《希腊悲剧》课程参考资料：Gibbons and Segal 2003 Sophocles Antigone

EDITORS′ FOREWORD Each play is followed by notes designed not only to elucidate obscure references but also to mediate the conventions of the Athenian stage as well as those features of the Greek text that might otherwise go unnoticed. The notes are supplemented by a glossary of eographical terms that should make it possible to read the play without turning elsewhere for basic information. Stage directions are suff ciently ample to aid readers in imagining the action as they read. Our fondest hope, of course, is that these versions will be staged not only the minds of their readers but also in the theaters to which. after so many centuries, they still belong A NOTE ON THE SERIES FORMAT A series such as this requires a consistent format. Different translators with individual voices and approaches to the material in hand, cannot be expected to develop a single coherent style for each of the three agedians, much less make clear to modern readers that, despite the differences among the tragedians themselves, the plays share many con ventions and a generic, or period, style. But they can at least share common format and provide similar forms of guidance to the reader Orthography is one area of difference among the translations that re- quires a brief explanation. Historically, it has been common practice to use Latinized forms of Greek names when bringing thern into En- glish. Thus, for example, Oedipus (not Oidipous)and Clytemnestra (not Klutaimestra)are customary in English. Recently, however, many translators have moved toward more precise transliteration, which has the advantage of presenting the names as both greek and new, instead of Roman and neoclassical importations into English. In the case of so familiar a name as Oedipus, however, transliteration risks the appea ance of pedantry or affectation. And in any case, perfect consistency cannot be expected in such matters. Reader will feel the same discom- fort with "Athenai"as the chief city of greece as they would with Platon "as the author of the Republic The earlier volumes in this series adopted as a rule a"mixed"or- thography in accordance with the considerations outlined above. The most familiar names retain their Latinate forms. the rest are transliter- ated; os rather than Latin -us is adopted for the termination of mas. Iphigenia)are retained. Some of the later volumes continue this prac tice, but where translators have preferred to use a more consistent prac- tice of transliteration of Latinization. we have honored their wishes

EDITORS ' FOREWOR D Each play is followed by notes designed not only to elucidate obscure references but also to mediate the conventions of the Athenian stage as well as those features of the Greek text that might otherwise go unnoticed. The notes are supplemented by a glossary of mythical and geographical terms that should make it possible to read the play without turning elsewhere for basic information. Stage directions are suffi￾ciently ample to aid readers in imagining the action as they read. Our fondest hope, of course, is that these versions will be staged not only in the minds of their readers but also in the theaters to which, after so many centuries, they still belong. A NOTE ON THE SERIES FORMAT A series such as this requires a consistent format. Different translators, with individual voices and approaches to the material in hand, cannot be expected to develop a single coherent style for each of the three tragedians, much less make clear to modern readers that, despite the differences among the tragedians themselves, the plays share many con￾ventions and a generic, or period, style. But they can at least share a common format and provide similar forms of guidance to the reader. i. Spelling of Greek names Orthography is one area of difference among the translations that re￾quires a brief explanation. Historically, it has been common practice to use Latinized forms of Greek names when bringing them into En￾glish. Thus, for example, Oedipus (not Oidipous) and Clytemnestra (not Klutaimestra) are customary in English. Recently, however, many translators have moved toward more precise transliteration, which has the advantage of presenting the names as both Greek and new, instead of Roman and neoclassical importations into English. In the case of so familiar a name as Oedipus, however, transliteration risks the appear￾ance of pedantry or affectation. And in any case, perfect consistency cannot be expected in such matters. Reader will feel the same discom￾fort with "Athenai" as the chief city of Greece as they would with "Platon" as the author of the Republic. The earlier volumes in this series adopted as a rule a "mixed" or￾thography in accordance with the considerations outlined above. The most familiar names retain their Latinate forms, the rest are transliter￾ated; -os rather than Latin -us is adopted for the termination of mas￾culine names, and Greek diphthongs (such as Iphigenem for Latin Iphigenia) are retained. Some of the later volumes continue this prac￾tice, but where translators have preferred to use a more consistent prac￾tice of transliteration of Latinization, we have honored their wishes. vi

EDITORS′ FOREWORD Stage directions The ancient manuscripts of the Greek plays do not supply evant to staging, delivery, "blocking, etc. ) Hence stage directions must be inferred from words and situations and our knowledge of Greek theatrical conventions. At best this is a ticklish and uncertain prod provided by the translator than that readers should be left to their own devices in visualizing action, gesture, and spectacle. Ancient tragedy reader must not expect the detailed intimacy("He shrugs and uI o'e as austere and"distanced"by means wearily away, "She speaks with deliberate slowness, as though to em phasize the point, "etc. )that characterizes stage directions in modern aturalistic drama 3. Numbering of lines For the convenience of the reader who may wish to check the trans- lation against the original, or vice versa, the lines have been numbered according to both the Greek and English texts. The lines of the tran tion have been numbered in multiples of ten, and those numbers have been set in the right-hand margin. The(inclusive) Greek nu- meration will be found bracketed at the top of the page. The Notes that follow the text have been keyed to both numerations, the line umbers of the translation in bold, followed by the Greek lines regular type, and the same convention is used for all references specific passages(of the translated plays only) in both the Notes and the Introduction Readers will doubtless note that in many plays the English lines outnumber the Greek, but they should not therefore conclude that the translator has been unduly prolix. In some cases the reason is simply that the translator has adopted the free- Owing norms of modern anglo- American prosody, with its brief-breath-and emphasis-determined lines and its habit of indicating cadence and caesuras by line length and setting rather than by conventional punctuation. Even where translators have preferred to cast dialogue in more regular five-beat or six-beat the greater compactness of Greek diction is likely to result Durham, Nc PETER BURIAN Chapel Hill, NC ALAN SHAPIRO

EDITORS ' FOREWOR D 2. Stage directions The ancient manuscripts of the Greek plays do not supply stage direc￾tions (though the ancient commentators often provide information rel￾evant to staging, delivery, "blocking," etc.). Hence stage directions must be inferred from words and situations and our knowledge of Greek theatrical conventions. At best this is a ticklish and uncertain proce￾dure. But it is surely preferable that good stage directions should be provided by the translator than that readers should be left to their own devices in visualizing action, gesture, and spectacle. Ancient tragedy was austere and "distanced" by means of masks, which means that the reader must not expect the detailed intimacy ("He shrugs and turns wearily away," "She speaks with deliberate slowness, as though to em￾phasize the point," etc.) that characterizes stage directions in modern naturalistic drama. 3. Numbering of lines For the convenience of the reader who may wish to check the trans￾lation against the original, or vice versa, the lines have been numbered according to both the Greek and English texts. The lines of the trans￾lation have been numbered in multiples of ten, and those numbers have been set in the right-hand margin. The (inclusive) Greek nu￾meration will be found bracketed at the top of the page. The Notes that follow the text have been keyed to both numerations, the line numbers of the translation in bold, followed by the Greek lines in regular type, and the same convention is used for all references to specific passages (of the translated plays only) in both the Notes and the Introduction. Readers will doubtless note that in many plays the English lines outnumber the Greek, but they should not therefore conclude that the translator has been unduly prolix. In some cases the reason is simply that the translator has adopted the free-flowing norms of modern Anglo￾American prosody, with its brief-breath-and emphasis-determined lines, and its habit of indicating cadence and caesuras by line length and setting rather than by conventional punctuation. Even where translators have preferred to cast dialogue in more regular five-beat or six-beat lines, the greater compactness of Greek diction is likely to result in a substantial disparity in Greek and English numerations. Durham, N.C. PETER BURIAN Chapel Hill, N.C. ALAN SHAPIRO 2003 vii

PREFACE The final stages of my work on the play overlapped with a Fellowship from the National endowment for the humanities which was awarded for another project, but nevertheless contributed to the efficient com- pletion of the book. I am deeply grateful to the Endowment for their I completed work on this volume at a time when antigone's lament about being between upper and lower worlds took on an intensely ersonal meaning as I faced a life-threatening illness. I cannot list all e friends, colleagues, and students, past and present, who offered their help, encouragement, and prayers, but they are all gratefully re- membered. I would like particularly to thank my Harvard colleagues for their many kindnesses, especially Kathleen Coleman, Albert Hen- richs, and Richard Thomas, chair of the department. I am deeply grat ful to the medical professionals whose expertise and concern enable me to finish my share in the volume and indeed to continue lookin on the light of the sun: Drs. Christopher Colie, Keith Stuart, and David S. Rosenthal and Ms Judith Podymatis, RN. My collaborator, Reg gib- bons, not only made several long trips so that we could work together the best possible way, by face-to-face discussions, but remained a steadfast and involved friend on whom I could also count for support. I am grateful to George Steiner for taking the time to read the man- uscript at a time when he was busy delivering the Norton Lectures at Harvard. To my wife, Nancy Jones, my gratitude for her ever-present ve and devotion at a period of particular adversity goes beyond what Cambridge, Massachusetts CHARLES SEGAL

PREFACE The final stages of my work on the play overlapped with a Fellowship from the National Endowment for the Humanities, which was awarded for another project, but nevertheless contributed to the efficient com￾pletion of the book. I am deeply grateful to the Endowment for their support. I completed work on this volume at a time when Antigone's lament about being between upper and lower worlds took on an intensely personal meaning as I faced a life-threatening illness. I cannot list all the friends, colleagues, and students, past and present, who offered their help, encouragement, and prayers, but they are all gratefully re￾membered. I would like particularly to thank my Harvard colleagues for their many kindnesses, especially Kathleen Coleman, Albert Hen￾richs, and Richard Thomas, chair of the department. I am deeply grate￾ful to the medical professionals whose expertise and concern enabled me to finish my share in the volume and indeed to continue looking on the light of the sun: Drs. Christopher Colie, Keith Stuart, and David S. Rosenthal and Ms. Judith Podymatis, RN. My collaborator, Reg Gib￾bons, not only made several long trips so that we could work together in the best possible way, by face-to-face discussions, but remained a steadfast and involved friend on whom I could also count for support. I am grateful to George Steiner for taking the time to read the man￾uscript at a time when he was busy delivering the Norton Lectures at Harvard. To my wife, Nancy Jones, my gratitude for her ever-present love and devotion at a period of particular adversity goes beyond what words can express. Cambridge, Massachusetts CHARLES SEGAL September 2001 viii

CONTENTS Introduction On the translat Notes on the Text, 117 The Date of Antigone, 183 z. The Myth of Antigone, to the End of the Fifth Century BCE, 184 3. The Transmission of the Text, 18 Glossary, 189 ions for further read Ing, 197

CONTENTS Introduction, 3 On the Translation, 37 Antigone, 51 Notes on the Text, 117 Appendices 1. The Date of Antigone, 183 2. The Myth of Antigone, to the End of the Fifth Century BCE, 184 3. The Transmission of the Text, 187 Glossary, 189 Suggestions for Further Reading, 197 ix

INTRODUCTION For the nineteenth-century idealist German philosopher Hegel, Antig. one is"one of the most sublime, and in every respect most consum- ate, work[s] of art human effort ever produced. not a detail in this tragedy but is of consequence. Hegel's dazzling accolade is typical of the high esteem for the play in the early nineteenth century. For Hegel, Antigone plays a major role in the evolution of European con- ciousness, one of whose early stages is exemplified by antigone's con Rict between State and individual, or more accurately between"the public law of the State and the instinctive family- love and duty towards a brother. "This division in turn is an aspect of a larger conflict between Spirit and so a step toward The individual bearer of such consciousness is essentially tragic be ause he or she enters into the division between the divine law, em bodied in the polis or state, and the human law, embodied in the family, and in entering into that division is destroyed. And yet "it is precisely this destruction, "as George Steiner explains Hegel's view, "which constitutes mans eminent worth and which allows his pre gression towards the unification of consciousness and of Spirit on the other side of history. "3 In terms of Hegel's emphasis on action and his onception of fate in Greek tragedy, Antigone, rather than Kreon, the full bearer of the tragic because she self-consciously decides to act and therefore chooses the path of her destiny. The"classical"perfec- tion of Antigone lies not only in the clarity and purity with which it develops this conflict but also in its representation of divinity, which l.G. W. F. Hegel, Philosophy of Fine Art, quoted from the Osmaston translation(London igzo in Anne and Henry Paolucci, eds, Hegel on Tragedy(Garden City, N Y, 1962),178

INTRODUCTION For the nineteenth-century idealist German philosopher Hegel, Antig￾one is "one of the most sublime, and in every respect most consum￾mate, workfs] of art human effort ever produced. Not a detail in this tragedy but is of consequence."1 Hegel's dazzling accolade is typical of the high esteem for the play in the early nineteenth century.2 For Hegel, Antigone plays a major role in the evolution of European con￾sciousness, one of whose early stages is exemplified by Antigone's con￾flict between State and individual, or more accurately between "the public law of the State and the instinctive family-love and duty towards a brother." This division in turn is an aspect of a larger conflict between Nature and Spirit and so a step toward the emergence of Spirit (Geist). The individual bearer of such consciousness is essentially tragic be￾cause he or she enters into the division between the divine law, em￾bodied in the polis or state, and the human law, embodied in the family, and in entering into that division is destroyed. And yet "it is precisely this destruction," as George Steiner explains Hegel's view, "which constitutes man's eminent worth and which allows his pro￾gression towards the unification of consciousness and of Spirit on 'the other side of history.' "3 In terms of Hegel's emphasis on action and his conception of fate in Greek tragedy, Antigone, rather than Kreon, is the full bearer of the tragic because she self-consciously decides to act and therefore chooses the path of her destiny.4 The "classical" perfec￾tion of Antigone lies not only in the clarity and purity with which it develops this conflict but also in its representation of divinity, which 1. G. W. F. Hegel, Philosophy of Fine Art, quoted from the Osmaston translation (London 1920), in Anne and Henry Paolucci, eds., Hegel on Tragedy (Garden City, N.Y., 1962), 178. 2. See George Steiner, Antigones (Oxford, 1984), 1-19. 3. Ibid., 31. 4. Ibid., 36. 3