, the research aims at stating the significance of the Medea theme to contemporary Brazilian literature.

Keywords: Euripides, Medea, Grace Passô, Marcia Limma, Brazilian literature

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