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Sophocles' Philoctetes is one of the most widely read Greek tragedies today but is a complex and challenging play to interpret. Its representation of Philoctetes as a sufferer of physical and emotional pain gives it remarkable power and intensity. It juxtaposes Homeric and fifth-century institutions and values, explores honor, power and expediency as principles of personal and political life, and represents contrasts and conflicts between innocence and experience, ends and means, and the needs and demands of the individual and those of society. This edition with commentary makes the play accessible to students, teachers, and other readers of Greek literature at all levels. The introduction discusses the main problems of interpretation and gives an account of its reception from antiquity to the present day.

Sophocles' Philoctetes is one of the most widely read Greek tragedies today but is a complex and challenging play to interpret. Its representation of Philoctetes as a sufferer of physical and emotional pain gives it remarkable power and intensity. It juxtaposes Homeric and fifth-century institutions and values, explores honor, power and expediency as principles of personal and political life, and represents contrasts and conflicts between innocence and experience, ends and means, and the needs and demands of the individual and those of society. This edition with commentary makes the play accessible to students, teachers, and other readers of Greek literature at all levels. The introduction discusses the main problems of interpretation and gives an account of its reception from antiquity to the present day.

Norman Austin brings both keen insight and a life-long engagement with his subject to this study of Sophocles’ late tragedy Philoctetes, a fifth-century BCE play adapted from an infamous incident during the Trojan War. In Sophocles’ “Philoctetes” and the Great Soul Robbery, Austin examines the rich layers of text as well as context, situating the play within the historical and political milieu of the eclipse of Athenian power. He presents a study at once of interest to the classical scholar and accessible to the general reader. Though the play, written near the end of Sophocles’ career, is not as familiar to modern audiences as his Theban plays, Philoctetes grapples with issues—social, psychological, and spiritual—that remain as much a part of our lives today as they were for their original Athenian audience.

Sophocles (497/6–406 BCE), with Aeschylus and Euripides, was one of the three great tragic poets of Athens, and is considered one of the world's greatest poets. The subjects of his plays were drawn from mythology and legend. Each play contains at least one heroic figure, a character whose strength, courage, or intelligence exceeds the human norm—but who also has more than ordinary pride and self-assurance. These qualities combine to lead to a tragic end.Hugh Lloyd-Jones gives us, in two volumes, a new translation of the seven surviving plays. Volume I contains Oedipus Tyrannus (which tells the famous Oedipus story), Ajax (a heroic tragedy of wounded self-esteem), and Electra (the story of siblings who seek revenge on their mother and her lover for killing their father). Volume II contains Oedipus at Colonus (the climax of the fallen hero's life), Antigone (a conflict between public authority and an individual woman's conscience), The Women of Trachis (a fatal attempt by Heracles' wife to regain her husband's love), and Philoctetes (Odysseus's intrigue to bring an unwilling hero to the Trojan War).Of his other plays, only fragments remain; but from these much can be learned about Sophocles' language and dramatic art. The major fragments—ranging in length from two lines to a very substantial portion of the satyr play The Searchers—are collected in Volume III of this edition. In prefatory notes Lloyd-Jones provides frameworks for the fragments of known plays.

The Cure at Troy is Seamus Heaney's version of Sophocles' Philoctetes. Written in the fifth century BC, this play concerns the predicament of the outcast hero, Philoctetes, whom the Greeks marooned on the island of Lemnos and forgot about until the closing stages of the Siege of Troy. Abandoned because of a wounded foot, Philoctetes nevertheless possesses an invincible bow without which the Greeks cannot win the Trojan War. They are forced to return to Lemnos and seek out Philoctetes' support in a drama that explores the conflict between personal integrity and political expediency.Heaney's version of Philoctetes is a fast-paced, brilliant work ideally suited to the stage. Heaney holds on to the majesty of the Greek original, but manages to give his verse the flavor of Irish speech and context.

Philoctetes is a tragedy of surpassing human interest. It is played out almost entirely between a man and a boy, the former embittered by years of lonely exile, the second torn between duty and ambition and the instinct of an innately noble nature. Their changing relationships are portrayed against a background of terrible suffering and mean intrigue. The commentary, which is based on the translation, elucidates the action. The Introduction offers an analysis of the play, with notes on its background and manuscript tradition. Comments on staging are mainly in the end-notes, as this edition gives primary importance to the words and attempts to explain them in their context without undue philological annotation.

The Cure at Troy is Seamus Heaney's version of Sophocles' Philoctetes. Written in the fifth century BC, this play concerns the predicament of the outcast hero, Philoctetes, whom the Greeks marooned on the island of Lemnos and forgot about until the closing stages of the Siege of Troy. Abandoned because of a wounded foot, Philoctetes nevertheless possesses an invincible bow without which the Greeks cannot win the Trojan War. They are forced to return to Lemnos and seek out Philoctetes' support in a drama that explores the conflict between personal integrity and political expediency.Heaney's version of Philoctetes is a fast-paced, brilliant work ideally suited to the stage. Heaney holds on to the majesty of the Greek original, but manages to give his verse the flavor of Irish speech and context.

Seamus Heaney's version of Sophocles' "Philoctetes" is responsive to the Greek playwright's understanding of the relations between public and private morality. It dramatizes the conflict between personal integrity and political expediency and explores ways in which the victims of injustice can become as devoted to the contemplation of their wounded as the perpetrators are to the justification of their system. This play is the 1990 production of the Field Day Theatre Company.

Sophocles (497/6–406 BCE), with Aeschylus and Euripides, was one of the three great tragic poets of Athens, and is considered one of the world's greatest poets. The subjects of his plays were drawn from mythology and legend. Each play contains at least one heroic figure, a character whose strength, courage, or intelligence exceeds the human norm—but who also has more than ordinary pride and self-assurance. These qualities combine to lead to a tragic end.Hugh Lloyd-Jones gives us, in two volumes, a new translation of the seven surviving plays. Volume I contains Oedipus Tyrannus (which tells the famous Oedipus story), Ajax (a heroic tragedy of wounded self-esteem), and Electra (the story of siblings who seek revenge on their mother and her lover for killing their father). Volume II contains Oedipus at Colonus (the climax of the fallen hero's life), Antigone (a conflict between public authority and an individual woman's conscience), The Women of Trachis (a fatal attempt by Heracles' wife to regain her husband's love), and Philoctetes (Odysseus's intrigue to bring an unwilling hero to the Trojan War).Of his other plays, only fragments remain; but from these much can be learned about Sophocles' language and dramatic art. The major fragments—ranging in length from two lines to a very substantial portion of the satyr play The Searchers—are collected in Volume III of this edition. In prefatory notes Lloyd-Jones provides frameworks for the fragments of known plays.

There are seven surviving tragedies by Sophocles. Three of them form the Theban Plays, which recount the story of Thebes during and after the reign of Oedipus. Here, David Slavitt translates the remaining tragedies―the "other four plays:" Ajax, Women of Trachis, Electra, and Philoctetes.Punchy and entertaining, Slavitt reads Athena's opening line in Ajax as: "I’ve got my eye on you, Odysseus. Always." By simplifying the Greek and making obscure designations more accessible―specifying the character Athena in place of "aegis-wearing goddess," for example―his translations are highly performable. The Other Four Plays of Sophocles will help students discover underlying thematic connections across plays as well.Praise for David R. Slavitt"Slavitt's translation is... lively and sometimes witty."―Times Literary Supplement, reviewing Slavitt's translation of Seneca"The best version of Ovid's Metamorphoses available in English today... It is readable, alive, at times slangy, and actually catches Ovid's tone."―Philadelphia Inquirer, reviewing Slavitt's translation of The Metamorphoses of Ovid"Slavitt's ability is clearly in evidence... These translations are rendered in lucid, contemporary English, bringing before us the atrocities, horrors, and grotesqueries of Imperial Rome."―Classical Outlook, reviewing Slavitt's translation of Seneca"Excellent translations that suit the ear and strengthen the feeble spirit of the time... One will do well to read these hymns, these poems, and find nourishment in them in Slavitt's translations."―Anglican Theological Review, reviewing Slavitt’s translation of Hymns of Prudentius

"Between Haiti and the Dominican Republic flows a river filled with ghosts," Edwige Danticat writes in her superb preface to Massacre River: "Over time the river has been the site of several massacres including the one which is the subject of this tour de force by René Philoctete." In 1937 the power-mad racist Generalissimo Trujillo ordered the slaughter of thousands and thousands of Haitians and, as Philoctete puts it, death set up shop everywhere. At the heart of Massacre River is the loving marriage of the Dominican Pedro and the Haitian Adele in a little town on the Dominican border. On his way to work, Pedro worries that a massacre is in the making; an olive-drab truck packed with armed soldiers rumbles by. And then the church bells begin to ring, and there is the relentless voice on the radio everywhere, urging the slaughter of all the Haitians. Operation Cabezas Haitianas (Haitian Heads) is underway, the soldiers shout, "Perejil! [Parsley!] Perish! Punish!" Haitians try to pronounce "perejil" correctly, but fail, and weep. The town is in an uproar, Adele is ordered to say "perejil" but stammers. And Pedro runs home and searches for his beloved wife, searches and searches " The characters of this book not only inspired the love and outrage of an extraordinary writer like Philoctete," writes Edwige Danticat, "but continue to challenge the meaning of community and humanity in all of us."

In 1937 the power-mad racist Generalissimo Trujillo ordered the slaughter of thousands and thousands of Haitians―and, as Philoctete puts it, death set up shop everywhere. At the heart of Massacre River is the loving marriage of the Dominican Pedro and the Haitian Adele in a little town on the Dominican border. On his way to work, Pedro worries that a massacre is in the making; an olive-drab truck packed with armed soldiers rumbles by. And then the church bells begin to ring, and there is the relentless voice on the radio everywhere, urging the slaughter of all the Haitians. Operation Cabezas Haitianas (Haitian Heads) is underway, the soldiers shout, "Perejil! [Parsley!] Perish! Punish!" Haitians try to pronounce "perejil" correctly, but fail, and weep. The town is in an uproar, Adele is ordered to say "perejil" but stammers. And Pedro runs home and searches for his beloved wife, searches and searches... "The characters of this book not only inspired the love and outrage of an extraordinary writer like Philoctete," writes Edwidge Danticat, "but continue to challenge the meaning of community and humanity in all of us."

Collects the full texts of Sophocles's seven extant ancient Greek plays, including updated translations of Oedipus the King, Oedipus at Colonus, Antigone, Ajax, Electra, Philoctetes, and The Women of Trachis, accompanied by stage directions, prefaces to each play, and other helpful notes. Original.

This new text of Sophocles is the product of extensive collaboration between Sir Lloyd-Jones and N.G. Wilson, both highly respected scholars in the field. The volume includes the Greek texts and apparatus criticus for Ajax, Electra, Oedipus Tyrannus, Antigone, Trachiniae, Philoctetes, and Oedipus Coloneus.

Meineck and Woodruff's new annotated translations of Sophocles' Ajax, Women of Trachis, Electra, and Philoctetes combine the same standards of accuracy, concision, clarity, and powerful speech that have so often made their Theban Plays a source of epiphany in the classroom and of understanding in the theatre. Woodruff's Introduction offers a brisk and stimulating discussion of central themes in Sophoclean drama, the life of the playwright, staging issues, and each of the four featured plays.

This book provides separate discussions of each of Sophocles' seven plays: Ajax, Women of Trachis, Antigone, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus. It sets these between an essay that outlines modern approaches to Greek tragedy and a final chapter that spotlights a key moment in the reception of each work.Focusing on the tragedies' dramatic power and the challenges with which they confront an audience, Morwood refuses to confine them within a supposedly Sophoclean template. They are seven unique works, only alike in the fact that they are all major masterpieces. Focusing on the tragedies' dramatic power and the challenges with which they confront an audience, Morwood refuses to confine them within a supposedly Sophoclean template. They are seven unique works, only alike in the fact that they are all major masterpieces.

This new text of Sophocles is the product of extensive collaboration between Sir Lloyd-Jones and N.G. Wilson, both highly respected scholars in the field. The volume includes the Greek texts and apparatus criticus for Ajax, Electra, Oedipus Tyrannus, Antigone, Trachiniae, Philoctetes, and Oedipus Coloneus.

"Between Haiti and the Dominican Republic flows a river filled with ghosts," Edwige Danticat writes in her superb preface to Massacre River: "Over time the river has been the site of several massacres including the one which is the subject of this tour de force by René Philoctete." In 1937 the power-mad racist Generalissimo Trujillo ordered the slaughter of thousands and thousands of Haitians and, as Philoctete puts it, death set up shop everywhere. At the heart of Massacre River is the loving marriage of the Dominican Pedro and the Haitian Adele in a little town on the Dominican border. On his way to work, Pedro worries that a massacre is in the making; an olive-drab truck packed with armed soldiers rumbles by. And then the church bells begin to ring, and there is the relentless voice on the radio everywhere, urging the slaughter of all the Haitians. Operation Cabezas Haitianas (Haitian Heads) is underway, the soldiers shout, "Perejil! [Parsley!] Perish! Punish!" Haitians try to pronounce "perejil" correctly, but fail, and weep. The town is in an uproar, Adele is ordered to say "perejil" but stammers. And Pedro runs home and searches for his beloved wife, searches and searches " The characters of this book not only inspired the love and outrage of an extraordinary writer like Philoctete," writes Edwige Danticat, "but continue to challenge the meaning of community and humanity in all of us."

A mermaid named Sirena meets Philoctetes, a mortal and a friend of Hercules, and falls in love, only to lose him when he returns home to fight in the Trojan War. By the author of Song of the Magdalene.