I enjoyed this translation, and I recommend it to anyone unfamiliar with the plays. Its strength is that it is very easy to read in large part because Roche structured the lines as he felt they would have been spoken. He includes some interesting appendices on production, etc, and he has just the right number of footnotes to help us keep up, but not be slowed down.

My beef is that comparing it to other translations I have read is like comparing the clunky dumbed down modern translations of the Bible to the King James Version. Still, the language and the wisdom do sometimes soar together.

If tragedy is, as Aristotle described, the imitation (that is, representation) of great people whose downfall induces a sense of pity and fear in the audience, Sophocles's plays are exemplary illustrations of the genre. The Sophoclean hero suffers, agonizes, despairs because of cruel fate or, more likely, some mistake he or she has made as a result of a character flaw such as pride or anger. Thus the tragedy of "Ajax" is not only that the title character kills himself in shame over having lost out to Odysseus on being awarded Achilles's armor, the ownership of which would have been proof of his heroic deeds in battle, but that his shame might have been alleviated had he known that Odysseus greatly respected his heroism. Similarly, in "Antigone," Creon, king of Thebes, suffers the loss of his wife and son over his stubborn insistence to enforce a law founded on his pride.

Sophocles portrays "noble" sufferers too. In "Electra," the title heroine plots to kill her mother Clytemnestra and her lover Aegisthus, but she has a good reason -- revenge for killing her father Agamemnon and bounding her to a life of slavish submission. The title hero of "Philoctetes" is marooned on an island through no fault of his own, and furthermore becomes the target of trickery when Odysseus and Neoptolemus, Achilles's son, show up with the intent to obtain a magic bow in his possession which they need to win the Trojan War. Heracles's wife Deianeira, in "The Women in Trachis," catches her husband in the act of intended infidelity; her reaction is to send him a cloak she thinks is a talisman to keep him faithful to her, when in reality it is poisoned. That Electra's plans are fulfilled, Philoctetes receives sympathy, and Deianeira kills herself in grief shows the range of emotions that lead to the end of a Sophoclean tragedy.

The most masterful of these plays is "Oedipus the King," which seeks to maximize pity and fear in the audience by portraying some of the most tragic circumstances imaginable -- a hero who unknowingly kills his father and marries his mother as was prophesied, and then, to his horror, discovers their identities. Does Oedipus, like Deianeira, kill himself in grief? No, that would be too merciful. Instead, he gouges out his eyes in self-punishment and lives to continue suffering, as an abject vagrant in "Oedipus at Colonus."

In this Signet Classics edition, Paul Roche translates these plays in verse rather than prose, which preserves their poeticality, improves their clarity, and significantly increases the enjoyability of reading them. This is the perfect edition for getting acquainted with one of the great Greek dramatists.

"Philoctetes" takes place near the climax of the Trojan War. The title character has the great bow of Hercules, given by the demi-god on his pyre to Philoctetes's father. A member of the Achaean expedition that sailed to Troy, Philoctetes was making an altar on an island along the way when he was bitten by a snake. His cries of pain were so great that he was abandoned by his shipments, under the orders of Odysseus, and marooned on the deserted island of Lemnos. Alone and crippled, Philoctetes used the great bow to survive for the ten years the Achaeans have been fighting against Troy. During that time his hatred against the Achaeans in general, and Odysseus in particular, has grown.

Meanwhile, back at Troy, Odysseus and the other Achaean chieftains have learned from an oracle that Troy will fall only with the help of Philoctetes and his bow (a juicy tidbit it certainly would have been nice to have known eight or nine years earlier). Odysseus and Neoptolemus, son of Achilles, are sent to bring Philoctetes and his bow back to the war. Of course, Odysseus dare not show himself to Philoctetes and sends Neoptolemus to do the dirty work. Neoptolemus gains the confidences of the crippled man by lying about taking him home. During one of his agonizing spasms of pain, Philoctetes gives his bow to Neoptolemus. Regretting having lied to this helpless cripple, Philoctetes returns the bow and admits all, begging him to come to Troy of his own free will. Philoctetes refuses and when Odysseus shows his face and threatens to use force to achieve their goal, he finds himself facing a very angry archer.

In "Philoctetes" Sophocles clearly deals with the balance between the rights of the individual and the needs of society. But this is also a play about citizenship and the need for the idealism of youth to be give way to the responsibilities of adulthood. In fact, this lesson is learned both by Philoctetes, who is taught by the shade of Hercules who appears to resolve the tenses conclusion, and Neoptolemus, who finds his duties at odds with his idealized conception of heroism based upon his father. Although this is a lesser known myth and play, "Philoctetes" does raise some issues worth considering in the classroom by contemporary students.

"Philoctetes" is similar to other plays by Sophocles, which deal with the conflict between the individual and society, although this is a rare instance where Odysseus appears in good light in one of his plays; usually he is presented as a corrupter of innocence (remember, the Greeks considered the hero of Homer's epic poem to be more of a pirate than a true hero), but here he is but a spokesperson for the interests of the state. Final Note: We know of lost plays about "Philoctetes" written by both Aeschylus and Euripides. Certainly it would have been interesting to have these to compare and contrast with this play by Sophocles, just as we have with the "Electra" tragedies.

Good Greek tragedy. I especially find interesting the controversy behind the happy ending.

A group of plays, of which this was a member, won first prize in Athens. Philoctetes had been left marooned on an island several years earlier (because of his disease) under orders of Agamemnon and Menelaus. But, the two kings later discover that Troy cannot be conquered without Philoctetes and his bow, a bow given to him by Heracles. Odysseus and Neoptolemus (the son of the late Achilles) arrive at the island to persuade or trick Philoctetes to return with them. Neoptolemus wants to be noble in his actions; yet, his commander, Odysseus, wants to use guile. At the end, a deus-ex-machina device is used to resolve the conflict. The play has excellent characterization, a good plot, and steady movement.

Seamus Heaney is a fine poet, but with that said...

I just don't agree with awarding the Nobel Prize to an OK adaptation of mediocre play (look, even Shakespeare has some duds,) the message of which was put far more meaningfully and to a far broader audience in Star Trek II & III.

Re-read a great play like the Oedipus or check out Charles Mee's "Trojan Women: A Love Story" (available in his "History Plays",) or something by Brecht instead.

There's a reason they never taught you Philocetes in school- this is one should have stayed buried. Of value only for the specialist.

Sorry Seamus!

"The Cure at Troy," translated by Seamus Heaney offers a delightful translation of Sophocles' "Philoctetes." With a compelling tale from anchient times layed out before him, Heaney applies colloquial speach diction to the play. This accessability offers the audience a window into the basic moral struggle occuring at the heart of the work. A finly crafted story draws the reader to the characters. A worthwhile read.

Seamus Heaney pulls through again with his brilliant translation of Sophocles' Philoctetes. The tragic story of the forgotten hero, Philoctetes, provides a unique insight into the conflicts between personal moral beliefs and political calling. Odysseus persuades the heroic Neoptolemus into tricking the mamed Philoctetes into giving up the bow of Hercules. This act challenges the admired traits of the ancient world and draws into question the importance of personal beliefs. As each character represents a different aspect of the Greek world, a fight for beliefs - fidelity, pity, piety - endures. As for the translation itself, Heaney provides a beautiful interpretation of the story as seen in the words of the chorus:

History says, Don't hope
On this side of the grave.
But then, once in a lifetime
The longed-for tidal wave
Of justice can rise up,
And hope and history rhyme.

This enriched translation strays slightly from the ancient text in order to enhance the understanding of the modern reader. Overall, this fast-moving play entices and enchants through a lyrical harmony like no other. Bravo, Seamus. Bravo.

In Homer's "Iliad" the one reference to Oedipus suggests he ruled in Thebes until he was killed in battle. However, in the more famous version of the tale, told by Sophocles in his classic Greek tragedy "Oedipus the King," Oedipus blinds himself and leaves Thebes. In "Oedipus at Colonus" Sophocles tells of the final fate of the exiled figure. Colonus is a village outside Athens, where the blind, old man has become a benevolent source of defense to the land that has given him his final refuge.

"Oedipus at Colonus was produced posthumously in 401 B.C.E., and the legend is that it was used by Sophocles as his defense against the charge of senility brought by his children. In terms of its lack of dramatic structure (the scenes are connected by the character of Oedipus rather than by the loosely constructed plot) and the melancholy of its lyric odes it is the most atypical of the extant plays of Sophocles. "Oedipus at Colonus" is the most poetic of his plays while being the least dramatic as well. But it is the characterization of Oedipus as a noble figure that stands out. This is still the same proud and hot-tempered figure who vowed to solve the reason for the curse on Thebes in the earlier play. But this is also an Oedipus who has accepted his punishment, even though he insists that he is innocent. After all, the sin responsible for his exile was really that of his mother; if you read "Oedipus the King" carefully you will see that the incestuous part of the prophecy was added by the Oracle after Jocasta tried to have her infant son killed in order to save her husband's life. Consequently, when Oedipus claims to be a helpless victim of destiny, there is ample reason to agree with his interpretation of events.

The fact that this was the last play written by Sophocles offers a line of analysis for understanding "Oedipus at Colonus" as well. You can read in certain lyrics, such as the first "staismon" with its ode to Colonus and the characterization of King Theseus of Athens, the playwright's praise for the democratic institutions and proud history of Athens. On a more psychological level you can consider the play as articulating Sophocles' views on death. These other considerations tend to reduce the importance of the title character, but there is the compelling argument of the play that through his personal suffering Oedipus has been purified.

In Homer's "Iliad" the one reference to Oedipus suggests he ruled in Thebes until he was killed in battle. However, in the more famous version of the tale, told by Sophocles in his classic Greek tragedy "Oedipus the King," Oedipus blinds himself and leaves Thebes. In "Oedipus at Colonus" Sophocles tells of the final fate of the exiled figure. Colonus is a village outside Athens, where the blind, old man has become a benevolent source of defense to the land that has given him his final refuge.

"Oedipus at Colonus was produced posthumously in 401 B.C.E., and the legend is that it was used by Sophocles as his defense against the charge of senility brought by his children. In terms of its lack of dramatic structure (the scenes are connected by the character of Oedipus rather than by the loosely constructed plot) and the melancholy of its lyric odes it is the most atypical of the extant plays of Sophocles. "Oedipus at Colonus" is the most poetic of his plays while being the least dramatic as well. But it is the characterization of Oedipus as a noble figure that stands out. This is still the same proud and hot-tempered figure who vowed to solve the reason for the curse on Thebes in the earlier play. But this is also an Oedipus who has accepted his punishment, even though he insists that he is innocent. After all, the sin responsible for his exile was really that of his mother; if you read "Oedipus the King" carefully you will see that the incestuous part of the prophecy was added by the Oracle after Jocasta tried to have her infant son killed in order to save her husband's life. Consequently, when Oedipus claims to be a helpless victim of destiny, there is ample reason to agree with his interpretation of events.

The fact that this was the last play written by Sophocles offers a line of analysis for understanding "Oedipus at Colonus" as well. You can read in certain lyrics, such as the first "staismon" with its ode to Colonus and the characterization of King Theseus of Athens, the playwright's praise for the democratic institutions and proud history of Athens. On a more psychological level you can consider the play as articulating Sophocles' views on death. These other considerations tend to reduce the importance of the title character, but there is the compelling argument of the play that through his personal suffering Oedipus has been purified.

Many people make the mistake of only reading part 1 of this trilogy. In my opinion, it is a horrible mistake to ignore parts 2 and 3. The blind Oedipus is touchingly lead by his daughter. (I can not help but suspect this inspired the relationship between Edgar and Gloucester in Shakespeare's "King Lear.") It is also in this play that we see Creon is not exactly an outstanding citizen. He seemed nice enough in part 1, but once he has Oedipus' power, he is somewhat of a tyrant. It is also in part 2 that we are able to get a closer look at Oedipus. (REMEMBER, HE DID NOT KNOW HE HAD KILLED HIS FATHER, MARRIED HIS MOTHER, AND HAD CHILDREN WITH HIS MOTHER.) It is in this play that we see the human side of Oedipus. I can not overestimate the beauty of the scene where "seemingly sighted" he enters the Greek Version of heaven. Again remember, the story does not end here. You MUST read "Antigone" (Part 3).

Set in ancient Greece, Oedipus the King is a classic play about the fall of a great leader. This particular type of theater can be classified as a tragedy due to the fact that the main character has a positive view by his people and leads with great pride. The story begins with a plague throughout the land and its only stopper is told through a prophecy. The prophecy describes the murder of a king from a far off land; to stop the plague the killer must be discovered and punished accordingly. Oedipus boasts his ruling ways a he vows to discover the murderer and banish him, family, and future generations from his country. King Oedipus receives opinions and assistance from his wife Jocasta, brother-in-law Creon, and the Chorus whom reacts the decision making of Oedipus and takes the place of the people. Oedipus uses his power to summon those who might know anything about the murder. Accusations are first pointed to a group of robbers who attacked and robbed the king while he was traveling. The blind prophet Tiresias from Thebes is then sent for. Tiresias points the finger at Oedipus and blames him for the murder. The tale starts to unravel as the prophecy of Oedipus's life is told. In summary the prophet tells how Oedipus is destined to kill his father and marry his mother. This very prophecy is the reason that Oedipus moved away from his alleged parents whom in actuality acquired Oedipus as a baby before he was killed in hopes to prevent the very prophecy. Oedipus discards the prophet's words and continues his search. Signs continually point towards Oedipus for an unexpected ending.
The play is full of long speeches that derive a simple point. Foreshadowing makes up a majority of the play and gives way the play far before it is over. Great detail is put into each speech and put into a quite violent ending. I personally rate the play as poor for it is far too predictable and drawn out. The only real entertaining part of the play is the ending though predictable it is quite graphic and creative.

The previous reviewers who denigrate Oedipus as "predictable" only reveal their own ignorance. Any member of an Ancient Greek audience already knew the story of Oedipus, it'd be like complaining that upon going to Easter Mass, you found the story of the Crucifixion to be predictable; the point was never to have a twist, but to create a relationship between the characters and members of the audience, placing the viewers in direct relation to the mystery of life. The language is gorgeous besides.

These three plays stand as the best of the Greek tragedies, superior to the works of Sophocles' rivals Euripides and Aeschylus, mainly because these plays hold more depth and allow for more cultural analysis.
They may seem long-winded at times, even repetitive, but I assure potential readers that there is a point to the speeches, and that many 'extraneous' phrases divulge the author's meaning or bias.
Highly recommended.

Claimed to be the best of all Greek tragedies, OEDIPUS REX (or OEDIPUS THE KING..."REX" means "KING") by Sophocles is that classic story of the man who was doomed to kill his own father and marry his own mother. Everyone seems to know the basic plot of the story, but how much do you REALLY know?

This new translation of OEDIPUS THE KING by Berg and Clay proves to be successful...everything is understandable and rather enjoyable to read too. It's hard to believe that you're actually reading a play.

I suggest that you DO NOT read the original version of the play by Sophocles first...you might be discouraged by the difficulty of the language he uses. Instead, start with Berg and Clay's translation...it's so much easier to read, and more importantly, enjoy.

I felt that the action and plot was well-woven out, and the story tied together nicely; however, there was one flaw. The ending was too abrupt. Of course, I'm not going to spoil the ending for you now (you'll have to read it yourself) but I WILL tell you that if you're one of those people who hate endings that just leave you hanging, you might not like OEDIPUS THE KING.

I had to read OEDIPUS THE KING as an Honors English assignment (and usually what kind of books we have to read for school are good?). Nevertheless, I found the play interesting, but because of the so-abrupt ending with questions still dangling on the end, I give the book 3 stars. (By the way, in no other Greek tragedy are so many questions asked, so be prepared to have your mind boggled by this book!...Have a spiffy day! -Nick Chu

The only budget series of audio books and recorded drama comes from Naxos. One of their more recent entries is a very modern version of Sophocles' in a translation by Duncan Steen. In fact, some might find it a little too modern with its use of idiomatic expressions such as "You can't pin that on me"--which might be taken as an ironic reference to the final horrible deed of the hero. But when the messenger the agonized Oedipus as calling himself a "mother f..." (although he stops at the "f") the effect is far too "modern" for comfort. You see, given a sound recording, we can only assume that the action is taking place in the nearly prehistoric past. I do not know the tone of Sophocles' Greek; but I do read that it is elegant and decorous. Therefore, I can only assume that this translator is doing his source a great injustice.

On the other hand, the dialogue MOVES. There is an excitement to this performance, although the Creon of Adam Kotz lacks some force. Michael Sheen is good in the title role, as is Nichola McAuliffe as Jocasta, Heathcote Williams as the Chorus Leader, and John Moffatt as Tiresias and the Narrator at the start of the recording. The Chorus itself is cut down to four voices, but they are handled nicely with stereo separation and are quite comprehensible. The music is meager but effectively used.

All in all, a very good if not perfect attempt at making one of the greatest Western plays accessible to a wide audience.

"Oedipus the King" or Oedipus Rex is the world's first great tragedy. Almost everyone knows the tale of the man who murdered his father and married his own mother. The only question is, which translation do you read? Bernard Knox makes an excellent case for his prose translation of Sophocles classic. This is a version designed for the a filmed version meant for the classroom; as such, it is remarkably smooth and easy to read. There is little poetry left in it; if that is what you seek, look elsewhere. This edition comes with a nice set of introductory essays on the background of the play, the theater, and Sophocles. All in all, a nice little edition.

For anybody who wishes to read Sophocles' Oedipus cycle, the best translation available is definitely that of Paul Roche. However, for what they're worth, Fitts and Fitzgerald have given a fairly accurate though often too swiftly-paced version of Sophocles' great plays. At times, the translation sacrifices accuracy for tersity, and rarely does it reach the poetic excellence that Roche's clearly demonstrates. However, Fitzgerald's translations often require an acquired taste. If you enjoyed his odyssey (I do not), then you may enjoy his translations here as well.

This is by far the most poetic and impressionable translation of Oedipus Rex, Oedipus at Colonus, and Antigone I have ever read. We explored several versions in my English class, and Robert Fitzgerald does an excellent job constructing memorable lines and beautiful dialogue. If you want to read Sophocles, this is the one to choose.

~I had to read OEDIPUS REX for my pre-IB sophomore English class, feeling not too happy with another dull, lengthy Greek play (we had to read THE ODYSSEY last year, and it got really redundant). But Sophocles' play...wow, it's totally different! The characters are so much more real and the speeches are deep and engrossing. Thebes is fascinating, substantial - and the issues grip you unknowingly. ...When you finally resurface, you feel touched and bewildered at the same time!

Throughout~~ THE OEDIPUS CYCLE run themes of fate and visions of free will amid reality. These elements reveal the universal truth: of human blindness to fate and truth; their blind resolutions that, in reality, lead them to their fate. Tragedy is forged between a character~{!/~}s personality and the inevitable events connected to it. Although the doctrine of predestination rejects independent will, OEDIPUS REX succeeds in explaining the coexistence, in which action is subordinate to destiny through~~ ignorance. ~{!0~}I was blind and now I can tell why: asleep for you had given ease of breath to Thebes while the false years went by."

THE OEDIPUS CYCLE beautifully fits Aristotle's definition of tragedies, being~{!0~}a casual, inevitable sequence of events connected intimately with the personality of the tragic character." Even if your English class doesn't require you to pick up this title, I highly recommend that you do. Being a translation, the language is very clear and reading~~ is direct. But the subject is still full - and full of revelation! It is so amazing, you have to experience it for yourself! I ended up reading all 3 plays of the cycle and they are all very different but I would think that OEDIPUS REX is the strongest one. It catches the reader the best, being more action-filled than the rest. OEDIPUS AT COLONUS is a more of character reflections and analyzing, which are heartfelt for both character and reader. ANTIGONE concludes the story with a good~~ feminist view of the affair by Antigone, the daughter of Oedipus. Her play is a mix of physical and mental action and reaction.~

I'm not sure how to rate this book. For one thing, I don't know much about Greek drama. However, in some respects no one does. Our author tried to be faithful to the original in ways he feels are important: "I have tried to walk and to run, to rise and to sit, with the Master, but never by imitation, only by analogy, transposition, re-creation." He has given us the three plays in iambic lines of varying length, with inventive syntax and vocabulary (sanctioned by the example of the original). I got annoyed with the verse at various points as it seemed just wrong: the expression seemed not to reflect the intention, and words were used (dare I say it?) sloppily. Now, I know I'm on shaky ground here. For one thing (a big thing!), I have not seen the plays performed. Moreover, our author knows the Greek, and he may be reflecting it quite closely, and my criticism should be directed at the Master. On top of that, Paul Roche, from his introduction, is clearly a good writer, so I must assume that the odd things he does he does deliberately.

But, anyway, as he says in a note on meter in the Appendix, "Indeed, the danger on the stage is not that poetry should sound monotonous but that it should not sound at all." He has quite a bit more to say on the subject, which is an important one. Sophocles wrote in an "iambic" meter rather than prose. In fact, it's possible that writing a play in prose, or good parts of it in prose, made as much sense in classical Athens as writing song lyrics in prose would now, and for roughly the same reason. While the actors may not have sung all the words, certainly the chorus was singing, and song hovered around, heightening the action.

Having said all that, I think our author does some very good things. For one thing, he does give us a good verse translation with all the choral markings - the Episodes, the Strophes and Antistrophes, with nice summaries at their heads. He brings the speech into reasonably colloquial English without sacrificing the "beat". (As an example of that, I particularly liked the byplay between Creon and the sentry in "Antigone". Here he gives the sentry a Cockney accent and Creon the voice of one of those impatient stuffed-shirts in a screwball comedy.) Overall, he achieves the right balance between vivacity of expression and dignity. His introduction and appendix are informative, opinionated, and well-written. In summary, this is an excellent version of these three plays (only a trilogy by coincidence).

This was a lot better than I expected it to be. The reading is easier than Shakespeare - in fact, I like this more. Much of the credit must go to Paul Roche. Watching a clip of a video of these plays (under a different translation) showed that his translation was not just word for word, but - as he says in the introduction - a work of art that retains the melody of the poetry.

I found the sophistication of Shakespeare (and the multiple suicides/murders) - amazing for something written so much earlier. But what was here was something more human. Within the different but wonderful style of speaking (thanks to Sophocles) was a modern voice (thanks to Roche) that made this play not only readable but enjoyable.

This is extraordinary story and easy to follow. It is easily comparable to modern socitey. The tragic flaws in Creon and Oedipus are very defined. This is a classic "must read" !

This is a book that mostlikely would not repeat itself in the world today. It teaches us to accepte the authority and accept the errors of judgement.

You buy this type of item for the price. The price was low, and you can wear the book out without worrying about it. Good if you don't want to pay too much for a book.

"Antigone," the drama by Sophocles, has been published as part of the Dover Thrift Edition series. The Dover version is translated into English by George Young. An introductory note states that the play was first performed in the 440s BCE.

The introductory note also includes a brief summary of events leading up to the events of this play. "Antigone" concerns the family of Oedipus, former ruler of the city-state of Thebes. As "Antigone" opens, Thebes is ruled by Creon, the brother-in-law of Oedipus. Creon is at odds with his niece, Antigone, because he denies a proper burial to Antigone's brother Polynices. Antigone's intention to defy her uncle sets this tragedy in motion.

This is a powerful story about familial duty, social customs, gender roles, and the relationship between the individual and governmental authority. The issues in this play remain relevant today, and are powerfully argued by Sophocles' characters. At the heart of the play is this question: Is it right to disobey a law or edict that one feels is unjust?

But "Antigone" is not just a philosophical meditation; it's also the story of a very personal clash between two strong-willed members of a very troubled extended family. A bonus in the play is the appearance of the seer Tiresias: it is a small but potent role. Overall, this play is a solid example of why ancient Greek drama has stood the test of time.

Following the ending of "Oedipus the King," Oedipus was exiled from Thebes, blind and a beggar. We learn from "Oedipus at Colonus" that his sons, Eteocles and Polyneices engaged in a civil war for the throne of Thebes (covered in "Seven Against Thebes" by Aeschylus). The two brothers kill each other and Creon (Manos Katrakis), brother of Jocasta, becomes king. He orders that Eteocles, who nobly defended his city, shall receive an honorable burial, but that Polyneices, for leading the Argive invaders, shall be left unburied. This leads Antigone (Pappas), sister to both of the slain brothers, to have to choose between obeying the rule of the state, the dictates of familial binds, and the will of the gods. This, of course, is the matter at the heart of this classic tragedy by Sophocles.

It is too easy to see the issues of this play, first performed in the 5th century B.C., as being reflected in a host of more contemporary concerns, where the conscience of the individual conflicts with the dictates of the state. However, it seems to me that the conflict in "Antigone" is not so clear-cut as we would suppose. After all, Creon has the right to punish a traitor and to expect loyal citizens to obey. Ismene (Maro Kodou), Antigone's sister, chooses to obey, but Antigone takes a different path. The fact that the "burial" of her brother consists of the token gesture of throwing dirt upon his face, only serves to underscore the ambiguity of the situation Sophocles is developing. Even though the playwright strips Creon of his son, Haemon (Nikos Kazis) and wife, Eurydice (Ilia Livykou) by the end of the drama, it is not a fatal verdict rendered against the king's judgment, but rather the playing out of the tragedy to its grim conclusion.

Note: I have always enjoyed Jean Anouilh's "modern" version of the play, produced in 1944 and loaded with overtones regarding the Nazi occupation of France. The two plays offer a fascinating analog and students are usually quick to appreciate how Anouilh revitalizes the ancient myth with the political situation in which he lived.