By Professor James C. Hogan B.A. M.A. Ph.D.
James C. Hogan introduces every one play through highlighting particular and interpretive difficulties proper to that play ahead of turning to a line-by-line research. the road research is entire, starting from the meanings of phrases and words that pertain to a number of Greek rules and associations to metaphor and imagery particular to every play in addition to plots and borrowings from prior poetry, kinds, and characterizations.Along together with his exam of the seven extant performs of Sophocles in English translations, Hogan offers a common creation to the theatre in Sophocles’ time, discussing staging, the conventions of the Greek theatre, the textual content of the performs, and mythology and faith.
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Additional info for A commentary on the plays of Sophocles
The orchestra, surrounded by the semicircular auditorium, remained the center of theatrical productions. Strangely enough, in a great age for building, which saw not only the Parthenon but even in the immediate precinct two new buildings (a temple of Dionysus and a long hall parallel to the orchestra's terrace wall), the Athenians never raised a permanent scenic building. Throughout the century they used a temporary wooden structure, for which grooves and postholes in the renovated terrace wall are our evidence.
On the controversial issues, I have referred the reader to more comprehensive treatments in English. Compared with Aeschylus, Sophoclean drama is more subtle, problematic, and ambiguous in ethical and psychological matters. A commentator may feel obliged to eludicate certain issues more fully than Aeschylus requires. I have yielded to the temptation to explain purpose and character, but on the more controversial points I have given the reader an account of, or reference to, other interpretations.
Cadmus is the founder of Thebes (see on OC 1534a). 25 This is a scene of supplication: they sit on the steps before the palace to petition the king (cf. 2021, 41). Suppliants normally carry olive branches wrapped with strips of wool. Crowns is probably transferred from the wreathed branch to the person carrying it (cf. 20). The incense is for sacrifice (cf. 913). The hymns are called paeans, which are normally songs for victory; here and at 186 they are apparently songs to the god of healing (Paean, also spelled Paeon; he is the physician of the gods whose name is also an epithet for Apollo the healer).