By Richard C. Jebb
Sir Richard Jebb's seven-volume version of the works of Sophocles, released among 1883 and 1896, continues to be a landmark in Greek scholarship. Jebb (1841-1905) was once the main exclusive classicist of his iteration, a Fellow of Trinity university, Cambridge, and college Orator, in this case Professor of Greek at Glasgow college and eventually Regius Professor of Greek at Cambridge, and a Member of Parliament for the college. each one quantity of the variation comprises an introductory essay, a metrical research, a sign of the resources used to set up the textual content, and the traditional summaries ('arguments') of the play. The textual content itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix which include multiplied notes on many of the textual concerns. the standard of Jebb's paintings implies that his variants are nonetheless extensively consulted this present day. This quantity includes Oedipus Tyrannus.
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Sir Richard Jebb's seven-volume variation of the works of Sophocles, released among 1883 and 1896, continues to be a landmark in Greek scholarship. Jebb (1841-1905) was once the main unusual classicist of his new release, a Fellow of Trinity university, Cambridge, and collage Orator, therefore Professor of Greek at Glasgow college and eventually Regius Professor of Greek at Cambridge, and a Member of Parliament for the collage.
Extra info for Sophocles: The Plays and Fragments, Volume 1: With Critical Notes, Commentary and Translation in English Prose
Of all the Greek versions, not one remains by which to gauge the excellence of Sophocles. But the literatures of other languages make some amends. Nothing can better illustrate the distinctive qualities of the Sophoclean Oedipus than to compare it with the treatment of the same theme by Seneca, Corneille, Dryden and Voltaire. So far as the last three are concerned, the comparison has a larger value. The differences between the spirit of the best Greek Tragedy and that of modern drama are not easily expressed in formulas, but can be made clearer by a particular example.
Neither' Seneca, nor any later dramatist, has managed this situation so as to express with a similar union of delicacy and strength the desperate anguish of a woman whom fate has condemned to unconscious crime. (iii) Seneca had no 'Oedipus at Colonus' in view. He was free to disregard that part of the legend according to which Oedipus was expelled from Thebes by Eteocles and Polyneices, and can therefore close his play by making Oedipus go forth into voluntary exile:— Mortifera mecum vitia terrarum extraho.
The § 22. More than either Dryden or Corneille, Voltaire has Voltaire, treated this subject in the spirit of the antique. His Oedipe was composed when he was only nineteen. It was produced in 1718 (when he was twenty-four), and played forty-six times consecutively—a proof, for those days, of marked success. In 1729, the piece having kept its place on the stage meanwhile, a new edition was published. I t is not merely a remarkable work for so young a m a n ; its intrinsic merit, notwithstanding obvious defects, is, I venture to think, much greater than has usually been recognised.