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Metatheater, or "theater within theater", is a critical approach often used in studies of Shakespearian or modern drama. Breaking new ground in the study of ancient Greek tragedy, Mark Ringer applies the concept of metatheatricality to the work of Sophocles. His innovative analysis sheds light on ...

Metatheater, or "theater within theater", is a critical approach often used in studies of Shakespearian or modern drama. Breaking new ground in the study of ancient Greek tragedy, Mark Ringer applies the concept of metatheatricality to the work of Sophocles. His innovative analysis sheds light on Sophocles' technical ingenuity and reveals previously unrecognized facets of fifth-century performative irony.

Ringer analyzes the layers of theatrical self-awareness in all seven Sophoclean tragedies, giving special attention to Electra, the playwright's most metatheatrical work. He focuses on plays within plays, characters who appear to be in rivalry with their playwright in "scripting" their dramas, and the various roles that characters assume in their attempts to deceive other characters or even themselves. Ringer also examines instances of literal role playing, exploring the implications of the Greek convention of sharing multiple roles among only three actors.

Sophocles has long been praised asone of the,masters of dramatic irony. Awareness of Sophoclean metatheater, Ringer shows, deepens our appreciation of that irony and reveals the playwright's keen awareness of his art.

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order ...

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. This vital translation of Euripides' Electra recreates the prize-winning excitement of the original play. Electra, obsessed by dreams of avenging her father's murder, impatiently awaits the return of her exiled brother Orestes. When he arrives, the play mounts toward its first climax, a tender recognition scene. From that moment on, Electra uses Orestes as her instrument of vengeance. They kill their mother's husband, then their mother herself--and only afterward see the evil inherent in these seemingly just acts. But in his usual fashion, Euripides has imbued myth with the reality of human experience, counterposing suspense and horror with comic realism and down-to-earth comments on life.

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order ...

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the play. Although it has been at times overshadowed by his more famous Oedipus Tyrannus and Antigone, Sophocles' Electra is remarkable for its extreme emotions and taut drama. Electra recounts the murders of Clytemnestra and Aegisthus by Clytemnestra's son Orestes, to avenge their murder of his father Agamemnon, commander of the Greeks at Troy, upon his return home. Sophocles' version is presented from the viewpoint of Electra, Orestes' sister, who laments her father, bears witness to her mother's crime, and for years endures her mother's scorn. Despite her overwhelming passion for just revenge, Electra admits that her own actions are shameful. When Orestes arrives at last, her mood shifts from grief to joy, as Orestes carries out the bloody vengeance. Sophocles presents this story as a savage though necessary act of vengeance, vividly depicting Electra's grief, anger, and exultation. This translation equals the original in ferocity of expression, and leaves intact the inarticulate cries of suffering and joy that fill the play.

This new translation brings to life the most profound tragedies of Euripides, described by Aristotle as "the most tragic of the poets." In these plays, Euripides places his characters under the pressure of intolerable circumstances, revealing them, to use his own words, "as they are." Responsive to ...

This new translation brings to life the most profound tragedies of Euripides, described by Aristotle as "the most tragic of the poets." In these plays, Euripides places his characters under the pressure of intolerable circumstances, revealing them, to use his own words, "as they are." Responsive to the fate of women, these plays give voice to a howl of protest against the world in which we live. Full explanatory notes accompany this translation. Edith Hall provides a substantial general introduction and select bibliography.