Biography Sofokla briefly. S.I.

19.06.2019

History of the character myth of ancient Greece Dedal and Icar read

Heroes of antique myths Characters of Greek mythology

Online reading book myths of classical antiquity book eighth

) Participated in a folk festival as the head of the choir. Twice was elected to the position of Strateg and once performed the responsibilities of a member of the Collegium made by the Allied Casner. Athenians chose Sofokla in strategowns in 440 BC. e. During the self-war, under the impression of his tragedy "Antigone", the formulation of which on the scene refers, thus, by 441 BC. e.

Its main occupation was to draw up tragedies for the Athenian theater. The first tetralogy, supplied by Sophokl in 469 BC. e. He gave him a victory over Eschil and opened a number of victories won on stage in contests with other tragics. Critic Aristophane Byzantine attributed to Sofokla 123 tragedy (including antigone).

Sophokl was distinguished by a cheerful, sociable character, was not alien to the joys of life, as can be seen from the words of some Kefala in Platonov "State" (I, 3). It was closely familiar with historian Herodot. Sofokl died in the 90th year of life, in 405 BC. e. In the city of Athens. The citizens struggled to him the altar and honored as a hero annually.

Encyclopedic YouTube.

1 / 5
In accordance with the successes, which tragedy was obliged by Sofokla, they made innovations in the stage stage of plays. So, he increased the number of actors up to three, and the number of chorants from 12 to 15, reducing the choral parts of the tragedy at the same time, improved the scenery, masks, in general the potuffal side of the theater, made a change to the production of tragedy in the form of a tetral, although not known exactly What this change consisted. Finally, he also introduced painted scenery. All changes were aimed at reporting the drama on stage more movement, strengthen the illusion of the audience and the impression obtained from the tragedy. Keeping the nature of the distinction of the Divine, the priesthood, which was originally the tragedy, according to its origin, from the cult of Dionysus, sofokl thought it much more than Eschil. The alignment of the legendary and mythical world of gods and heroes was inevitably inevitably, as soon as the poet focused his attention on a deeper analysis of the mental states of the heroes, which were known to the public until now only on the external transformations of their earthly life. To portray the spiritual world of demigods could not otherwise, as the features of ordinary mortals. The beginning of such an appeal with the legendary material was laid by the father of the tragedy, Eschil: it is enough to remind the images created by them Prometheus or Oreste; Sophocle went further in the footsteps of the predecessor.

Characteristic features of drama

Sophokl loved to face the heroes with different life principles (Creonh and Antigone, Odyssey and necopolis, etc.) or to oppose each other people with the same views, but with different characters - to underline the nature of the nature of one when it collide with another, weakly accrast (antigron and Iceman, Electra and Christhemide). He loves and knows how to portray the differences in the mood of heroes - the transition from the highest passage of passions to the state of the decline of forces, when a person comes to the bitter awareness of his weakness and helplessness. This fracture can be observed from Edipa in the final of the tragedy "King Edip", and Creonte, who learned about the death of his wife and son, and in the consciousness of Ajax (in the tragedy "Ajax"). For tragedies, Sofokla is characterized by rare dialogs, dynamics of action, naturalness in the unleashing of complex dramatic nodes.

Plots tragedy

It is hardly possible in all the tragedies that came to us not a series of provisions or external events are attracting the attention of the audience, but the sequence of mental states experienced by heroes under the influence of relations is immediately clearly and finally delivered in the tragedy. The content of "Edipa" serves one moment from the inner life of the hero: the detection of crimes, they committed, before the start of the tragedy.

Preserved plays
- "Trachinsy" (approx. 450-435 BC. E.)
- Ajax ("EAN", "BIECHOSETS") (between the Ser.450-x and Ser.440-x BC.)
- "Antigona" (approx. 442-441 BC. E.)
- "King Edip" ("Edip-tyrant") (approx. 429-426 BC. Er)
(OK 496/5 BC, Athenian suburb of Color - 406 BC er, Athens)

ru.wikipedia.org.

Biography

Born in February 495 BC e., in the Athenian suburb of colon. The place of its birth, has long been glorified by the shrines and the Altars of Poseidon, Athens, Evmenid, Demeters, Prometheus, the poet sacrificed in the tragedy "EDIP in Colon". It took from the secured family of Sofilla, got a good education.

After the Salamina battle (480 BC. E.) participated in a folk festival as the head of the choir. Twice was elected to the position of the military man holder and once performed the responsibilities of a member of the Collegium made by the Allied Kazna. Athenians chose Sofokla to commander in 440 BC. e. During the self-war, under the impression of his tragedy "Antigona", the formulation of which on the scene refers, thus, by 441 BC. e.

Its main occupation was to draw up tragedies for the Athenian theater. The first tetralogy, supplied by Sophokl in 469 BC. e., he gave him a victory over Eschil and opened a number of victories won on stage in contests with other tragics. Criticism Aristophane Byzantine attributed to Sofokla 123 tragedies.

Sophokl was distinguished by a cheerful, sociable character, was not alien to the joy of life, as can be seen from the words of some Kefala in Platonova "State" (I, 3). It was closely familiar with historian Herodot. Sofokl died in the 90th year of life, in 405 BC. e. In the city of Athens. The citizens struggled to him the altar and honored as a hero annually.

Changes in action

In accordance with the successes, which tragedy was obliged by Sofokla, they made innovations in the stage stage of plays. So, he increased the number of actors up to three, and the number of chorants from 12 to 15, reducing the choral parts of the tragedy at the same time, improved the scenery, masks, in general the potuffal side of the theater, made a change to the production of tragedy in the form of a tetral, although not known exactly What this change consisted. Finally, he also introduced painted scenery. All changes were aimed at reporting the drama on stage more movement, strengthen the illusion of the audience and the impression obtained from the tragedy. Keeping the nature of the distinction of the Divine, the priesthood, which was originally the tragedy, according to its origin, from the cult of Dionysus, sofokl thought it much more than Eschil. The alignment of the legendary and mythical world of gods and heroes was inevitably inevitably, as soon as the poet focused his attention on a deeper analysis of the mental states of the heroes, which were known to the public until now only on the external transformations of their earthly life. To portray the spiritual world of demigods could not otherwise, as the features of ordinary mortals. The beginning of such an appeal with the legendary material was laid by the father of the tragedy, Eschil: it is enough to remind the images created by them Prometheus or Oreste; Sophocle went further in the footsteps of the predecessor.

Characteristic features of drama

Sophokl loves to face the heroes with different life principles (Creonh and Antigone, Odyssey and necopolis, etc.) or to oppose each other people with the same views, but with different characters - to underline the nature of the nature of one when it collide with another, weakly accuracy (antigron and Iceman, Electra and Christhemide). He loves and knows how to portray the differences in the mood of heroes - the transition from the highest passage of passions to the state of the decline of forces, when a person comes to the bitter awareness of his weakness and helplessness. This fracture can be observed from Edipa in the final of the tragedy "King Edip", and Creonte, who learned about the death of his wife and son, and in the consciousness of Ajax (in the tragedy "Ajax"). For tragedies, Sofokla is characterized by rare dialogs, dynamics of action, naturalness in the unleashing of complex dramatic nodes.

Plots tragedy

It is hardly possible in all the tragedies that came to us not a series of provisions or external events are attracting the attention of the audience, but the sequence of mental states experienced by heroes under the influence of relations is immediately clearly and finally delivered in the tragedy. The content of "Edipa" serves one moment from the inner life of the hero: the detection of crimes, they committed, before the start of the tragedy.

In Antigonia, the action of the tragedy begins from the moment the Tsarskoy Prohibition to bury the polinicon declared the Favans through the heated, and Antigone irrevocably decided to disrupt this prohibition. In both tragedies, the viewer monitors the development of the motives scheduled at the very beginning of the drama, and the external interchange of one or another drama could be easily predugated by the viewer. Any surprises, confusing complications, the author is not introduced into the tragedy. But at the same time, Sophokl gives us not distracted embodiments of one or another passion or inclination; Heroes of him - living people with human nature inherent weaknesses, with familiar every feelings, from here inevitable fluctuations, mistakes, crimes, etc. Participating in action, other persons are endowed with every individual features.

In Eante, the mental state of the hero is determined by the event preceding the action of the tragedy, and what constitutes its content, this is the determination of Eanta for suicide when he felt the entire shame of Acts committed by him in a state of madness.

Especially a bright sample manner of the poet serves "Electra". The mothers are predetermined by Apollo, and the performer must appear to the face of the son of criminal cliques, oriest; But the heroines of the tragedy elected electra; She comes to a solution, consonant with God's Will, regardless of the oracle, deeply offended in his child sense of mother's behavior. We see the same thing in PhyloTette and "Fochinanka". Choosing such plots and similar development of the main topics reduced the role of supernatural factors, deities or fate: there are few places for them; With the legendary heroes, superfloreness is almost removed, which distinguished them in the initial legends about them. As Socrates, there is a philosophy from the sky to Earth, so tragics earlier hen the demigods with their pedestals, and the gods eliminate directly interference in human relations, leaving them the role of the Supreme Heads of Human Fates. A catastrophe, a comprehensive hero, is sufficiently prepared by his personal qualities depending on the surrounding conditions; But when the disaster broke out, the viewer is given to understand that she agrees with the will of the gods, with the demands of the highest truth, with the divine definition, and followed the death of the Hero himself, as in Eante, or His ancestors, as in Edipe or "antigue". Together with the distance from the human bustle, from human passions and clashes, the deities become more spiritualistic, and a person is more free in their decisions and actions and more responsible for them. On the other hand, the sentence of guilty of a person is raised dependent on his motives, on the degree of his consciousness and premediation. In herself, in his own consciousness and conscience, the hero wears or condemnation, or an excuse for themselves, and the requirement of conscience coincides with the sentence of gods, at least it turned out to be explicitly contradiction and with positive law, and with original beliefs. Oedip - Son of the Crime Father, and he is having to endure a kara for the guilt of the parent; Both the fatherland and the healing of the mother are pre-installed by the deity and are predicted to him oracle. But he personally, according to his own qualities, does not deserve such a grave share; Crimes are committed in ignorance, and besides redeemed a number of humiliation and mental testing. And this very EDIP saves the merciful participation of the gods; He receives not only a complete forgiveness, but also the glory of the righteous, who is honored to join the host of the gods. In addition, the house, stained by atrocities, belongs to Antigone; She violates the royal will and is convicted of execution. But she violated the law from pure motivation, wanting to alleviate the fate of the deceased brother, and without that unfortunate, and convinced that her decision would please the gods that it consistent with their establishments that exist from the century and more mandatory for people than whatever That is the laws, people invented. Antigone dies, but as a sacrifice of the delusion of Creonte, less sensitive to the requirement of human nature. She, the deceased, leaves the memory of a decent woman; Its generosity, the right thing is estimated after the death of all Fan-in-law citizens, witnessed by the gods and repentance of Creonte himself. In the eyes of the wrong Greeks, the death of Antagona is worth the life, what kind of sister's sister was doomed, from the fear of death, declining from participation in the execution of the debt lying on it, and even more about the life, which is condemned to hold Creonh, not finding support for himself and Excuses neither in others, nor in their own conscience, by its fault, who lost all those close to him and expensive, under the burden of the curse of his beloved spouse, because of him the dead. So used the poet with the names and provisions created long before him in a different mood, for other purposes of folk fantasy and poets. In the stories about the high-profile exposures of the heroes who act on the imagination of many generations, about the wonderful adventures with the demigods, he breathed a new life, understandable to his contemporaries and subsequent generations, the power of his observation and artistic genius caused the deepest spiritual emotions to an active manifestation and excited new in his contemporaries. Thoughts and questions.

As a novelty and courage of questions raised by the author, the overall feature of the Sophinomy tragedies is explained in comparison with the new drama, namely: the main theme of the tragedy is developing in a verbal competition between two opponents, and each side brings the position protected by it his extreme consequences, defending its right; Due to this, while the competition lasts, the reader gets an impression as if relative only justice or the erroneousness of the other position; Usually, the parties are diverged by finding out many details of the controversial issue, but not offering a strange witness of a ready-made imprisonment. This latter should be extracted by the reader or the viewer from the entire drama. That is why in the new philological literature there are numerous and disgraceful attempts to answer the question: how looking at the subject of the poet himself, which of the competing parties should be with the poet to recognize the truth or the whole truth; Is Creonh, prohibiting those who prohibit the remains of the polinique, or the Right of Antigone, contrary to the royal prohibition committing the burial burial over the body of the brother? Is it guilty of whether or not guilty of the Oedip in the crimes they have been credited, and therefore disaster deserved, his comprehending? etc. However, the heroes of Sophokla not only compete, they are experiencing heavy soul flour on the scene from the disaster comprehensive and only find themselves relief from suffering in the consciousness of their consciousness, or that their crime is committed by ignoratened or predetermined by the gods. The scenes performed by deep pathos, exciting and new readers, are available in all sofokla tragedies, and there is no porch in these scenes, nor rhetoric. Such are the magnificent crying of acts, antigongs, Eanta before death, Philoktte, a deception of the worst enemies who fell into the hands of the worst enemies, Edip, who was convinced that he himself was the wicked wrath of the wrath of the gods to the FVAN land. This compound in the same face of a high heroism, when it is necessary to protect the truthful truth or to make a glorious feat, and tender sensitivity to the disaster that has been fulfilled, when the debt is already executed or the rock error is irreparable, this compound of sofokl reaches the highest effect, opening the features in its magnitude who relate them to ordinary people and cause them more participation.

Tragedy

Seven tragedies of Sophokla came to us, of which three of the contents belong to the FVAN led cycle: "Edip", "Oedip in Colon" and "Antigone"; One to the Hercules cycle - "Affairs", and three to Trojan: "Eant", the most early of the tragedies of Sofokla, "Electra" and "Philoktt". In addition, about 1000 fragments have been preserved at different writers. In addition to tragedies, antiquity attributed the Sofokla of Elegy, Peaana and prosaic reasoning about the choir.

The basis of "Trachinok" fell about the defendance. Tomorrow of a loving woman in anticipation of the spouse, the flour of jealousy and hopeless sorrow of the observation of the news of the suffering of the poisoned Hercules constitute the main content of "Trachinas".

In the Philock Tweet, put on stage in 409 BC. e., the poet with amazing art develops the tragic position created by the collision of three different characters: Philoktte, Odyssey and neopolme. The action of the tragedy belongs to the tenth year of the Trojan War, and the place of action is the island of Lemnos, where the Greeks were still on the way for three, the Felsali leader of Philoktte was leaving after he was bruised by a poisonous snake, and the wound received from the bite, spreading stench, made him Unable to participate in military business. He will leave Odyssey on the advice. The lonely, forgotten by everyone, unbearably suffering from the wound, Philoktt mines a miserable food to hunting: he skillfully owns him onions and arrows of Hercules. However, according to Oracle, the Troy can be taken in the Greeks not otherwise, as with the help of this wonderful bows. Then only the Greeks remember the unfortunate sufferer, and Odyssey takes the work for themselves to deliver in any way that the phylotte is under Troy or at least to take possession of his weapons. But he knows that Philokthet hates him, as his worst enemy, that he himself will never be able to learn Philoktte for reconciliation with the Greeks or to master it that it will be necessary to act a cunning and deception, and he ends the young man in the gun, who did not participate In the insult, besides the son of Achilla, FyloTte's favorite. The Greek ship is already tapped by Lemnos, and the Greeks landed ashore. The viewer opens the cave, kojoy the housing of the glorious hero, then the hero himself, exhausted by the disease, loneliness and deprivation: the bed of it - the tree leaves on the bare earth, right there is a wooden jug for drinking, lightning and torn blood and pushing rubbish. The noble young man and the accompanying chorus of the Achilla companion deeply touched by the view of the unfortunate. But neuctolence also related to the word, this Odyssey, to master the philoktom with the help of lies and deception, and the promise of his own. But if a pathetic appearance of the sufferer is involved in the young man, then full confidence, love and caress, with what the old-wheel Philoktt belongs to him and gives him his hands, from him the only one waiting for the end of his torment, turns the neopolem in a heavy fight with himself by itself. But at the same time, Philoktt is adamant: he cannot forgive the Grekhah offense, he applied to him; He will never go under the Troy, will not help the Greeks of the victorious to complete the war; He will return home, and netopolit will take him to his native dear land. Only the idea of \u200b\u200bthe Motherland gave him the strength to bear the burden of life. The nature of neopolmem is indignant against fraudulent insidious actions, and only the personal intervention of Odyssey makes it the owner of the phylotte weapons: the young man is confident in to destroy it. Finally, all considerations about the need for the Greek glory to extract the Hercules weapon, that he also associated himself with a promise to Odyssey, that he is not Philoktte, and he, neoplas, will be the enemy of the Greeks, is inferior to the ball in the young man. Restricting against deception and violence. He returns the bow, acquires confidence again and is ready to accompany phylotte to his homeland. Only the appearance of Hercules on the stage (Deus Ex Machina) and his reminder that Zeus and fate commands Philokttu to go under the Troy and help the Greeks to complete the struggle, the hero decline and together with him the neopophem follow the Greeks. The main acting face of the tragedy - neoplas. If the antigone, at the request of his conscience, considers it for himself to disrupt the will of the king for himself, then, on the same impulse, neopochem goes on: he violates this promise and refuses to act in the interests of the Greek troops that confessed him. None of his tragedies did not speak the poet with such a force for the right of a person to agree on his behavior with the concept of the highest truth, at least it contradicted the most cunning clarification (Greek ???? ?? ?????? ??? ???? ??? ??????? ????). It is important that the sympathy of the poet and the audience to the generous and truthful young man is indisputable, while the cunning and unintelligent Odyssey is drawn in the unattractive form. Regulation is the purpose of justifying the funds, pronounced in this tragedy decisive condemnation.

In Eante, the drama tie is that the dispute between Eante (Ajax) and Odyssem due to the armament of Achilla resolved by the Ahaseians in favor of the latter. He swore to abuse, first of all, Odyssey and atridges, but Athena, the intercession of the Ahetseians, deprives him of the mind, and he takes pets in the enemies and beat them. The mind returned to Enta, and the hero feels hard disgraced. From this point on, the tragedy begins, ending with the suicide of the hero, who is preceded by the famous monologue of Eanta, farewell to his life and her joys. There is a dispute between the attacks and the only brother of EANTA TEVKROM. To bury the remains of the deceased, or leave them for the sacrifice of Psam, the dispute, which is solved in favor of the burial.

Ethics

As for religious and ethical views held in the tragedies of sofocla, they differ little from Eschilov; The prevailing feature of them is spiritualism, compared with those ideas about the gods, which were inherited from the creators of Greek theology and theogonia, from the oldest poets. Zeus is an all-seeing, omnipotent deity, the Supreme Lord of the World, the organizer and the manager. Fate does not rise above Zeus, rather, it is impoverished with his definitions. The future in the hands of one Zeus, but the person is not given to comprehend the divine solutions. The resulting fact serves as an indicator of the divine permission. A person is a weak creature, obliged to submore disaster sent by the gods. The powerlessness of man due to the impermeability of the divine predestulations is the more fully that the saying of oracles and gadels are often ambiguous, dark, sometimes mistaken and false, and moreover, the person is inclined to delusion. The deity of Sofokla is much more vengeful and punishing than a prevention or saving. The gods endow a person with a mind from birth, but they also populate sin or a crime, sometimes they disappear about the reason for whom they decided to turn, but from this measure of punishment of the guilty and his descendants is not mitigated. Although these are the prevailing relations of the gods to a person, but there are cases when the gods show their mercy to involuntary sufferers: the entire tragedy of the "Edip of the Colon" was built on this last idea; Similarly, Orest, Mother, finds protection against revenge Erinia in Athena and Zeus. The intention of the officials when she sent a festive robe to his beloved spouse, the choir calls honest and praise, and Gill justifies mother in front of Hercules. In short, the difference between the free and unwitting germs is established, taken into account the impulse guilty. In this way, it is often in certain expressions, the failure of the divine vintage distributed for the whole of the guilty, if the sufferers on his personal qualities is not inclined to the crime. That is why Zeus is sometimes called compassionative, a survival of the peoples, a disgusting of misfortunes, saving, like other deities. The spiritualist deity is much more than Esech, removed from man; His own inclinations, intentions and goals get much greater space. The heroes of the Sophokla are endowed with such personal properties and are delivered to such conditions that each step of them, every moment of drama is quite reasonably motivated by purely natural causes. All cases of heroes are depicted by sofoclom as a number of law-shaped phenomena, which are in causal connection between themselves or at least in a possible, quite likely sequence. The tragedy of Sophoclas is more secular in nature than Eschila, as one can judge the processing of the same plot from two poets: "Electra" Sophoclas correspond to the Eschilov "Girls carrying the Limit" ("Hoefors"), and the Float's tragedy was with the same name and eschyl; This latter did not reach us, but we have a comparative assessment of the two tragedies in Dion of Christomom, which prefers sofokla in front of Eshil. Not a son, like Eschil, but daughter is the main acting person in Sophoklova "Electra". She is a constant witness of the crop over the native home of Nice Agamemnon by a vicious mother; She herself is constantly being resentment from the mother and her illegal humor and the partner in the atrocities, she is waiting for violent death from the hands of the blood of a great parent. All these motifs, together with love and reverence for the killed father, are enough to ensure that Electra take a hard decision to dormit the guilty; The intervention of the Divine does not change anything and is not added to the domestic development of the drama. Cliennesser at Eschila is a fairly punishment of Agamemnon for infidelion, Sophokla has a voluptuous, who has a cruel to merciless to his native children, ready violence to free themselves from them. She remembered insults the expensive memory of the father of Elektra, Give her to the position of the slave in the parent house, pushes her for the salvation of Orest; She prays Apollon about the death of the Son, openly tries at the news of his death, and only a Egisfa is waiting to end the hated daughter, embarrassing her conscience. The religious element of the drama is significantly weakened; Mythological or legendary Fabulus received the value of only the source point or the limits in which an external event was committed; The data of personal experience, a relatively rich margin of observation on human nature enriched tragedy mental motifs and brought it closer to a real life. According to all this, the role of choir, an expressant of general judgments on the progress of a dramatic event in the sense of religion and generally accepted morality; He is more organically rather than Eschila, enters the circle of the tragedy, as if turning into the fourth actor.

Literature

The main source for the biography of Sophoclas is the nameless life-in-law, usually placed in the publications of his tragedies. The most important list of the tragedies of Sofokla is stored in the Lavrentian library in Florence: S. Laurentianus, XXXII, 9, refers to the X or XI century; All other lists available in different libraries represent copies from this list, with the exception, maybe another Florentine List of the XIV century. № 2725, in the same library. Since V. Dindorf, the first list is denoted by the letter L, the second - G. The best scholia is also extracted from the list of L. The best editions of Scholius belong to Dindorf (Oxford, 1852) and Papagaorgiosa (1888). For the first time, the tragedy was published by Aldami in Venice, 1502 from the middle of the XVI century. And until the end of the XVIII century. The prevailing editors were the Paris edition of Tourneb. Bruck (1786-1789) restored the advantage of the editorial board. V. Dindorf (Oxford, 1832-1849, 1860), 1832-1849, 1860), Wunder (L., 1831-78), Schnedevin, Tournury, Science, and Campbell, Linwood, Jb, were provided by V. Dindorf.

In honor of Sophokla, a crater on Mercury (latitude: -6.5; longitude: 146.5; diameter (km): 145).

Literature

Texts and translations
Essays were published in Loeb Classical Library: the reached plays in t. 1-2 (No. 20, 21), fragments under No. 483.
Vol. I Odip-king. EDIP in Colon. Antigone.
Vol. II Ajax. Electra Fucking. Phillatte.
In the Collection Bude series, 7 tragedies were published in 3 volumes (see).
Russian translations (here only meetings, about individual tragedies, see articles about them)
Sofokla tragedies. / Lane I. Martynova. St. Petersburg., 1823-1825.
Part 1. Oedip Tsar. EDIP in Colon. 1823. 244 pp.
Part 2. Antigone. Fucking. 1823. 194 p.
Part 3. Ajax frantic. Phillatte. 1825. 201 p.
Part 4. Electra. 1825. 200 p.
Sofokl. Drama. / Lane and entry feature article. F. F. Zelinsky. T. 1-3. M.: Sabashnikov, 1914-1915.
T. 1. Ayant-BijacoSeca. Phillatte. Electra 1914. 423 pp.
T. 2. King Oedip. EDIP in Colon. Antigone. 1915. 435 pp.
T. 3. Trachins. Trackers. Excerpts. 1914. 439 pp.
Sofokl. Tragedy. / Lane V. O. Nilender and S. V. Shervinsky. M.-L.: Academia. (only h. 1)
Part 1. Oedip-king. EDIP in Colon. Antigone. 1936. 231 p. 5300 copies.
Sofokl. Tragedy. / Lane S. V. Shervinsky, ed. and notes. F. A. Petrovsky. M.: Goslitisdat, 1954. 472 pp. 1000 copies.
reisside: (Series "Antique Dramaturgy"). M.: Art, 1979. 456 pp. 60000 Ex.
reisside: (Series "Library of Ancient Literature"). M.: Art. lit., 1988. 493 p. 100000 copies.
Sofokl. Antigone. / Lane A. Parina, sang. V. Yarkho. M.: Art, 1986. 119 p. 25000 copies.
Sofokl. Drama. / Lane F. F. Zelinsky ed. M. G. Gasparov and V.N. Yarkho. (In Annex: Fragments [p. 381-435]. / Per. F. F. Zelinsky, O. V. Tsmyki and V. N. Yarkho. Antique testimonies about the life and work of Sofokla [p. 440-464]. / Per. V. N. Chembergji). / Art. and approx. M. L. Gasparov and V.N. Yarkho. Ot. ed. M. L. Gasparov. (Series "Literary monuments"). M.: Science, 1990. 608 pp.

Research
Mishchenko F. G. The attitude of the tragedy of Sofokla to the modern poet of the actual life in Athens. Part 1. Kiev, 1874. 186 p.
Schulz G. F. To the issue of the basic idea of \u200b\u200bthe tragedy of Sofokla "King Edip". Kharkov, 1887. 100 pp.
Schulz G. F. Critical notes to the text of the tragedy of Sofokla "King Edip". Kharkov, 1891. 118 p.
Yarho V.N. Tragedy Sofokla "Antigona": uch. benefit. M.: Higher. Shk., 1986. 109 p. 12000 copies.
Surikov I. E. Evolution of the Religious Consciousness of Athenians in W. floor. V c. BC: Sofokl, Euripide and Aristophane in their attitude to traditional religion. M.: IVI RAS, 2002. 304 pp. ISBN 5-94067-072-5
Markantonatos, Andreas Tagic Narrative: A Narratological Study of Sophhocles "Oedipus at Colonus. Berlin; New York: de Gruyter, 2002 - XIV, 296 p.; 24 cm. - (Untersuchungen Zur Antiken Literatur und Geschichte BD. 63). - Decree .. - Bibliogr.: P. 227-289. - ISBN 3-11-017401-4

Scholia to Sofoklu
Scholia to Sofoklu on the publication of Brunka (1801)
Sofokla tragedies with scholimi: Volume I (1825) Volume II (1852)

Biography

Sophokl was born in the village of Colon under Athens in the family of a rich entrepreneur. Sold down the keeper of the treasury of the Athenian Sea Union, the strategist (there was such a position at the pericles), after the death of Sofokl was revered as her husband right.

For the world, Sofokl is valuable, first of all, as one of the three great ancient tragics - Eschil, Sofokl, Euripid.

Sophokl wrote 123 dramas, only seven of them were fully reached us. Of particular interest to us are "Antigone", "Edip-Tsar", "Electra".

The plot of "Antigona" Neste Antigone betrays the Earth's body of his killed brother of Polikinik, whom the ruler of Five Creonte banned to bury under the fear of death - as a departure of the Motherland. For disobedience, Antigona is convicted, after which her fiance, son of Creonte, and the mother of the groom, the wife of Creonte, cum of suicide.

Some interpreted the Sophoklovsk tragedy as a conflict between the law of conscience and the law of the state, others saw in it the conflict of the genus and state. Goethe believed that Creonh from personal hatred forbade the funeral.

Antigone accuses Creonte in the burning of the law of the gods, and Creonh replies that the government should be unshakable, otherwise everything will destroy anarchy.
The ruler must obey
In all - legitimate, as illegal.

Events show that Creonh is wrong. The priest Tiresky warns his "Death of respect, killed not touch. Ile the valiant dead to finish. " The king persists. Then Tiresius predicts him the mission of the gods. And indeed, on the ruler of the purger of Creonte one after another fell worse, he suffers and political defeat, and moral.
Creonh
Alas!
Aida Cupless, why me
You are ruining. Irreconcilable
About the foreman of the former terrible troubles
What do you behave bring us
Secondly kill you deceased!
What, my son, tell me new
Death for death, alas!
Following my son, my wife died!
Khor.
You can see it. Creonh
Alas!
The second disaster is now, glood, I see!
What misfortune is still preparing
Now I kept my son in my arms -
And I see the corpse of the other before him!
Alas, about the mother is unhappy, about the son!
Bulletin
The struggle lies in the altars;
Her filled and closed the eyes;
Death megaray nice mourning,
Behind him another son - on you
Bed has drawn, detecting.
Creonh
Alas! Alas!
From fear tremble. What's my chest
No one pierced with a two-beam sword
I'm unhappy, alas!
And cruel fooling I am grief!
Bulletin
Isotsed lately you
You are to blame and in that death.

Greek tragedy is called the "Rock tragedy". The life of everyone is predetermined by fate. Running from her, man just goes to meet her. This is how it happened with Oedip ("Edip-Tsar").

According to myth, Oedip kills his father, not knowing that this is his father, takes the throne, marries widow, that is, in his mother. Sofokl followed myth, but paid special attention to the psychological side of the relationship of heroes. It shows the issues of fate - the Oedip itself is not to blame for what happened. Sofokla is not to blame for man, but gods. In the case of the Oedipo of the guilty of Gera, the wife of Zeus, who sent a curse for the genus, from which the Oedip occurs.

But the Oedip does not remove the guilt from himself - he blinds himself and wants to take the blame through the suffering.

Here is the last monologue of the king
Oedipus
Oh, be blessed! Yes fucks
You on all the roads demon, the best,
Than mine! About kids where you come ...
So ... Take the hands ... Brother, - He is a wine,
What you see the glossy once
Plaza him ... such ... Father Father,
Which, and not seeing and not knowing
You gave rise to your mother.
I do not see you ... but I'm crying about you,
Imaging the bitter days the rest,
Which you have to live with people.
With whom from the fellow citizens you sit in the collected
Where are the festivities from which you home
Would be returned with fun, and not with crying
When will you enter the marriage age
O, who at that time will agree, daughters,
Take a shame that I noted
And you and you are destined offspring
What else you lack trouble
Father killed his father; He loved his mother
Born it and from her
They gave rise to you, it myself is caution ...
So be sorted ... Who are you
Applies this does not exist.
Celebrate will cancel, orphans.
Son Merekey! You are alone now
For them, father. And me and mother we both
Died. They do not allow them to wander -
Delicate, beggars and devoid of beds,
Do not let them be unhappy like me
They regret them - so young they are! -
One you support them. Give an oath,
About noble, and touch! ..
And you, about children, - Whether you can mature,
Soviets would give a lot ... I wish you
Live like fate will allow ... but to fate
I got happy than the father.
Khor.
About fellow citizens Favans! Here is an example of an ODIP for you,
And riddles is a soliver, and a powerful king,
He, whose goal, happened, looked all with envy,
He will overthrow in the sea of \u200b\u200bdisasters, in the abyss the scary fell!
So death must be remembered about the last of our day,
And it is possible to call happy, obviously, only
Who reached the limit of life, not disappointing in it.

A.F. Losev notes the inflexible resistance of sofokla heroes. They hold their "I", your true nature in spite of everything. A genuine misfortune for them is not something that brings them fate, but to leaving their moral path.
Yes, everything sobs, since you change myself
And you do the soul.
No, and in distress
Clean heart stain does not want
Good name your own.

Thanks to the power of will, a person comes out of the historical order of things and lives forever.
I sweetly die, fulfilling a debt ...
After all, I have to
Serve dead longer than alive,
Stay there forever.

This is the difference between Sophocles from Eschil in Eschila, the tragic property took place from the fact that people were aware that they blindly obey the inevitable divine plan leading to the celebration of justice. Sophokla has a source of tragedy in the fact that they consciously and boldly refuse to adapt to changing life circumstances.

Sofokl - Athenian playwright, considered along with Eschil and Euripid one of the three greatest tragic poets of classical antiquity. Sophokl was born in the village of Colon (the place of its last drama), which was approximately 2.5 km north of the Acropolis. His father, Sofil, was a wealthy person. Sophokl studied music from Lamp, an outstanding representative of the senior school, and also took prizes at athletic contests. In the youth, Sophokl was distinguished by an extraordinary beauty, probably, therefore he was instructed to lead the choir of the young men who had gratis thankal hymns of the gods after the victory over the Persians during Salamine (480 BC). Twelve years later (468 BC) Sofokl for the first time took part in theatrical festivals and won the first prize, surpassing his great predecessor of Eschil. The contest of two poets caused a living interest in public. From this point on, until the death of Sofokl remained the most popular from Athenian playwrights: more than 20 times he turned out to be in the competition first, many times second and never occupied the third place (there were always three participants). It was not equal to him and in terms of the volume written: it is reported that 123 dramas belonged to Sofokla. Sofokl enjoyed success not only as a playwright, he was generally a popular person in Athens. Sofokl, like all the Athenians in the 5th century, actively participated in public life. Perhaps he consisted as a member of the accurate role of the College of Treasurers of the Athenian Union in 443-442 BC, and quite just know that Sofokl was elected one of the ten strategists who commanded the punitive expedition against Samos 440 BC. Perhaps even twice Sofokla elected a strategist. Already in a very old age, when Athens passed through the era of defeat and despair, Sofokla elected one of the ten "tricks" (Greek. "Advisor"), which were entrusted by the fate of Athens after a catastrophe, comprehended by the expedition to Sicily (413 BC. ). Thus, the success of Sofokla in the state field is not inferior to its poetic achievements, which is quite characteristic of both Athens 5 in. And for the sofocla itself.

Sophokl was famous for not only his devotion to Athens, but also piety. It is reported that he founded Hercules's sanctuary and was the priest of one of the secondary deities-healers, Halon or Alcona, associated with the cult of Asclepia, and that he took Asclepia's own house until his temple was completed in Athens. (The cult of asclepia is approved in Athens in 420 BC.; The deity that Sophokl took at his own sofokl, almost certainly there was a sacred snake.) After the death of Sofokl was deified under the name "Dexion Hero" (this name made from the root "Deks- ", In Grech." Take "may be reminded of how he" took "asclepia).

A well-known anecdote about how Sophokla aroused his son Jofon, who wanted to prove that the elderly father was no longer able to manage the property of the family. And then Sophokl convinced the judges in his mental fullness, exchangeling the ODU in honor of Athens from Edip in Colon. This story is definitely fictional because the messages of contemporaries confirm that the recent years of Sofokla passed as serenely as the beginning of his life, and he fully retained the best relationship with Icoma. The last thing we know about Sophocle is his act when receiving news of death of Eurypid (in spring 406 BC). Then Sofokl dressed the participants of the choir in Mourning and led them to the "Proagona" (a kind of general rehearsal before the tragic contest) without festive wreaths. In January 405 BC, when the comedy was set by Aristofan Frog, Sophokla was no longer alive.

Contemporaries saw in his life a continuous train of good luck. "Blessed Sophokl," comedized Frieri comedized in the muses (delivered in January 405 BC). "He died, having lived a long life, he was happy, the smart, composed many beautiful tragedies and died safely, did not make any misfortunes."

Seven tragedies that have come down to us are generally belonging to the late period of Sofokla's creativity. (In addition, in 1912, Papyrus was published, which retained more than 300 full lines from the dross Satirovskaya drama trave.) Based on the ancient sources, the Dates of the Float Tragedies are reliably installed (409 BC), Oedip in Colon (postponement 401 BC .E.) And Antigone (for the year or two to 440 BC). The tragedy of the king Oedip is usually referred to 429 BC, since the reference to the sea may be associated with a similar disaster in Athens. The tragedy of Ajax on stylistic signs should be attributed to an earlier period than Antigone, relatively two remaining philologists did not come to a common opinion, although most suggests a fairly early date for the tragedy of the tragedies (up to 431 BC) and later - for Elert (approx. 431 BC). So the seven surviving pieces can be built up in about this order: Ajax, Antigone, Trachins, King Edip, Electra, Philokt, Oedip in Colon. It is known that Sofokl received the first prize for PhyloTte and the second - for the king of Edip. Probably the first place was awarded Antigone, because it is known that it is thanks to this tragedy Sofokl was elected strategist in 440 BC. There are no information about other tragedies, it is only known that they all were awarded either the first or second place.

Technics.

The most striking innovation of sofokla in the genre of the attic tragedy was to reduce the scope of the drama due to the abandonment of the form of the trilogy. As far as we know, three tragedies that Sofokl represented on the annual competition was always three independent works, without any plot connections between them (therefore, talking about the tragedies of Antigone, the king of Edip and Oedip in Colon as about the "Fan Trilogy" means to make a rough mistake) . The tragedy of Eschil (with the exception of the trilogy, which included Persians) invariably combined into the trilogy in the literal sense of the word - into a dramatic work in three parts associated with a common story, common characters and motifs. The drama of Sophokla leads us from the cosmic perspective of action (the will of the Divine is carried out in the actions and suffering of people from generation to generation) to the compacted representation of this moment of crisis and revelation. It is enough to compare the Oreste of Eschil, where the central event, mothers, precedes the image of its causes (Agamemnon), and then shown by its subsequent (eurmon), with a mysterious electrical sofocla, a tragedy in which the dramatic transmission of the main event turns out to be self-sufficient. The new technique did not such a significant divine will, which eschila interferes, defeated human motives of heroes, and emphasized the importance of human will. The consequences of this shift of the accents turned out to be two. On the one hand, Sofokl could fully focus on the character of his heroes, to bring out a number of surprisingly peculiar characters on the stage (so, in Electra, we are dealing with a spectacular course, when the character of a character who almost does not participate in action is exposed to full-scale and subtle analysis) . On the other hand, on an unprecedented saving of funds for the development of the plot of Sofokl in the best samples (for example, the king of EDIP) does not know equal in the entire history of Western literature.

It should be expected that the rejection of the trilogy would entail a reduction in the role of choir, which in the dramas of Eschil invariably correlates the actions and suffering of an individual with a one-piece picture of the divine fishery, connecting the present with the past and the future. And in fact, the lyrical party of the choir in Sophokla is much less than that of Aeshil. In phylotte (if you take an extreme case) the chorus turns out to be fully involved as a full-fledged character, and almost everything they say, revolves around the specific situation of the drama. Nevertheless, most tragedies Sofokl still skillfully and carefully uses the choir to give a larger scale of moral and theological dilemma arising from action.

But most of all sofokla glorified another technical innovation: the appearance of the third actor. This happened earlier than 458 BC, since this year, Eschil uses the third actor in Oreste, although on his own, Eschilovsky, LAD. The goal she pursued by Sofokl, introducing the third actor, becomes apparent when reading who is almost the vertex of the Sophoklovsk Drama of the brilliant scenes with three participants. Such, for example, a conversation between the Oedip, the Bulletin from Corinth and the Shepherd (King Oedip), as well as an earlier scene in the same tragedy - whereid the Oedipus asked the messenger, the okasta is already twisting the terrible truth. The same applies to the cross-interrogation of Lija in the trachinshins, which is satisfied with the Bulletin and Affairs. An indication of Aristotle that Sofokl introduced more "scenography", i.e. In the literal translation from the Greek "scenery of the scene," there is still disputes between specialists who can hardly be resolved due to the extreme meant of information about the technical side of theatrical performances in 5 V.

Worldview.

The fact that the attention of the playwright is focused on the actions of people, and the Divine Will moves to the background, t.ch. It, as a rule, manifests itself in the play as a prophecy, and not the root cause or direct interference, it makes it impose that the author adhered to a "humanistic" point of view (however, a graceful attempt was made to characterize the worldview of Sofokla as "heroic heroism"). However, the majority of readers sofocl makes a different impression. Few known details of his life indicate deep religiosity, and the tragedy confirm this. In many of them, a person appears to be faced during the crisis experienced by him with a mystery of the universe, and this mystery, having disappeared all human tricks and insight, is inevitably attracting defeat, suffering and death. The typical hero of Sophoclas is fully relying at the beginning of the tragedy on their knowledge, and ends with all the recognition of complete love or doubt.

Human ignorance is the constant theme of Sofokla. She acquires his classic and most frightening expression in Tsar Edipe, but there is also present in other plays, even the heroic enthusiasm Antigona finds itself in its final monologue poisoned in doubt. Human ignorance and suffering opposes the mystery with all the completeness of the knowledge of the Divine (his prophecies consistently come true). This deity is a certain incomprehensible image of a perfect order for human mind and maybe even justice. Doodle motive of the tragedy of Sofokla - humility before the incomprehensible forces who send the fate of a person in all its concealment, greatness and mysteriousness.

With this world order, human will to action would have to loosen if not completely disappeared, but the heroes of Sofokla distinguishes just stubborn focus on the action or to cognition, they are characterized by a fierce statement of its independence. The king Oedip is persistently and adamantly looking for the truth about himself, despite the fact that he will have to pay his reputation for the truth, and finally vision. Ajax, in the end, realizing the unreliability of human existence, refuses him and fearlessly rushes on the sword. Philoktt, despising his friend's persons, an implicit command of Oracle and the promise of healing from painful illness, stubbornly rejects his heroic appointment; To convince him, the phenomenon of the deified herakla is required. Similarly, Antigona despises public opinion and the threat of the death penalty from the state. No playwright was capable of heroize the power of the human spirit. The shaky balance between the omniscient fishery of the gods and the heroic Natius of human will is made by the source of dramatic tension, thanks to which the plays of Sofokla is still full of life, and not only when reading, but also on the theater scene.

Tragedy

Ajax.

The action of the tragedy begins at the moment as a reward Ajax (designed by the brave hero Armor of the deceased Achille was awarded Odyssey) decided to end with both kings of atrides and Odyssem, but in madness sent by the goddess Athena, he destroyed the cattle captured from the Troyans. In the Prologue of Athena demonstrates the madness of Ajax his enemy, Odyssey. Odyssey regrets Ajax, but the goddess does not know compassion. In the next stage, the mind is returned to Ajax and with the help of prisoner, the temers of the hero becomes known to them. Realizing the truth, Ajax decides to commit suicide, despite the touching temers. It follows the famous scene in which Ajax will be reflecting about his conceived himself, his speech is full of ambiguities, and at the end of her choir, believing that Ayaks refused the idea of \u200b\u200bsuicide, sings a joyful song. However, in the next stage (not having parallels in the attic tragedy), Ajax challenges in front of the audience. His brother Tevkr is too late in order to save the life of Ajax, but he managed to defend the body of the deceased at the atrides, who wanted to leave their enemy without burial. Two scenes of a fierce dispute are driving opponents to a dead end, but with the advent of Odyssey, the situation is allowed: he manages to convince Agamemnon to allow the honorable burial.

Antigone.

Antigone is solved to bury the brother of Polikov who died when attempting to conquer their native city. She goes on this contrary to the order of Creonte, the new ruler of FIV, according to which the body of the polinique should be thrown by birds and psam. Guardians grabs a girl and leads her to Creonh; Antigone despises the threat of ruler, and he sentences it to death. Son of Creonte Hemes (Antigonus's Bridegroom) is in vain trying to soften the father. Antigonus lead and sharpe in the underground dungeon (Creonh softened his initial sentence - breaking with stones), and in his wonderful monologue, which, however, some publishers are not recognized as genuinely Sophoklovsky, Antigone is trying to analyze the motives of his act, bring them as a result of a pure personal attachment To his brother and forgetting about the religious and family duty, to which she referred initially. The Prophet Tiresios orders Creonh to bury Polinica, Creonte is trying to object, but in the end it gives up and going to bury the dead, as well as to release the antigonus, but the sent the Bulletin reports that when he appeared in the dungeon, the antigron had already hanged himself. Helemon exposes the sword, threatening his father, but then turns the weapon against himself. Having learned about this, the wife of Creona Eurydick in Mount is removed from the house and also cums up. The tragedy is completed by the incoherent in the inflation of Creonte, who put the body of his son on the scene.

Tsar Oedip.

The people of Five comes to Edipa with plenty to save the city from the plague. Creonh announces that first it is necessary to punish the killer Laya, who was king to Odip. Oedip is starting to search for a criminal. Tires, caused by the advice of Creonte, accuses to kill Edipa himself. EDIP sees a conspiracy in all of this, inspired by Creonh, and senses him to death, but cancels its decision, yielding to death of okasts. Subsequent complex plot is poorly retelling. The EDIP brings the searches of a killer and hidden from him the truth before the sore conclusion that the killer Laya is he himself that Lai was his father, and his wife of okasta is his mother. In the terrifying scene of the okast, the truth before Edipa, trying to stop his stubborn searches, and when she could not succeed, she was removed in the royal palace to hang there. In the next scene, the truth is aware of EDIP, he also runs into the palace, after which he comes out from there to report: the king deprived himself. Soon before the audience with the face filled with blood, the Oedip itself appears. It follows the most heartbreaking scene in the entire tragedy. In his final dialogue with Creonh, the new ruler of FIV, the Oedip will cope with him and partly again acquires the former self-confidence.

Electra

Orest returns to Native Argos with a mentor who accompanied him in exile. The young man intends to penetrate the palace under the guise of a stranger, which brought urn with the ashes of Orest, the allegedly deceased on the contests of the chariot. From this moment on, an electra is becoming a dominant face on the stage, which since the killers dealt with her father, lives in poverty and humiliation, hatred in the soul. In the dialogues with the sister, Christhemid and the mother's cliques, the Electra detects the whole measure of his hatred and determination to take revenge. A mentor appears with a message about the death of Orest. Electra is deprived of the last hope, but still trying to persuade Christfeemide to join her and together to attack the cliqueman and Egisfa, when the sister refuses, Electra is swinging, which will make everything herself. Here on the scene with the funeral urn comes to Orest. Electra pronounces the touching farewell speech over it, and the Orest, who found out in this embittered, who was dressed in the rag of a woman sister, loses an excerpt, forgets his original plan and opens the truth. The joyful embrace of brother and sisters are interrupted with the arrival of a mentor who returns Ores to reality: he is time to go killing his mother. Orest is obeying, coming out of the palace, he responds to all the ingrowth of the electricity by the dark, ambiguous speeches. The tragedy ends an extremely dramatic scene when Egisf, bending over the body of a clique leisure and believing that this is a corpse of Ores, opens his face killed and recognizes it. Customized by ore, he goes into the house towards death.

Phillatte.

On the way to Troy, the Greeks left PhyloTet, suffering from the consequences of the serpentine bite, on O.Losnos. In the last year, the siege of the Greeks will find out that the Troy will conquer only Philokttu, who owns the herakla. Odyssey and neopochem, the young son of Achilla, go to Lemnos to deliver PhyloTte to Three. Of the three ways to master the hero - power, conviction, deception - they choose the latter. Intrigue is hardly not most confusing in the Greek tragedy, and therefore it is not easy to put it in brief. However, we see how the plot of the plot is gradually gradually refused to lie down, in which he was intensive, so the father's character says in it with increasing power. In the end, nestophem opens the truth, but it interferes with Odyssey, and PhyloTte is thrown by one, who fooled on his bow. However, neopopolis returns and, despite the threat of Odyssey, returns the onions of Phillatte. Then nestopolit is trying to persuade PhyloTte to go under Troi with him. But phylotte can only be convinced when he is a deified Hercules and says that the bow was given to him for the accomplishment of a heroic feat.

EDIP in Colon.

EDIP, expelled from the five with his sons and cremon, leaning on the hand of Antagon, comes in a colon. When he is informed by the name of this place, some unusual confidence inspired him: he believes that it is here that he has to die. Isken is to the father to warn it: the gods announced that his grave would make an invincible that land in which he would lie. EDIP decides to provide this for the benefit of Athens, imposing a curse on Creonte and native sons. Creonh, in vain trying to convince Edip, takes the antigonus by force, but the king of Teshen comes to the aid of the Edipa and returns him to his daughter. Polick is to ask for the help of his father against his brother who captured power in the philas, but the Oedip is reversed from him and curses both sons. Thunder is heard, and the Oedip is removed to meet death. He mysteriously disappears, and only one TEX knows where the Oedip is buried.

This unusual play, which was written under the curtain of the plains of the War lost, is filled with a poetic sense of patriotism in relation to Athens and is evidence of the confidence of Sofokla in the immortality of his hometown. The end of the Edipa is a religious mystery, hardly by comparing for the modern mind: the closer the Oedip is approaching divinity, the one is harder, increasingly and fierce. So, unlike the King of Lira, with which this tragedy often compared, Oedip in Colon shows the way from the humble reception of fate in the prologue to the righteous, but almost superhuman fury and majestic self-confidence, which the hero is experiencing in the last minutes of earthly life.

Sophocles) of the famous writers of the ancient era. It was born about 496 BC. e. In Colon, a small village a few kilometers north of the Acropolis. He happened to be born in a rich family, he received a wonderful education. Sofokl was a personality versatile gifted, studied music under the guidance of the famous lamp musician, demonstrated excellent results at athletes competitions. Sources indicate that young Sophokl was extremely beautiful, it was possible that for this reason they were headed by a junior choir after the victory in the Salamina battle (480 BC), who defended the gymnasts of the gods.
In 468 BC e. Sophokl made his debut on the literary competitions of poets, and immediately became the winner, having assured the prize from an outstanding Eschila. Sofoklu came Glory, who did not leave him until the end of life. It is known that he regularly participated in the competitions of Athenian playwrights, more than two dozen times became the winner, repeatedly - "Silver Prize-winner", and never once his plays were honored with the third, last, place. It is believed that Sofokl wrote more than hundreds of plays, and writing tragedies was the main occupation of his life.
Nevertheless, he gained fame from contemporaries not only as a playwright. Being an active participant in the public life of Athens, he occupied various positions. It is possible that in 1443-1442. BC e. He entered the Treaschair College of the Athenian Union. During the Samos War in 44 G. BC. e. Sophokl was elected to the top ten strategists who headed the punitive expedition. Most likely, as a strategist, he visited two more times; He came into the number of persons close to the Athens Strategius pericla. In difficult for Athens, the period (after an unsuccessful expedition in 413 BC e. In Sicily), Sofokl entered the top ten trips, which the fate of the policy entrusted. In the memoirs of contemporaries, Sophokl remained a very pious person who founded Hercules's sanctuary. At the same time, he was sociable, cheerful, although he became famous for the composition of tragic works.
Until our time, seven tragedies were preserved, which specialists belong to the late period of the biography of Sofokla; Among them are the famous "EDIP", "Antigona", "Electra", "Affairs" and others. Ancient Greek playwright owned the merit of the introduction of a number of innovations in the production of tragedies. In particular, he increased to three number of playing actors, improved the Boutais side of the presentation. At the same time, the changes were touched by not only the technical side: the tragedy of sofokla from the point of view of the content, the promise acquired a more "human" face even in comparison with the work of Eschil.
Distinguished in old age about 406 g BC. e. After death, sofokl was deed, as a sign of his memory in Athens, an altar was built.
Biography from Wikipedia
Sophokl (Dr. Greek. Σοφοκλῆς, 496/5 - 406 BC. E.) - Athens playwright, tragic.
Born in 495 BC e., in the Athenian suburb of colon. The place of its birth, has long been glorified by the shrines and the Altars of Poseidon, Athens, Evmenid, Demeters, Prometheus, the poet sacrificed in the tragedy "EDIP in Colon". It took from the secured family of Sofilla, got a good education.
After the Salaminian battle (480, BC. Er) participated in a folk festival as the head of the choir. Twice was elected to the position of Strateg and once performed the responsibilities of a member of the Collegium made by the Allied Casner. Athenians chose Sofokla in strategowns in 440 BC. e. During the self-war, under the impression of his tragedy "Antigone", the formulation of which on the scene refers, thus, by 441 BC. e.
Its main occupation was to draw up tragedies for the Athenian theater. The first tetralogy, supplied by Sophokl in 469 BC. e., he gave him a victory over Eschil and opened a number of victories won on stage in contests with other tragics. Critic Aristophane Byzantine attributed to Sofokla 123 tragedy (including antigone).
Figurine depicting a poet possibly
Sophokl was distinguished by a cheerful, sociable character, was not alien to the joys of life, as can be seen from the words of some Kefala in Platonov "State" (I, 3). It was closely familiar with historian Herodot. Sofokl died in the 90th year of life, in 405 BC. e. In the city of Athens. The citizens struggled to him the altar and honored as a hero annually.
Son Sofokla - Jofon himself became an Athenian tragic.
Changes in action
In accordance with the successes, which tragedy was obliged by Sofokla, they made innovations in the stage stage of plays. So, he increased the number of actors up to three, and the number of chorants from 12 to 15, reducing the choral parts of the tragedy at the same time, improved the scenery, masks, in general the potuffal side of the theater, made a change to the production of tragedy in the form of a tetral, although not known exactly What this change consisted. Finally, he also introduced painted scenery. All changes were aimed at reporting the drama on stage more movement, strengthen the illusion of the audience and the impression obtained from the tragedy. Keeping the nature of the distinction of the Divine, the priesthood, which was originally the tragedy, according to its origin, from the cult of Dionysus, sofokl thought it much more than Eschil. The alignment of the legendary and mythical world of gods and heroes was inevitably inevitably, as soon as the poet focused his attention on a deeper analysis of the mental states of the heroes, which were known to the public until now only on the external transformations of their earthly life. To portray the spiritual world of demigods could not otherwise, as the features of ordinary mortals. The beginning of such an appeal with the legendary material was laid by the father of the tragedy, Eschil: it is enough to remind the images created by them Prometheus or Oreste; Sophocle went further in the footsteps of the predecessor.
Characteristic features of drama
Sophokl loved to face the heroes with different life principles (Creonh and Antigone, Odyssey and necopolis, etc.) or to oppose each other people with the same views, but with different characters - to underline the nature of the nature of one when it collide with another, weakly accrast (antigron and Iceman, Electra and Christhemide). He loves and knows how to portray the differences in the mood of heroes - the transition from the highest passage of passions to the state of the decline of forces, when a person comes to the bitter awareness of his weakness and helplessness. This fracture can be observed from Edipa in the final of the tragedy "King Edip", and Creonte, who learned about the death of his wife and son, and in the consciousness of Ajax (in the tragedy "Ajax"). For tragedies, Sofokla is characterized by rare dialogs, dynamics of action, naturalness in the unleashing of complex dramatic nodes.
Plots tragedy
It is hardly possible in all the tragedies that came to us not a series of provisions or external events are attracting the attention of the audience, but the sequence of mental states experienced by heroes under the influence of relations is immediately clearly and finally delivered in the tragedy. The content of "Edipa" serves one moment from the inner life of the hero: the detection of crimes, they committed, before the start of the tragedy.
In Antigonia, the action of the tragedy begins from the moment the Tsarskoy Prohibition to bury the polinicon declared the Favans through the heated, and Antigone irrevocably decided to disrupt this prohibition. In both tragedies, the viewer monitors the development of the motives scheduled at the very beginning of the drama, and the external interchange of one or another drama could be easily predugated by the viewer. Any surprises, confusing complications, the author is not introduced into the tragedy. But at the same time, Sophokl gives us not distracted embodiments of one or another passion or inclination; Heroes of him - living people with human nature inherent weaknesses, with familiar every feelings, from here inevitable fluctuations, mistakes, crimes, etc. Participating in action, other persons are endowed with every individual features.
In Eante, the mental state of the hero is determined by the event preceding the action of the tragedy, and what constitutes its content, this is the determination of Eanta for suicide when he felt the entire shame of Acts committed by him in a state of madness.
Especially a bright sample manner of the poet serves "Electra". The mothers are predetermined by Apollo, and the performer must appear in the face of the son of criminal clienters, oriest; But the heroines of the tragedy elected electra; She comes to a solution, consonant with God's Will, regardless of the oracle, deeply offended in his child sense of mother's behavior. We see the same thing in PhyloTette and "Fochinanka". Choosing such plots and similar development of the main topics reduced the role of supernatural factors, deities or fate: there are few places for them; With the legendary heroes, superfloreness is almost removed, which distinguished them in the initial legends about them. As Socrates, there is a philosophy from the sky to Earth, so tragics earlier hen the demigods with their pedestals, and the gods eliminate directly interference in human relations, leaving them the role of the Supreme Heads of Human Fates. A catastrophe, a comprehensive hero, is sufficiently prepared by his personal qualities depending on the surrounding conditions; But when the disaster broke out, the viewer is given to understand that she agrees with the will of the gods, with the demands of the highest truth, with the divine definition, and followed the death of the Hero himself, as in Eante, or His ancestors, as in Edipe or "antigue". Together with the distance from the human bustle, from human passions and clashes, the deities become more spiritualistic, and a person is more free in their decisions and actions and more responsible for them. On the other hand, the sentence of guilty of a person is raised dependent on his motives, on the degree of his consciousness and premediation. In herself, in his own consciousness and conscience, the hero wears or condemnation, or an excuse for themselves, and the requirement of conscience coincides with the sentence of gods, at least it turned out to be explicitly contradiction and with positive law, and with original beliefs. Oedip - Son of the Crime Father, and he is having to endure a kara for the guilt of the parent; Both the fatherland and the healing of the mother are pre-installed by the deity and are predicted to him oracle. But he personally, according to his own qualities, does not deserve such a grave share; Crimes are committed in ignorance, and besides redeemed a number of humiliation and mental testing. And this very EDIP saves the merciful participation of the gods; He receives not only a complete forgiveness, but also the glory of the righteous, who is honored to join the host of the gods. In addition, the house, stained by atrocities, belongs to Antigone; She violates the royal will and is convicted of execution. But she violated the law from pure motivation, wanting to alleviate the fate of the deceased brother, and without that unfortunate, and convinced that her decision would please the gods that it consistent with their establishments that exist from the century and more mandatory for people than whatever That is the laws, people invented. Antigone dies, but as a sacrifice of the delusion of Creonte, less sensitive to the requirement of human nature. She, the deceased, leaves the memory of a decent woman; Its generosity, the right thing is estimated after the death of all Fan-in-law citizens, witnessed by the gods and repentance of Creonte himself. In the eyes of the wrong Greeks, the death of Antagona is worth the life, what kind of sister's sister was doomed, from the fear of death, declining from participation in the execution of the debt lying on it, and even more about the life, which is condemned to hold Creonh, not finding support for himself and Excuses neither in others, nor in their own conscience, by its fault, who lost all those close to him and expensive, under the burden of the curse of his beloved spouse, because of him the dead. So used the poet with the names and provisions created long before him in a different mood, for other purposes of folk fantasy and poets. In the stories about the high-profile exposures of the heroes who act on the imagination of many generations, about the wonderful adventures with the demigods, he breathed a new life, understandable to his contemporaries and subsequent generations, the power of his observation and artistic genius caused the deepest spiritual emotions to an active manifestation and excited new in his contemporaries. Thoughts and questions.
As a novelty and courage of questions raised by the author, the overall feature of the Sophinomy tragedies is explained in comparison with the new drama, namely: the main theme of the tragedy is developing in a verbal competition between two opponents, and each side brings the position protected by it his extreme consequences, defending its right; Due to this, while the competition lasts, the reader gets an impression as if relative only justice or the erroneousness of the other position; Usually, the parties are diverged by finding out many details of the controversial issue, but not offering a strange witness of a ready-made imprisonment. This latter should be extracted by the reader or the viewer from the entire drama. That is why in the new philological literature there are numerous and disgraceful attempts to answer the question: how looking at the subject of the poet himself, which of the competing parties should be with the poet to recognize the truth or the whole truth; Is Creonh, prohibiting those who prohibit the remains of the polinique, or the Right of Antigone, contrary to the royal prohibition committing the burial burial over the body of the brother? Is it guilty of whether or not guilty of the Oedip in the crimes they have been credited, and therefore disaster deserved, his comprehending? etc. However, the heroes of Sophokla not only compete, they are experiencing heavy soul flour on the scene from the disaster comprehensive and only find themselves relief from suffering in the consciousness of their consciousness, or that their crime is committed by ignoratened or predetermined by the gods. The scenes performed by deep pathos, exciting and new readers, are available in all sofokla tragedies, and there is no porch in these scenes, nor rhetoric. Such are the magnificent crying of acts, antigongs, Eanta before death, Philoktte, a deception of the worst enemies who fell into the hands of the worst enemies, Edip, who was convinced that he himself was the wicked wrath of the wrath of the gods to the FVAN land. This compound in the same face of a high heroism, when it is necessary to protect the truthful truth or to make a glorious feat, and tender sensitivity to the disaster that has been fulfilled, when the debt is already executed or the rock error is irreparable, this compound of sofokl reaches the highest effect, opening the features in its magnitude who relate them to ordinary people and cause them more participation.
Seven tragedies of Sophokla came to us, of which three of the contents belong to the FVAN led cycle: "Edip", "Oedip in Colon" and "Antigone"; One to the Hercules cycle - "Affairs", and three to Trojan: "Eant", the most early of the tragedies of Sofokla, "Electra" and "Philoktt". In addition, about 1000 fragments have been preserved at different writers. In addition to tragedies, antiquity attributed the Sofokla of Elegy, Peaana and prosaic reasoning about the choir.
The basis of "Trachinok" fell about the defendance. Tomorrow of a loving woman in anticipation of the spouse, the flour of jealousy and hopeless sorrow of the observation of the news of the suffering of the poisoned Hercules constitute the main content of "Trachinas".
In Philoktytte, put on stage in 409 BC. e., the poet with amazing art develops the tragic position created by the collision of three different characters: Philoktte, Odyssey and neopolme. The action of the tragedy belongs to the tenth year of the Trojan War, and the place of action is the island of Lemnos, where the Greeks were still on the way for three, the Felsali leader of Philoktte was leaving after he was bruised by a poisonous snake, and the wound received from the bite, spreading stench, made him Unable to participate in military business. He will leave Odyssey on the advice. The lonely, forgotten by everyone, unbearably suffering from the wound, Philoktt mines a miserable food to hunting: he skillfully owns him onions and arrows of Hercules. However, according to Oracle, the Troy can be taken in the Greeks not otherwise, as with the help of this wonderful bows. Then only the Greeks remember the unfortunate sufferer, and Odyssey takes the work for themselves to deliver in any way that the phylotte is under Troy or at least to take possession of his weapons. But he knows that Philokthet hates him, as his worst enemy, that he himself will never be able to learn Philoktte for reconciliation with the Greeks or to master it that it will be necessary to act a cunning and deception, and he ends the young man in the gun, who did not participate In the insult, besides the son of Achilla, FyloTte's favorite. The Greek ship is already tapped by Lemnos, and the Greeks landed ashore. The viewer opens the cave, kojoy the housing of the glorious hero, then the hero himself, exhausted by the disease, loneliness and deprivation: the bed of it - the tree leaves on the bare earth, right there is a wooden jug for drinking, lightning and torn blood and pushing rubbish. The noble young man and the accompanying chorus of the Achilla companion deeply touched by the view of the unfortunate. But neuctolence also related to the word, this Odyssey, to master the philoktom with the help of lies and deception, and the promise of his own. But if a pathetic appearance of the sufferer is involved in the young man, then full confidence, love and caress, with what the old-wheel Philoktt belongs to him and gives him his hands, from him the only one waiting for the end of his torment, turns the neopolem in a heavy fight with himself by itself. But at the same time, Philoktt is adamant: he cannot forgive the Grekhah offense, he applied to him; He will never go under the Troy, will not help the Greeks of the victorious to complete the war; He will return home, and netopolit will take him to his native dear land. Only the idea of \u200b\u200bthe Motherland gave him the strength to bear the burden of life. The nature of neopolmem is indignant against fraudulent insidious actions, and only the personal intervention of Odyssey makes it the owner of the phylotte weapons: the young man is confident in to destroy it. Finally, all considerations about the need for the Greek glory to extract the Hercules weapon, that he also associated himself with a promise to Odyssey, that he is not Philoktte, and he, neoplas, will be the enemy of the Greeks, is inferior to the ball in the young man. Restricting against deception and violence. He returns the bow, acquires confidence again and is ready to accompany phylotte to his homeland. Only the appearance of Hercules on the stage (Deus Ex Machina) and his reminder that Zeus and fate command Philokttu to go under the Troy and help the Greeks to complete the struggle launched, the hero decline (and with him the netopolme) to follow the Greeks. The main acting face of the tragedy - neoplas. If the antigone, at the request of his conscience, considers it for himself to disrupt the will of the king for himself, then, on the same impulse, neopochem goes on: he violates this promise and refuses to act in the interests of the Greek troops that confessed him. In no one of his tragedies, the poet did not speak with such a force for the right of a person to agree on his behavior with the concept of higher truth, at least it contradicted the most cunning states (Greek. Άλλ? Εί Δικαια τών σοφών κρείσσω τάδε). It is important that the sympathy of the poet and the audience to the generous and truthful young man is indisputable, while the cunning and unintelligent Odyssey is drawn in the unattractive form. Regulation is the purpose of justifying the funds, pronounced in this tragedy decisive condemnation.
In Eante, the drama tie is that the dispute between Eante (Ajax) and Odyssem due to the armament of Achilla resolved by the Ahaseians in favor of the latter. He swore to abuse, first of all, Odyssey and atridges, but Athena, the intercession of the Ahetseians, deprives him of the mind, and he takes pets in the enemies and beat them. The mind returned to Enta, and the hero feels hard disgraced. From this point on, the tragedy begins, ending with the suicide of the hero, who is preceded by the famous monologue of Eanta, farewell to his life and her joys. There is a dispute between the attacks and the only brother of EANTA TEVKROM. To bury the remains of the deceased, or leave them for the sacrifice of Psam, the dispute, which is solved in favor of the burial.
Ethics
As for religious and ethical views held in the tragedies of sofocla, they differ little from Eschilov; The prevailing feature of them is spiritualism, compared with those ideas about the gods, which were inherited from the creators of Greek theology and theogonia, from the oldest poets. Zeus is an all-seeing, omnipotent deity, the Supreme Lord of the World, the organizer and the manager. Fate does not rise above Zeus, rather she is identical with his definitions. The future in the hands of one Zeus, but the person is not given to comprehend the divine solutions. The resulting fact serves as an indicator of the divine permission. A person is a weak creature, obliged to submore disaster sent by the gods. The powerlessness of man due to the impermeability of the divine predestulations is the more fully that the saying of oracles and gadels are often ambiguous, dark, sometimes mistaken and false, and moreover, the person is inclined to delusion. The deity of Sofokla is much more vengeful and punishing than a prevention or saving. The gods endow a person with a mind from birth, but they also populate sin or a crime, sometimes they disappear about the reason for whom they decided to turn, but from this measure of punishment of the guilty and his descendants is not mitigated. Although these are the prevailing relations of the gods to a person, but there are cases when the gods show their mercy to involuntary sufferers: the entire tragedy of the "Edip of the Colon" was built on this last idea; Similarly, Orest, Mother, finds protection against revenge Erinia in Athena and Zeus. The intention of the officials when she sent a festive robe to his beloved spouse, the choir calls honest and praise, and Gill justifies mother in front of Hercules. In short, the difference between the free and unwitting germs is established, taken into account the impulse guilty. In this way, it is often in certain expressions, the failure of the divine vintage distributed for the whole of the guilty, if the sufferers on his personal qualities is not inclined to the crime. That is why Zeus is sometimes called compassionative, a survival of the peoples, a disgusting of misfortunes, saving, like other deities. The spiritualist deity is much more than Esech, removed from man; His own inclinations, intentions and goals get much greater space. The heroes of the Sophokla are endowed with such personal properties and are delivered to such conditions that each step of them, every moment of drama is quite reasonably motivated by purely natural causes. All cases of heroes are depicted by sofoclom as a number of law-shaped phenomena, which are in causal connection between themselves or at least in a possible, quite likely sequence. The tragedy of Sophoclas is more secular in nature than Eschila, as one can judge the processing of the same plot from two poets: "Electra" Sophoclas correspond to the Eschilov "Girls carrying the Limit" ("Hoefors"), and the Float's tragedy was with the same name and eschyl; This latter did not reach us, but we have a comparative assessment of the two tragedies in Dion of Christomom, which prefers sofokla in front of Eshil. Not a son, like Eschil, but daughter is the main acting person in Sophoklova "Electra". She is a constant witness of the crop over the native home of Nice Agamemnon by a vicious mother; She herself is constantly being resentment from the mother and her illegal humor and the partner in the atrocities, she is waiting for violent death from the hands of the blood of a great parent. All these motifs, together with love and reverence for the killed father, are enough to ensure that Electra take a hard decision to dormit the guilty; The intervention of the Divine does not change anything and is not added to the domestic development of the drama. Cliennesser at Eschila is a fairly punishment of Agamemnon for infidelion, Sophokla has a voluptuous, who has a cruel to merciless to his native children, ready violence to free themselves from them. She remembered insults the expensive memory of the father of Elektra, Give her to the position of the slave in the parent house, pushes her for the salvation of Orest; She prays Apollon about the death of the Son, openly tries at the news of his death, and only a Egisfa is waiting to end the hated daughter, embarrassing her conscience. The religious element of the drama is significantly weakened; Mythological or legendary Fabulus received the value of only the source point or the limits in which an external event was committed; The data of personal experience, a relatively rich margin of observation on human nature enriched tragedy mental motifs and brought it closer to a real life. According to all this, the role of choir, an expressant of general judgments on the progress of a dramatic event in the sense of religion and generally accepted morality; He is more organically rather than Eschila, enters the circle of the tragedy, as if turning into the fourth actor.
As Aristotle writes in the "poetics" - Sofokl showed people as they should be.
The main source for the biography of Sophoclas is the nameless life-in-law, usually placed in the publications of his tragedies. The most important list of the tragedies of Sofokla is stored in the Lavrentian library in Florence: S. Laurentianus, XXXII, 9, refers to the X or XI century; All other lists available in different libraries represent copies from this list, with the exception, maybe another Florentine List of the XIV century. № 2725, in the same library. Since V. Dindorf, the first list is denoted by the letter L, the second - G. The best scholia is also extracted from the list of L. The best editions of Scholius belong to Dindorf (Oxford, 1852) and Papagaorgiosa (1888). For the first time, the tragedy was published by Aldami in Venice, 1502 from the middle of the XVI century. And until the end of the XVIII century. The prevailing editors were the Paris edition of Tourneb. Bruck (1786-1789) restored the advantage of the editorial board. V. Dindorf (Oxford, 1832-1849, 1860), 1832-1849, 1860), Wunder (L., 1831-78), Schnedevin, Tournury, Science, and Campbell, Linwood, Jb, were provided by V. Dindorf.
In honor of Sofokla, a crater on Mercury was named.
Preserved plays
- "Trachinsy" (approx. 450-435 BC. E.)
- Ajax ("EAN", "BIECHOSETS") (between the Ser.450-x and Ser.440-x BC.)
- "Antigona" (approx. 442-441 BC. E.)
- "King Edip" ("Edip-tyrant") (approx. 429-426 BC. Er)
- "Electra" (approx. 415 BC. E.)
- "Philoktt" (404 BC. E.)
- "EDIP in Colon" (406 BC er, setting: 401 BC. Er)
- "Pathfinder"
Lost and preserved fragmentary plays
- Acrivia
- Aladai.
- Alexander
- Alkmeon
- Amphiarai
- Amphitryon
- Andromeda
- Antenoridai.
- Atii
- Afamant A.
- Afamant B.
- Achaion Syllogos.
- Achileos Erastai.
- Aias Lokros.
- Hercules
- Herakleiskos.
- Hermione
- Hybris.
- Hydrophoroi.
- Hippona
- Dana
- Dedal.
- Dionysiskos.
- Dolopes.
- Eurowel
- EuroPil
- Helenes APAITESIS
- Helenes Arpage.
- Helenes Gamos.
- Ixion
- Jobat
- Iphigenia
- Iflex
- Ichneutai.
- Kamikoi.
- Kedalion.
- Kerber
- Cliquenes
- Colchidians
- Kophoi.
- Cres
- Krisis.
- Lankyianki
- Laocoon
- Larisaioi.
- Lemniai.
- Manot
- Meleagr
- Minos
- Mysoi.
- Momos.
- Pripquate ignorance
- Sleeping peel
- Navykaya
- Nioba
- Niptra.
- Odyssey mad
- Odyssey hit by spike
- Oaks
- Omion
- Paramened
- Pandora
- Peel
- Poimenes
- Polyxena
- Priam
- Princrida
- Rizotomoi.
- Salmonia
- Sisif
- Skyrioi.
- Syndeipnoi.
- Sotrazniki
- Synony
- Scythians
- Tantalum
- Tevkr.
- Telephone
- Telepheia.
- Teres
- Tympanists
- Tendarka
- Tiro A.
- Tiro B.
- Triplet (468 BC. Er)
- Troil
- Famiride
- Feaki.
- Fedra
- Phoenix
- FIEST
- Fineea A.
- Finea B.
- Frigiyanki
- Fryx
- Fthiotians
- Evmel
- Enomai
- Epigions
- EPI Tainaroi / Epitainarioi
- Erigona
- Eryphila
- Aithiopes.
- Aichmalotides.
Sophocle brief biographyathenian playwright, tragedy is set out in this article.

Sophocle brief biography

Sofokl was born about 496 BC. e. In Colon, a small village a few kilometers north of the Acropolis.

Sofokl from the wealthy family and got a good education. He was distinguished by a cheerful, sociable character, was not alien to the joy of life.

After the Salaminian battle (480, BC. Er) participated in a folk festival as the head of the choir. Twice was elected to the position of Strateg and once performed the responsibilities of a member of the Collegium made by the Allied Casner. Athenians chose Sofokla in strategowns in 440 BC. e.

In 468 BC e. Sophokl made his debut on the literary competitions of poets, and immediately became the winner, having assured the prize from an outstanding Eschila. Sofoklu came Glory, who did not leave him until the end of life.

Its main occupation was to draw up tragedies for the Athenian theater. Antique literary critic attributed about 130 tragedies.

Until our time, seven tragedies were preserved, among them the famous "EDIP", "Antigona", "Electra", "Affairs" and others.

Ancient Greek playwright owned the merit of the introduction of a number of innovations in the production of tragedies:
- he increased to three number of playing actors,
- improved the Boutais side of the presentation.
- At the same time, the changes were touched by not only the technical side: the tragedy of sofokla from the point of view of the content, the promise acquired a more "human" face even in comparison with the work of Eschil.
Sophokl died in the 90th year of life (406 to R. H.).

(about 496-406 BC.) ancient Greek playwright

Along with Eschil and Euripid, Sophokl is considered the great playwright of ancient Greece, a master of a classic tragedy. The fame and glory of him were so great that after the death of the playwright, called Heros Dexion ("Husband Right").

Sophokl was born in the Athenian city of Colon in the family of rich owner of weapons workshops. High social status predetermined the fate of the future playwright. He received an excellent overall and art education and was already famous for himself as one of the best Athenian chorants - choir managers during dramatic ideas. Later, Sophokla was entrusted to the most important position in Athens - the keeper of the treasury of the Athenian Sea Union, and, moreover, he was one of the strategists.

Thanks to his friendship with pericles, the ruler of Athens, as well as with the famous historian Herodotus and sculptor, FIDIA Sofokl combined literature with active political activities.

Like other Greek playwrights, he regularly participated in the competitions of poets. Scientists were calculated that he acted more than thirty times, and he won twenty-four victories and only six times took second place. For the first time, Sophokl won over the Eschil at the age of 27.

According to contemporaries, he wrote 123 tragedies, of which only seven had reached our time. All of them are based on the plots of ancient Greek mythology. Mostly the heroes of Sofokla are strong and uncompromising personalities. Takov Ajax, the hero of the same name tragedy, offended by the unfair decision of the leaders. A similar character possesses and suffering from love and jealousy, the wife of Hercules Ore Manira, who inadvertently became the culprit of his death ("Trachins", 409 BC).

The most significant tragedies of Sofokla "Edip-Tsar" (429) and "Antigone" (443). Exculted from his kingdom, the Oedip is trying to understand the reasons for such a harsh decision of the elders and dies, having learned that he became her husband's husband. Similar sharp dramatic conflicts later become the basis of aesthetics of the play of the period of classicism, the basis of the plots in the works of P. Cornel and J. Rasin.

Sofokl sought to make his tragedies more dynamic and expressive. For this, he came up with painted theatrical scenery, which helped the audience to feel the drama of what is happening. Prior to this, all the action explained the choir appearing with the corresponding signs ("Forest", "House", "Temple").

In addition, Sophokl first brought to the stage not two, but three acting persons, which made it possible to make their dialogue more lively and deep. In his works, the actors portrayed sometimes even abstract concepts: for example, in the tragedy "Edip-king" a special actor played the role of rock, the personification of ruthless fate.

Sophokl also simplified the language of his plays, leaving a slow hexameter for choir only. Now the speech of the heroes constantly changed, approaching the natural human conversation. Sophocle believed that the playwright should depict people as they should be, and not as they really are. He outlined his views in the treatise on the theory of drama and choral singing. During the lifetime of the author, his tragedy was recognized as exemplary, and they were studied in schools. Even at sunset an ancient era, already in ancient Rome, Sofokla was considered an inaccessible model for imitation.

Apparently, therefore, other playwrights often used his tragedies as a source for their works. They were much more dynamic and plausible than the plays of his contemporaries. Of course, the authors of different eras reduced their text, but always maintained the main thing - his courageous and fair heroes.

In addition to tragedies, Sophokl wrote and satirical dramas. A fragment is known as one of them called "Pathfinder".

Biography Sofokla briefly. S.I.

Read also

Encyclopedic YouTube.

Characteristic features of drama

Plots tragedy

Preserved plays

Biography from Wikipedia

Changes in action

Characteristic features of drama

Plots tragedy

Ethics

Preserved plays

Lost and preserved fragmentary plays

Sophocle brief biography