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Three Dramas of Old Age: Elektra, Philoktetes, Oidipous at Kolonos With Trackers and Other Selected Fragments
Sophocles created these three tragedies while he was in his eighties, as the faction-ridden Athenian democracy headed toward final defeat in the Peloponnesian War. The volume also includes surviving part of Sophocles' satire-drama Trackers, as well as other selected fragments.
400 pages, Paperback
First published March 1, 2001
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About the author
Sophocles
2,614 books2,677 followersSophocles (497/496 BC-406/405 BC), (Greek:
Σοφοκλής
; German:
Sophokles
, Russian:
Софокл
, French:
Sophocle
) was an ancient Greek tragedian, known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes, and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions, and was sometimes defeated by Sophocles; Euripides won four.
The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.
The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.
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January 16, 2025
Done with Aeschylus, on to Sophocles! This book contains three of his seven surviving plays along with a partial Satyr-drama and some assorted tantalising fragments. As an added bonus, the editors/translators had actually gone through the process of workshopping and staging the plays themselves, providing some insight into the practicalities of the production and what the authentic experience may have been like.
Elektra is broadly the same story as told in Aeshylus's Libation Bearers and one of the advantages to reading these works chronologically is that the various interpretations can begin to feel like a conversation. Where Aeshylus's Orestian trilogy focuses on extremes coming together in eventual reconciliation, Sophocles' version seems to focus more on achieving vengeance and doing "right" regardless of what it might cost you personally. It may once, however, have been part of a trilogy, and any nuance the lost parts of it may have provided are lost along with the plays themselves.
Philoktetes was my favourite of the three. Its easy to empathise with the abandoned and disabled warrior, and Neoptolemus's struggle to reconcile personal ethics with what is socially demanded of him is still relatable today. Odysseus is portrayed more like a villain than a trickster hero here, and the line that stood out to me was his declaration, "I am the whatever man the circumstances demand of me". Again, the conclusion celebrates remaining true to one's own morals despite the cost.
Oedipus at Colonos was the final entry, and presents the famous friend of Freud as an old man, close to death. This was new to me, as my knowledge of this story was pretty much limited to the "killing his father, marrying his mother" elements. Here, he is hard done by, plaything of fate and the gods, who never intended for any of that to happen. There's an amusing scene which feels almost modern, in which one of the elders of Colonos finds a moment to broach the sensitive subject with Oedipus. I doubt it was meant to be played for laughs, but I found it bleakly amusing with its "so you're the guy who...", "I don't want to talk about it!", "But with your mum?", "Ah, stop it!", "And so the daughter with you...?", "Yes, also my sister! Can we stop now?"
The other fragments are interesting, but not really enough to provide more than a fleeting glimpse into what has been lost. All we can do is hope that one day we'll find more pieces to the puzzle.
Elektra is broadly the same story as told in Aeshylus's Libation Bearers and one of the advantages to reading these works chronologically is that the various interpretations can begin to feel like a conversation. Where Aeshylus's Orestian trilogy focuses on extremes coming together in eventual reconciliation, Sophocles' version seems to focus more on achieving vengeance and doing "right" regardless of what it might cost you personally. It may once, however, have been part of a trilogy, and any nuance the lost parts of it may have provided are lost along with the plays themselves.
Philoktetes was my favourite of the three. Its easy to empathise with the abandoned and disabled warrior, and Neoptolemus's struggle to reconcile personal ethics with what is socially demanded of him is still relatable today. Odysseus is portrayed more like a villain than a trickster hero here, and the line that stood out to me was his declaration, "I am the whatever man the circumstances demand of me". Again, the conclusion celebrates remaining true to one's own morals despite the cost.
Oedipus at Colonos was the final entry, and presents the famous friend of Freud as an old man, close to death. This was new to me, as my knowledge of this story was pretty much limited to the "killing his father, marrying his mother" elements. Here, he is hard done by, plaything of fate and the gods, who never intended for any of that to happen. There's an amusing scene which feels almost modern, in which one of the elders of Colonos finds a moment to broach the sensitive subject with Oedipus. I doubt it was meant to be played for laughs, but I found it bleakly amusing with its "so you're the guy who...", "I don't want to talk about it!", "But with your mum?", "Ah, stop it!", "And so the daughter with you...?", "Yes, also my sister! Can we stop now?"
The other fragments are interesting, but not really enough to provide more than a fleeting glimpse into what has been lost. All we can do is hope that one day we'll find more pieces to the puzzle.
Displaying 1 of 1 review