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The Three Theban Plays: Antigone; Oedipus the King; Oedipus at Colonus Paperback – January 3, 2000
by
Sophocles
(Author),
Robert Fagles
(Translator),
Bernard Knox
(Introduction)
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Sophocles
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Print length430 pages
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LanguageEnglish
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PublisherPenguin Classics
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Publication dateJanuary 3, 2000
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Reading age18 years and up
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Dimensions7.76 x 5.11 x 0.77 inches
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ISBN-100140444254
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ISBN-13978-0140444254
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Editorial Reviews
Amazon.com Review
Aristotle called "Oedipus The King," the second-written of the three Theban plays written by Sophocles, the masterpiece of the whole of Greek theater. Today, nearly 2,500 years after Sophocles wrote, scholars and audiences still consider it one of the most powerful dramatic works ever made. Freud sure did. The three plays--"Antigone," "Oedipus the King," and "Oedipus at Colonus"--are not strictly a trilogy, but all are based on the Theban myths that were old even in Sophocles' time. This particular edition was rendered by Robert Fagles, perhaps the best translator of the Greek classics into English.
From the Back Cover
Three Theban Plays entitled Antigone, Oedipus the King, and Oedipus at Colonus.
About the Author
Sophocles was born at Colonus, just outside Athens, in 496 BC, and lived ninety years. His long life spanned the rise and decline of the Athenian Empire; he was a friend of Pericles, and though not an active politician he held several public offices, both military and civil. The leader of a literary circle and friend of Herodotus, he was interested in poetic theory as well as practice, and he wrote a prose treatise On the Chorus. He seems to have been content to spend all his life at Athens, and is said to have refused several invitations to royal courts.Sophocles first won a prize for tragic drama in 468, defeating the veteran Aeschylus. He wrote over a hundred plays for the Athenian theater, and is said to have come first in twenty-four contests. Only seven of his tragedies are now extant, these being Ajax, Antigone, Oedipus the King, Women of Trachis, Electra, Philoctetes, and the posthumous Oedipus at Colonus. A substantial part of The Searches, a satyr play, was recovered from papyri in Egypt in modern times. Fragments of other plays remain, showing that he drew on a wide range of themes; he also introduced the innovation of a third actor in his tragedies. He died in 406 BC.
Robert Fagles (1933-2008) was Arthur W. Marks ’19 Professor of Comparative Literature, Emeritus, at Princeton University. He was the recipient of the 1997 PEN/Ralph Manheim Medal for Translation and a 1996 Award in Literature from the American Academy of Arts and Letters. His translations include Sophocles’s Three Theban Plays, Aeschylus’s Oresteia (nominated for a National Book Award), Homer’s Iliad (winner of the 1991 Harold Morton Landon Translation Award by The Academy of American Poets), Homer’s Odyssey, and Virgil's Aeneid.
Bernard Knox (1914-2010) was Director Emeritus of Harvard’s Center for Hellenic Studies in Washington, D.C. He taught at Yale University for many years. Among his numerous honors are awards from the National Institute of Arts and Letters and the National Endowment for the Humanities. His works include The Heroic Temper: Studies in Sophoclean Tragedy, Oedipus at Thebes: Sophocles’ Tragic Hero and His Time and Essays Ancient and Modern (awarded the 1989 PEN/Spielvogel-Diamonstein Award).
Robert Fagles (1933-2008) was Arthur W. Marks ’19 Professor of Comparative Literature, Emeritus, at Princeton University. He was the recipient of the 1997 PEN/Ralph Manheim Medal for Translation and a 1996 Award in Literature from the American Academy of Arts and Letters. His translations include Sophocles’s Three Theban Plays, Aeschylus’s Oresteia (nominated for a National Book Award), Homer’s Iliad (winner of the 1991 Harold Morton Landon Translation Award by The Academy of American Poets), Homer’s Odyssey, and Virgil's Aeneid.
Bernard Knox (1914-2010) was Director Emeritus of Harvard’s Center for Hellenic Studies in Washington, D.C. He taught at Yale University for many years. Among his numerous honors are awards from the National Institute of Arts and Letters and the National Endowment for the Humanities. His works include The Heroic Temper: Studies in Sophoclean Tragedy, Oedipus at Thebes: Sophocles’ Tragic Hero and His Time and Essays Ancient and Modern (awarded the 1989 PEN/Spielvogel-Diamonstein Award).
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Product details
- Publisher : Penguin Classics; 1st edition (January 3, 2000)
- Language : English
- Paperback : 430 pages
- ISBN-10 : 0140444254
- ISBN-13 : 978-0140444254
- Reading age : 18 years and up
- Item Weight : 10.7 ounces
- Dimensions : 7.76 x 5.11 x 0.77 inches
-
Best Sellers Rank:
#4,438 in Books (See Top 100 in Books)
- #2 in Ancient & Classical Dramas & Plays
- #4 in Classic Greek Literature
- #7 in Tragic Dramas & Plays
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Reviewed in the United States on May 8, 2019
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Careful! This is not a Robert Fagles translation even though it is connected by Amazon to the Fagles' hardcover edition. If you want Robert Fagles translation, order the Penguin Classic.
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5.0 out of 5 stars
One soul is enough, I know, to pay the debt for thousands, if one will go to the gods in all good faith.
Reviewed in the United States on August 11, 2015Verified Purchase
There’s a pattern with many of these Greek tragedies. Through the sad tales of cursed families, they illustrate the evolution of Western civilization. Fifth-century Athens was a light in the dark, a young democracy, and the Athenians used tragedy as a tool to preserve history, learn from it, and document their growth. With The Oresteia, we saw Aeschylus tackle the ideas of law and respect for the state, and Sophocles continues along those lines, but places the focus on another great philosophical problem–free will vs. fate.
Though heady, the plays also had an entertainment value. The Spring festival celebrating Dionysus provided an opportunity for playwrights such as Sophocles to compete and put on a performance for thousands of spectators. Tragedies usually ran in the morning and the more lighthearted comedies toward the end of the day.
Being tragedies, lighthearted these three Theban plays are not. They adhere to the Greek tradition of dramatizing the lives of a cursed family, but instead of the House of Atreus, we gain a jagged view of humanity’s affliction through the House of Oedipus.
The first play, Antigone, is actually the last chronologically. Oedipus is dead, yet the curse continues. Thebes has defeated an onslaught of Argosian warriors, led by Polynices, the exiled son of Oedipus. He was killed, along with his brother, Eteocles. Antigone, daughter of Oedipus and sister of both Polynices and Eteocles, wants to bury the body of Polynices, but her uncle and Theban King, Creon, threatens anyone who does so with death. I think you can see where things are headed…
Next comes Oedipus the King, the shining star of the three plays–the painting within the frame. Each piece has its own beauty, but we move back in time to that dreadful moment of discovery. It’s through Oedipus’ actions that we see an evolution in Greek theater. The plot builds perfectly according to Aristotle’s Poetics and is the cornerstone of many a modern story. Oedipus represents the everyman, marching forward, thinking destiny is within his control, only to discover that he is a mere puppet to fate.
A plague has struck Thebes and the only solution is to bring the killer of Thebes’ last king, Laius, to justice. Through plot twists and turns, Oedipus dedicates himself to finding the killer, only to discover that he is the killer, and that he has fulfilled a prophecy which he has tried to avoid all of his life. The truth is too much. His wife and mother, Jocasta, kills herself, and Oedipus gouges out his eyes, his one act of defiant free will.
Finally, we are presented with Oedipus at Colonus. Many years have passed and Oedipus has become a wanderer, guided by the loyal Antigone. He finds himself in the town of Colonus, just outside of Athens. The oracular prophecy makes its next move: Oedipus has arrived in the place where he must be buried. This play is an ode to Athens, and by being buried just outside the city, it will be protected for all time.
Thus ends the Theban trilogy. Similar to my Aeschylus readings, I picked up the Robert Fagles translation. Sophocles’ writing flows easier and is less dense than that of Aeschylus, so if you had a tough time with The Oresteia, you may find Sophocles to be more in your wheelhouse. From Freud to soap operas, you’ll certainly begin to understand the many references to this bit of dramatic history.
Though heady, the plays also had an entertainment value. The Spring festival celebrating Dionysus provided an opportunity for playwrights such as Sophocles to compete and put on a performance for thousands of spectators. Tragedies usually ran in the morning and the more lighthearted comedies toward the end of the day.
Being tragedies, lighthearted these three Theban plays are not. They adhere to the Greek tradition of dramatizing the lives of a cursed family, but instead of the House of Atreus, we gain a jagged view of humanity’s affliction through the House of Oedipus.
The first play, Antigone, is actually the last chronologically. Oedipus is dead, yet the curse continues. Thebes has defeated an onslaught of Argosian warriors, led by Polynices, the exiled son of Oedipus. He was killed, along with his brother, Eteocles. Antigone, daughter of Oedipus and sister of both Polynices and Eteocles, wants to bury the body of Polynices, but her uncle and Theban King, Creon, threatens anyone who does so with death. I think you can see where things are headed…
Next comes Oedipus the King, the shining star of the three plays–the painting within the frame. Each piece has its own beauty, but we move back in time to that dreadful moment of discovery. It’s through Oedipus’ actions that we see an evolution in Greek theater. The plot builds perfectly according to Aristotle’s Poetics and is the cornerstone of many a modern story. Oedipus represents the everyman, marching forward, thinking destiny is within his control, only to discover that he is a mere puppet to fate.
A plague has struck Thebes and the only solution is to bring the killer of Thebes’ last king, Laius, to justice. Through plot twists and turns, Oedipus dedicates himself to finding the killer, only to discover that he is the killer, and that he has fulfilled a prophecy which he has tried to avoid all of his life. The truth is too much. His wife and mother, Jocasta, kills herself, and Oedipus gouges out his eyes, his one act of defiant free will.
Finally, we are presented with Oedipus at Colonus. Many years have passed and Oedipus has become a wanderer, guided by the loyal Antigone. He finds himself in the town of Colonus, just outside of Athens. The oracular prophecy makes its next move: Oedipus has arrived in the place where he must be buried. This play is an ode to Athens, and by being buried just outside the city, it will be protected for all time.
Thus ends the Theban trilogy. Similar to my Aeschylus readings, I picked up the Robert Fagles translation. Sophocles’ writing flows easier and is less dense than that of Aeschylus, so if you had a tough time with The Oresteia, you may find Sophocles to be more in your wheelhouse. From Freud to soap operas, you’ll certainly begin to understand the many references to this bit of dramatic history.
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Reviewed in the United States on August 9, 2019
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This edition gives an introduction before each play. The plays dive into the themes of fate, guilt, civil disobedience and family ties, and other historical Greek motifs. There were text notes afrer the plays and a Greek persons/mythological/geographical glossary to help with the who/what/where questions. I enjoyed rereading these when I originally read them when I was in high school.
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Reviewed in the United States on June 9, 2013
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These plays are part of the warp and woof of Western civilization. Two of them - "Oedipus the King" and "Antigone" - should be read by anyone who considers herself an educated citizen of the Western world. And once she has read those two, why not go ahead and read the third, "Oedipus at Colonus"?
Actually, one of the issues concerning the presentation, or reading, of these three plays is their order. In terms of the chronology of the Oedipus story, "Oedipus the King" is the earliest, followed by "Oedipus at Colonus" and then, lastly, "Antigone" (the events of which take place after the death of Oedipus). But Sophocles did not write the plays in that order. Rather, he wrote "Antigone" first, around 441 B.C.; "Oedipus the King" about twelve years later; and "Oedipus at Colonus", shortly before he died in 406 B.C. Those responsible for this edition chose to place them in the order in which they were written.
The plays are popularly called the "Theban plays", because they all concern the city-state of Thebes during and after the reign of Oedipus. In them, Sophocles wrestles with some of the core concerns of human existence - especially, fate versus free will - in as dramatic and wrenching a fashion as any playwright, even Shakespeare. In addition, "Antigone" poses questions concerning the limits (if any) of a citizen's obedience or subservience to the state. "Oedipus the King" is saturated with irony, more so than any other play I can think of. It also presents, compellingly, the question "whether a mere man can know the truth". And "Oedipus at Colonus" deals with matters of death and the possibility of influencing life after death.
This translation of THE THREE THEBAN PLAYS is by Robert Fagles, who also is the translator of the most popular renditions of Homer's "Iliad" and "Odyssey". Fagles favors comprehension and flow over rigorous fidelity to the original ancient Greek. The text is sprinkled with modern English colloquialisms such as "rumor has it", "no napping on the job", and "far be it from me". The result is a more accessible translation, one that certainly has much to commend it to those who are reading these classic plays for the first and in all likelihood only time in their lives. For myself, having refreshed my knowledge of the plays after having first read them about forty years ago, I want to read them yet again in a translation that is closer to the original Greek.
What most distinguishes this particular Penguin Classics edition, even more so than the Fagles translation, are the four essays by Bernard Knox. First, there is an eighteen-page essay on "Greece and the Theater", which provides an excellent, not-overly-academic introduction to Sophocles, the Oedipus story, and Greek drama generally. Then, for each of the specific plays, Knox contributes a separate twenty-plus page introduction. These are somewhat more detailed and remind me more of a college text. Nevertheless, they too are worthwhile - EXCEPT, in my opinion, they would be more rewarding if read AFTER reading the play in question rather than BEFORE.
Actually, one of the issues concerning the presentation, or reading, of these three plays is their order. In terms of the chronology of the Oedipus story, "Oedipus the King" is the earliest, followed by "Oedipus at Colonus" and then, lastly, "Antigone" (the events of which take place after the death of Oedipus). But Sophocles did not write the plays in that order. Rather, he wrote "Antigone" first, around 441 B.C.; "Oedipus the King" about twelve years later; and "Oedipus at Colonus", shortly before he died in 406 B.C. Those responsible for this edition chose to place them in the order in which they were written.
The plays are popularly called the "Theban plays", because they all concern the city-state of Thebes during and after the reign of Oedipus. In them, Sophocles wrestles with some of the core concerns of human existence - especially, fate versus free will - in as dramatic and wrenching a fashion as any playwright, even Shakespeare. In addition, "Antigone" poses questions concerning the limits (if any) of a citizen's obedience or subservience to the state. "Oedipus the King" is saturated with irony, more so than any other play I can think of. It also presents, compellingly, the question "whether a mere man can know the truth". And "Oedipus at Colonus" deals with matters of death and the possibility of influencing life after death.
This translation of THE THREE THEBAN PLAYS is by Robert Fagles, who also is the translator of the most popular renditions of Homer's "Iliad" and "Odyssey". Fagles favors comprehension and flow over rigorous fidelity to the original ancient Greek. The text is sprinkled with modern English colloquialisms such as "rumor has it", "no napping on the job", and "far be it from me". The result is a more accessible translation, one that certainly has much to commend it to those who are reading these classic plays for the first and in all likelihood only time in their lives. For myself, having refreshed my knowledge of the plays after having first read them about forty years ago, I want to read them yet again in a translation that is closer to the original Greek.
What most distinguishes this particular Penguin Classics edition, even more so than the Fagles translation, are the four essays by Bernard Knox. First, there is an eighteen-page essay on "Greece and the Theater", which provides an excellent, not-overly-academic introduction to Sophocles, the Oedipus story, and Greek drama generally. Then, for each of the specific plays, Knox contributes a separate twenty-plus page introduction. These are somewhat more detailed and remind me more of a college text. Nevertheless, they too are worthwhile - EXCEPT, in my opinion, they would be more rewarding if read AFTER reading the play in question rather than BEFORE.
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Reviewed in the United States on March 24, 2019
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This translation by Robert Fagles is excellent. He manages to convey the poetry of the original Greek into modern English with style and grace. It was easy to identify with the characters and enter into their world. The tragedy which is the foundation of the three plays strike at the heart of the human condition--Fagles choice of language moves us away from stiff literalism to the pain, pettiness and betrayals of life.
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Reviewed in the United States on May 23, 2020
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Excellent translation, good plays, and the introductions are very helpful.
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Reviewed in the United States on March 18, 2021
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What’s not to like? Drama, tragedy, and death! Enjoy each twist of fate and eloquent verse. This edition has some excellent commentary as well, so you don’t have to be brilliant to understand this masterpiece.
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Reviewed in the United States on April 21, 2020
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Required for school. Came in great condition
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Top reviews from other countries
Johanson
5.0 out of 5 stars
Three Theban Plays, translated by Fagles, ***Excellent in every way
Reviewed in the United Kingdom on June 26, 2019Verified Purchase
This review is about the Penguin Classics: Sophocles, the Three Theban Plays, translated by Robert Fagles.
I have so far only read Oedipus the King and the introduction to the play by Bernard Knox. Fagles' translation is very readable and engaging. It strikes the right tone and is abolutely my go-to version of this fantastic play. Bernard Knox's introduction was also an incredibly illuminating essay on the play, filled with facts and insights about drama, 5th century BC Athens, and some of the deepest philosphical dilemmas facing humankind. I can't wait to read the other two plays and their introductions. First rate.
I have so far only read Oedipus the King and the introduction to the play by Bernard Knox. Fagles' translation is very readable and engaging. It strikes the right tone and is abolutely my go-to version of this fantastic play. Bernard Knox's introduction was also an incredibly illuminating essay on the play, filled with facts and insights about drama, 5th century BC Athens, and some of the deepest philosphical dilemmas facing humankind. I can't wait to read the other two plays and their introductions. First rate.
3 people found this helpful
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CluelessKatie
4.0 out of 5 stars
Recommended
Reviewed in the United Kingdom on August 2, 2017Verified Purchase
First time I read this I was ambivalent towards it, but second time around I loved it. It's a little hard to comprehend but stick with it and do some research too. Should also mention that this is one translation and other translations may suit different people. I think this edition is more literal while others can be more poetic so it's worth checking other editions.
2 people found this helpful
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Amazon Customer
5.0 out of 5 stars
Ancient Greek literature still relevant today
Reviewed in the United Kingdom on March 2, 2020Verified Purchase
I read this before attending a performance of Antigone. Some passages still very relevant today.
Everybody should read some Ancient Greek work, the foundation of our western literature!
Everybody should read some Ancient Greek work, the foundation of our western literature!
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Jeanne Jearls
5.0 out of 5 stars
Amazing edition of a classic
Reviewed in the United Kingdom on November 28, 2017Verified Purchase
This is an amazing version of a classic - with informative introductions to every play, notes on translation and bibliography. I am very happy I got it and love the content of the plays as well! Sophocles was a genius!
Abby
3.0 out of 5 stars
Description of condition a bit iffy but overall good
Reviewed in the United Kingdom on July 29, 2019Verified Purchase
The book was a bit battered for its description, but it's fine
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