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Antigone: , by Sophocles - Illustrated (Comes with a Free Audiobook), by Sophocles
PDF Ebook Antigone: , by Sophocles - Illustrated (Comes with a Free Audiobook), by Sophocles
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How is this book unique?
Antigone (/ænˈtɪɡəniː/ an-tig-ə-nee, Ancient Greek: Ἀντιγόνη) is a tragedy by Sophocles written in or before 441 BC. It is the third of the three Theban plays but was the first written, chronologically. The play expands on the Theban legend that predated it and picks up where Aeschylus' Seven Against Thebes ends.In the beginning of the play, two brothers leading opposite sides in Thebes' civil war died fighting each other for the throne. Creon, the new ruler of Thebes, has decided that Eteocles will be honored and Polyneices will be in public shame. The rebel brother's body will not be sanctified by holy rites, and will lie unburied on the battlefield, prey for carrion animals like worms and vultures, the harshest punishment at the time. Antigone and Ismene are the sisters of the dead Polyneices and Eteocles. In the opening of the play, Antigone brings Ismene outside the palace gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, fearing the death penalty, but she is unable to stop Antigone from going to bury her brother herself, causing Antigone to disown her out of anger.
- Sales Rank: #98807 in eBooks
- Published on: 2016-01-10
- Released on: 2016-01-10
- Format: Kindle eBook
Review
"Gibbons's translation is the most faithful to the original Greek I know ... his translation is the truest to Sophocles' language." --The Journal of Classics Teaching
"Gibbons' text remains faithful to the Greek and yet poetic and apt for the stage; and Segal's contributions offer an insightful introduction to the play as a product of its own time. The combination of the two makes this new edition a great tool for college teaching and a rewarding experience of Sophoclean drama outside the classroom." --New England Classical Journal
"These two new additions to Oxford's 'Greek Tragedy in New Translations' series only add to the luster of the previous releases. Each is firmly packed with insightful introductions, comprehensive and numbered notes, glossaries, and up-to-date bibliographies (the plays' texts take up about half of each volume). The collaboration of poet and scholar in each volume produces a language that is easy to read and easy to speak (compare, for instance, the Watchman's first lines in Shapiro and Burian's Agamemnon with those in Lattimore's 1947 translation). Each volume's introduction presents the play's action and themes with some detail. The translators' notes describe the linguistic twists and turns involved in rendering the text into a modern poetic language. Both volumes are enthusiastically recommended for academic libraries, theatre groups, and theatre departments."--Library Journal [starred review of Oresteia and Antigone]
Language Notes
Text: English, Greek
From the Back Cover
Filled with passionate speeches and sensitive probing of moral and philosophical issues, this powerful drama reveals the grim fate that befalls the children of Oedipus. When Antigone, the daughter of Oedipus, chooses to obey the law of the gods rather than an unconscionable command from Creon, ruler of Thebes, she is condemned to death. How the gods take their revenge on Creon provides the gripping denouement to this compelling tragedy, still one of the most frequently performed of classical Greek dramas. Footnotes.
Most helpful customer reviews
117 of 122 people found the following review helpful.
Translations
By S. Allen
Researching translations is never an easy task, and in this case, where you'll have to search on Amazon for the title and the translator to find what you want, it's particularly difficult.
Here's what I've found by comparing several editions:
1. David Grene translation: Seems to be accurate, yet not unwieldy as such. My pick. Language is used precisely, but not to the point where it's barely in English.
2. Fitts/Fitzgerald translation: Excellent as well, though a little less smooth than the Grene one. Certainly not a bad pick.
3. Fagles translation: Beautiful. Not accurate. If you are looking for the smoothest English version, there's no doubt that this is it. That said, because he is looser with the translation, some ideas might be lost. For instance, in Antigone, in the beginning, Antigone discusses how law compels her to bury her brother despite Creon's edict. In Fagles, the "law" concept is lost in "military honors" when discussing the burial of Eteocles. This whole notion of obeying positive law or natural law is very important, but you wouldn't know it from Fagles. In Grene, for example, it is translated to "lawful rites."
4. Gibbons and Segal: Looks great, but right now the book has only Antigone (and not the rest of the trilogy) and costs almost 3x as much. I'll pass. But, from a cursory review, I'm impressed with their work.
5. MacDonald: This edition received some good write-ups, but I wasn't able to do a direct passage-to-passage comparison.
6. Woodruff: NO, NO, NO. Just NO. It's so colloquial it makes me gag. Very accessible, but the modernization of the language is just so extreme as to make it almost laughable. You don't get any sense of the power of language in the play. You just get the story. If you want this to be an easy read, then get Fagles, not this.
7. Kitto: Looks good, though not particularly compelling over either Grene or Fitzgerald (or Gibbons if I wanted to pay so much more).
8. Roche: Practically unreadable the English is so convoluted. Might be the most literal translation, but what's the point unless you are learning Greek and want such a direct translation.
9. Taylor: Way too wordy. Might be more literal, but again, why?
Hope this all helps. Translations can make or break the accessibility of literature. Pick wisely.
20 of 20 people found the following review helpful.
Translations
By S. Allen
Researching translations is never an easy task, and in this case, where you'll have to search on Amazon for the title and the translator to find what you want, it's particularly difficult.
Here's what I've found by comparing several editions:
1. David Grene translation: Seems to be accurate, yet not unwieldy as such. My pick. Language is used precisely, but not to the point where it's barely in English.
2. Fitts/Fitzgerald translation: Excellent as well, though a little less smooth than the Grene one. Certainly not a bad pick.
3. Fagles translation: Beautiful. Not accurate. If you are looking for the smoothest English version, there's no doubt that this is it. That said, because he is looser with the translation, some ideas might be lost. For instance, in Antigone, in the beginning, Antigone discusses how law compels her to bury her brother despite Creon's edict. In Fagles, the "law" concept is lost in "military honors" when discussing the burial of Eteocles. This whole notion of obeying positive law or natural law is very important, but you wouldn't know it from Fagles. In Grene, for example, it is translated to "lawful rites."
4. Gibbons and Segal: Looks great, but right now the book has only Antigone (and not the rest of the trilogy) and costs almost 3x as much. I'll pass. But, from a cursory review, I'm impressed with their work.
5. MacDonald: This edition received some good write-ups, but I wasn't able to do a direct passage-to-passage comparison.
6. Woodruff: NO, NO, NO. Just NO. It's so colloquial it makes me gag. Very accessible, but the modernization of the language is just so extreme as to make it almost laughable. You don't get any sense of the power of language in the play. You just get the story. If you want this to be an easy read, then get Fagles, not this.
7. Kitto: Looks good, though not particularly compelling over either Grene or Fitzgerald (or Gibbons if I wanted to pay so much more).
8. Roche: Practically unreadable the English is so convoluted. Might be the most literal translation, but what's the point unless you are learning Greek and want such a direct translation.
9. Taylor: Way too wordy. Might be more literal, but again, why?
Hope this all helps. Translations can make or break the accessibility of literature. Pick wisely.
17 of 19 people found the following review helpful.
Still very powerful.
By sid1gen
"Antigone" is that kind of literary work that invites opposing views. The state and the individual, the duties to family and country, the boundaries of legitimate government and the extent of personal choice, are all elements that find a voice in this play, an extraordinary gift of Western culture to the world. The young and stubborn Antigone finds herself breaking the law that her uncle, the old and stubborn Kreon, has enacted. This is Oedipus' family, so there must be bloodshed. The conflict develops out of the vengeful and, ultimately foolish law that Kreon has come up with, which denies burial rituals to one of Antigone's brothers (Polyneices) because he had sided with foreigners and made war against his city. Antigone claims that Justice (diké) tells her to care for her brother's body in spite of his treason. This is what Kreon, blind with hatred, cannot see. Just as Oedipus, and even worse, Kreon imagines conspiracies where there are none, and is convinced that the entire city is seething with traitors waiting for a signal to bring him down. With such a state of mind, he charges against Antigone, and she is very much her father's daughter: she will not bow before her uncle although the consequences are grave. Kreon represents the state, but a state whose laws are capricious at best, and simply bad and hurtful at worst. Antigone is not easy to love or like: she is bent on following a path that will lead to her death, welcoming such a release from the terrible burden of being who she is: daughter of her brother Oedipus and granddaughter of her mother Jocasta. But Antigone's own prickly character makes her struggle all the more admirable, since it is so dificcult to like her. It would have been relatively easy to create a soft, misunderstood heroine who dies for her convictions. Antigone is a strong woman who knows perfectly well what she is doing, but feels she has a duty to do it. She is harsh toward the timid Ismene, and unsparing of Kreon, the ruler who seems to be a far better warrior than a governor. I know there are readings of this play that see Kreon as representing "democracy" (he asks the chorus to lead him when they go after Antigone, attempting to prevent her death), while Antigone would represent the corrupt values of the reactionary aristocracy that puts family before civic duty. I think this is a serious misreading of a very important play: Kreon is no more democratic than Antigone; they are both immersed in a power play: she from an apparent position of weakness, although she is strong, and he from an apparent position of strength which he tries to reinforce with harsh measures and words toward those who dare violate his laws. Antigone is no "reactionary." Her father had been Tyranos (ruler without the negative connotations of tyrant) in Thebes, which is exactly the same position that Kreon holds now. If Antigone is an aristocrat, so is Kreon, Jocasta's brother. If Antigone only sees duty toward her family (she actually sees duty "mostly" towards her family), Kreon is deranged in power, believing that vast conspiracies are at work and that only he stands between order and utter chaos, a common feature of dictators great and petty. His law regarding the body of Polyneices violates the sphere of female duty (women were in charge of the rituals for the dead), and spills into the netherworld, ruling against a dead man who has paid with his life for his acts. This law also punishes Antigone and Ismene just for being family: they cannot even mourn Polyneices. Clearly this is not the working of "democracy" in our modern sense of the word, but neither it is the faulty, deeply troubled democracy of the Greek city-states. The chorus tells Kreon that he can enact such laws and condemn people to death because he is the ruler, but it does not tell him that he is right. To see Kreon as defender of democracy and Antigone as a reactionary woman who has no civic duty is to find obscure meanings where there are none. Sophocles is quite clear at the play's end regarding what was right and who was wrong. This is a political play, written and produced in a highly sophisticated and political society 2500 years ago. It is obvoius that "Antigone" has lost none of its power and ability to make us debate, ponder, and discuss laws, government, individuals, and those who rule over them.
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