Institutions Affiliation
Introduction
The historical claims and preferences on the Sophocles drama date back in the early B.C. Sophocles were born by Sophilus, a wealthy armorer in Colonus in the land of Athens, c.497 B.C. The creativity and critical and analytical thinking domain to establish modern and great tragic drama started when he was an adult. The life determination and an artistic creation of the playwrights gained him popularity in the city of Athens as he received the citizen's love. The prevalence's of the Sophocles started in early childhood that is at the age of sixteen when he led the boys’ chorus during the victory celebration following the defeat of the Persians at Salamis (). The stages of development by the Sophocles critically and sociologically in the discipline of the literature analysis, advanced when he was 28 years where he emerged to be the best in drama contest after Aeschylus. He showed writing skills in drama or playlists, and after which he formed part of the poetic group through writing a poem that had never been thought of by anybody else during this ancient time in the city of Athens (Zachrisson, 2013).
The stages of development and enhancement of the drama for loved ones in Athens made him write 123 plays, out of which 24 had the climax to lead the win the dramatic victories for the Athens. The preserved seven plays from123 plays are produced in the contemporary society. The thesis statement the Sophocles research papers discuss the Athenian Democratic involvement through the plays of the Oedipus and the Antigone. From the Sophocles writings, it is believed that the Golden age of the Athens is the first agitation of the constitutional democracy in the ancient globe. The plays of the Sophocles influenced the Greek drama by involving some different prospects such as painting through the increase of the chorus and size. He thought these aspects could make the plays look unique and more complex. In his poetry, he explicitly shows how fate and frailty have taken the position of the way the human destiny influences the playwrights in the West. The Sophocles drama analysis contextually is similar to the Aeschylus. The life of the Sophocles had contributed to the playwrights in the epic poetry of Homer. The character depictions in the plays contributed to the success of the actual art. The characters, dramatically personification like in the Ajax Odysseus of Philoctetes were derived from the Homeric arts and languages.
The Aristotle realized that character development in the Sophoclean studies was imperative; he classified the Sophocles in his poetics as an imaginary tragic character, and he quoted that, ‘no difference exists between the Homers and the Sophocles both the inclusion of the imitation characters of a higher order. Most of the devoted Sophocles techniques in the modern scholarships, study the nature of development addressed in the Sophocles hero (Knaack, 2012). The Theban plays (Sophocles) in various literal works (plays) have been qualified to be the center of his corpus. The empirical study outlines that the Antigone, Oedipus Tyrannus, and Oedipus Colonus were not classified as of the same trilogy, though some of the story lines and the characters did not appear (Gillespie, Pipolo, and Fonseca, 2008). The short review of the Sophocles playlists has provided insight, and it engraved revolutionary changes that were so popular and, in turn, revered the predecessor, Aeschylus who the embraced the adoption of the convention. On the determination of the roots of the poetic tragedy, the Greek drama was changed by Sophocles through the definition of what happens between the individuals (Goldhill, 2012). Of the playwrights of the Sophocles, the most popular drama was the Oedipus, which addresses the protagonist who is known as the tragic flow, The play provides insight into the human qualities they possess through misjudging others position through their justification in the world. Judgment exposition can be upon the murder commission, incest and the murder cases that overtake Oedipus and the entire clique was his problem, they stand still too firmly embrace the objectives of the Sophocles in the diversification of the Greek tragedy (Billings, (2013).
The critical survey of the literature work indicates that Thebes was hit by the plague and in which the king Oedipus was asked to release them from its horror. The evaluation suggests that Jocasta, brother to Creon returns with the information on the Apollo and reveals that the plague is a punishment for the killing of King Laius. The murder of the king leads to the crises of the citizens of Thebes see the sense and involve in the punitive action plans before the plot gets to have and gain momentum. The grief's that the individuals had; made them mourn their loved ones, Oedipus gave the people and advice concerning their interests to look for and comprehend the murder of Laius. When focusing on the Sophocles Antigone, the tentative thesis highlighted in the play for writing the research paper confirms that the divine policies take prudence over the involved conflict between the two. Based on the Creon and the Antigone, the plays clearly give an urgent warning over the flaws of being stubborn and have the sense of pride (Anouilh's, 2012).
The focus on the Antigone under the real tragic hero in Sophocles is classified as to be a drama concerning a young woman who had claimed the life of his brother and buried him no reason. The woman is depicted in the play to have shown the acts of disobedience to the king, and therefore, she is being punished for obeying God's law. Several arguments arise about who is the tragic hero in the Sophocles Antigone, and in this case, some believed that Creon is the tragic hero due to the characteristics of the tragic hero. On another dimension, others thought of it as the Antigone since the play itself has its name (Campbell, 2015). The play explicitly shows the war existing between the brothers of Antigone and Ismene, who are the reason for fighting for controlling Thebes. They killed each other, and this provided room for Creon to be the king of Thebes. Then Aristotle definition clearly shows that Creon being the king is the; he is the tragic hero of Antigone, and his significance is due to the position of the kingship (Belfiore, 2014). The element of pride is addressed in the in the Sophocles Antigone and is stated that it is one of the qualities that a big percentage of people possess from one dimension to another. Different people take pride about their possessions, common positions and their appearance (Owoeye, 2012).
Sophocles playwrights, Antigone, and Oedipus, are the great dramatic stories of the diversity and tragedy. Oedipus, Antigone, and Creon are the playwrights that involved in the struggle with the reality, self-pity, and destiny throughout their lives (Euben, 2012). King Oedipus is the man in the tragic story of a laminated structure, but he is affected by the tragedies and some of the facts he possesses that diminish his experiences (Ormand, 2012). The beginning of the story tells us Oedipus is aristocratic and caring man as he shows a lot of concern and worries concerning the plagues at Thebes, Oedipus in his heart; sympathize with the city, and involving himself as the part of the town citizens. He showed his apprehensiveness to talk to the priests and people about the situation in Thebes. Also, he is bullheaded and dubious of the intention of his friends (Nooter, 2012). In the tragic hero, Oedipus is the personification of the Aristotle's character having the ability to conserve his nobility and wisdom, despite his imperfections and difficulty.
The classical literature of the ancient Greece, Sophocles in his playwright Ajax, reveals the struggle between Ajax and Odysseus of who to garner the Greek armor following the death of the hero, Achilles. As the play starts, Athena gives a clear explanation to Odysseus on how she has used tricks to confuse Ajax and made him believe that the cattle's and the sheep taken by the Achaeans as war spoilt were the Greek leaders (Ormand, (2014). The actions of the Ajax appeared very awkward and behind the reasoning when he slaughters the Greek commanders, cattle and sheep. Ajax pitied and renounced of his shocking actions. Sophocles' Ajax is depicted as a great hero, but he is plaint defined as the old hero, not able to identify his weaknesses and problems, uncompromising and proud. In the Sophocles play, Homer was the source of the play, and therefore he referred Ajax as an implacable to the point of stupidity and irrationality in ‘The Iliad.' He ignores the offer from the goddess of the Athens to relieve him from the stages of tragedy. Themes the play explores on are the honor, anger and hatred and also to the point in which individuals have valid answers (Schein, 2012).
The assumptions that were made from the view of the Sophocles play was alleged that he was writing his playwrights like the Aeschylus. However, he still had the boldness to bring an Athena onto the stage and also to show the reality of the Ajax death on stage. The Sophocles best known as the ironist, this is because the audience is aware of the truth behind the hidden characters, more unstable irony and complex words used which integrated the aspects of certainty in which we would have had the real meaning of the events depicted in the playwrights (Lloyd, 2012).
The work of the Sophocles has contributed positively to the field of theater and dramas in the city of Athens; he transformed the section through the adjustment of the playwrights through the inclusion of painting. He also added chorus to make it more transformed than any other play.
References
Anouilh’s, J. (2012). The Politics of Intention: Jean Anouilh’s Antigone via Oreste. The Drama of Fallen France: Reading la Comedie sans Tickets, 105.
Belfiore, E. S. (2014). Tragic pleasures: Aristotle on plot and emotion. Princeton university press.
Billings, J. (2013). The Ends of Tragedy: Oedipus at Colonus and German Idealism. Arion: A Journal of Humanities and the Classics, 21(1), 113-131.
Campbell, S. (2015). " Antigone" by Sophocles.
Euben, J. P. (2012). The tragedy of tragedy. In Tragedy and International Relations (pp. 86-96). Palgrave Macmillan UK.
Finglass, P. J. (2012). The textual transmission of Sophocles’ dramas. A Companion to Sophocles, 91, 9.
Goldhill, S. (2012). Sophocles and the Language of Tragedy. Oxford University Press.
Knaack, J. A. (2012). Sophocles's Theban Plays. Law and Semiotics, 2, 209.
Lloyd, M. (2012). Sophocles the ironist. Andreas Markantonatos (eds.). Brill's Companion to Sophocles.
Nooter, S. (2012). When heroes sing: Sophocles and the shifting soundscape of tragedy. Cambridge University Press.
Ormand, K. (2012). A companion to Sophocles (Vol. 91). John Wiley & Sons.
Ormand, K. (2014). Exchange and the maiden: marriage in Sophoclean tragedy. University of Texas Press.
Owoeye, O. K. (2012). Gender pride as tragic flaw in Sophocles' Antigone. J. Res. Gender Stud., 2, 102.
Schein, S. L. (2012). Sophocles and Homer. A Companion to Sophocles, 91, 424.
Wurmser, L. (2015). Mortal wound, shame, and tragic search: Reflections on tragic experience and tragic conflicts in history, literature, and psychotherapy. Psychoanalytic Inquiry, 35(1), 13-39.
Zachrisson, A. (2013). Oedipus the king: Quest for self‐knowledge–denial of reality. Sophocles’ vision of man and psychoanalytic concept formation. The International Journal of Psychoanalysis, 94(2), 313-331.
