Sophocles, Oedipus the King

1

British and American Drama

class 07-1

Contents

Sophocles (BC496-BC406)

(Colunus)

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Sophocles Sophocles - :

Sophocles Sophocles - (Chorus) 12 15

Sophocles Sophocles - 3

The Story of

Oedipus the King

Oedipus Rex

1957 film version,

directed by Tyrone Guthrie

Characters

Oedipus - (Thebes) -

Jocasta -

Characters

Creon - -

Tiresias -

Characters

Chorus Shepherd

messenger of Corinth messenger of Thebes

(Tiresias)

(Tiresias)

(Tiresias)

(Tiresias)

(Tiresias)

(Tiresias)

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Fate, Free will and Hope

Fate, Free will and Hope

Fate, Free will and Hope

The Great Gatsby

By F.Scott Fitzgerald

Chapter 9

SBS- (2009)

Fate, Free will and Hope

(2009) 8mile(2002)

Fate, Free will and Hope

Dr. Faustus

2

British and American Drama

class 07-2

Contents

Background

Author

Characters

Story of Dr. Faustus

Theme

Moral play

Affection to contemporary art

Play

Elizabeth

1 (1558-1603) - - 1 , (University Wits) 1580-90 ,

Elizabeth an Play

Author

Christopher Marlowe

.

Social Background

Lessing Goethe Thomas Mann

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Outline of Dr. Faustus

Master of Blank verse

The Jew of Malta, The Tragical History of Doctor Faustus, The Queen of Carthage, Edward II, and The Massacre at Paris

His works

NOT marching now in fields of Trasimene, Where Mars did mate 1 the Carthaginians; Nor sporting in the dalliance of love, In courts of kings where state is overturnedd;5 Nor in the pomp of proud audacious deeds,

Dr. Faustus

Main Characters

Mepistopheles

Story

That shortly he was graced with Doctor's name, Excelling all and sweetly can dispute In the heavenly matters of theology; Till swollen with cunning, and of a self-conceit, His waxen wings did mount above his reach, And melting, heavens conspired his overthrow

Story

Lo, Mephistopheles, for love of thee, Faustus hath cut his arm, and with his proper blood Assures his soul to be great Lucifer's, Chief lord and regent of perpetual night.

Pride

Covetousness

Wrath

Envy

Gluttony

Sloth

Lechery

7 Deadly Sins

Story

The pope will curse them For their sloth today. That slept both Bruno and his crown away.

Story

As thou late didst promise us, we would behold that famous

conqueror Great Alexander and

his paramour in their true

shapes and state majestical,

That we may wonder their

excellence,

Story

Faustus is gone. Regard his hellish fall, Whose fiendful fortune may exhort the wise Only to wonder au unlawful things, Whose deepness doth entice such forward wits To practise more than heavenly power permits.

Blood

Rejection of the Ancient

Authorities

the Good Angel and

the Evil Angel

Symbols

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Medieval Moral Play

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Dr. Faustus? ,

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Other Authors

Remake version of Dr. Faustus

Remake version of Dr. Faustus

http://www.youtube.com/watch?v=6jptdrMKg18http://www.youtube.com/watch?v=mj8m-awbCO8

3

British and American Drama

class 07-3

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K I N G L E A R T o t h e e a n d t h i n e h e r e d i t a r y e v e r R e m a i n t h i s a m p l e t h i r d o f o u r f a i r k i n g d o m ; N o l e s s i n s p a c e , v a l i d i t y , a n d p l e a s u r e , T h a n t h a t c o n f e r r ' d o n G o n e r i l . N o w , o u r j o y , A l t h o u g h t h e l a s t , n o t l e a s t ; t o w h o s e y o u n g l o v e T h e v i n e s o f F r a n c e a n d m i l k o f B u r g u n d y S t r i v e t o b e i n t e r e s s ' d ; w h a t c a n y o u s a y t o d r a w A t h i r d m o r e o p u l e n t t h a n y o u r s i s t e r s ? S p e a k . C O R D E L I A N o t h i n g , m y l o r d . K I N G L E A R N o t h i n g ! C O R D E L I A N o t h i n g . K I N G L E A R N o t h i n g w i l l c o m e o f n o t h i n g : s p e a k a g a i n . C O R D E L I A U n h a p p y t h a t I a m , I c a n n o t h e a v e M y h e a r t i n t o m y m o u t h : I l o v e y o u r m a j e s t y A c c o r d i n g t o m y b o n d ; n o r m o r e n o r l e s s . K I N G L E A R H o w , h o w , C o r d e l i a ! m e n d y o u r s p e e c h a l i t t l e , L e s t i t m a y m a r y o u r f o r t u n e s . C O R D E L I A G o o d m y l o r d , Y o u h a v e b e g o t m e , b r e d m e , l o v e d m e : I R e t u r n t h o s e d u t i e s b a c k a s a r e r i g h t f i t , O b e y y o u , l o v e y o u , a n d m o s t h o n o u r y o u . W h y h a v e m y s i s t e r s h u s b a n d s , i f t h e y s a y T h e y l o v e y o u a l l ? H a p l y , w h e n I s h a l l w e d , T h a t l o r d w h o s e h a n d m u s t t a k e m y p l i g h t s h a l l c a r r y H a l f m y l o v e w i t h h i m , h a l f m y c a r e a n d d u t y : S u r e , I s h a l l n e v e r m a r r y l i k e m y s i s t e r s , T o l o v e m y f a t h e r a l l . K I N G L E A R B u t g o e s t h y h e a r t w i t h t h i s ? C O R D E L I A A y , g o o d m y l o r d . K I N G L E A R S o y o u n g , a n d s o u n t e n d e r ? C O R D E L I A S o y o u n g , m y l o r d , a n d t r u e .

ACT 1

SCENE 1

E n t e r K I N G L E A R , K E N T , a n d F o o l

K E N T

H e r e i s t h e p l a c e , m y l o r d ; g o o d m y l o r d , e n t e r :

T h e t y r a n n y o f t h e o p e n n i g h t ' s t o o r o u g h

F o r n a t u r e t o e n d u r e .

S t o r m s t i l l

K I N G L E A R

L e t m e a l o n e .

K E N T

G o o d m y l o r d , e n t e r h e r e .

K I N G L E A R

W i l t b r e a k m y h e a r t ?

K E N T

I h a d r a t h e r b r e a k m i n e o w n . G o o d m y l o r d , e n t e r .

K I N G L E A R

T h o u t h i n k ' s t ' t i s m u c h t h a t t h i s c o n t e n t i o u s s t o r m

I n v a d e s u s t o t h e s k i n : s o ' t i s t o t h e e ;

B u t w h e r e t h e g r e a t e r m a l a d y i s f i x ' d ,

T h e l e s s e r i s s c a r c e f e l t . T h o u ' l d s t s h u n a b e a r ;

B u t i f t h y f l i g h t l a y t o w a r d t h e r a g i n g s e a ,

T h o u ' l d s t m e e t t h e b e a r i ' t h e m o u t h . W h e n t h e

m i n d ' s f r e e ,

T h e b o d y ' s d e l i c a t e : t h e t e m p e s t i n m y m i n d

D o t h f r o m m y s e n s e s t a k e a l l f e e l i n g e l s e

S a v e w h a t b e a t s t h e r e . F i l i a l i n g r a t i t u d e !

I s i t n o t a s t h i s m o u t h s h o u l d t e a r t h i s h a n d

F o r l i f t i n g f o o d t o ' t ? B u t I w i l l p u n i s h h o m e :

N o , I w i l l w e e p n o m o r e . I n s u c h a n i g h t

T o s h u t m e o u t ! P o u r o n ; I w i l l e n d u r e .

I n s u c h a n i g h t a s t h i s ! O R e g a n , G o n e r i l !

Y o u r o l d k i n d f a t h e r , w h o s e f r a n k h e a r t g a v e a l l , - -

O , t h a t w a y m a d n e s s l i e s ; l e t m e s h u n t h a t ;

N o m o r e o f t h a t .

ACT 3

SCENE 5

KENT Good my lo rd , ente r he re . K ING LEAR P r i thee , go in thyse l f : seek th ine own ease : Th is tempest w i l l not g ive me leave to ponder On th ings would hur t me more . But I ' l l go in . To the Foo l In , boy ; go f i r s t . You house less pover ty, - - Nay, get thee in . I ' l l p ray, and then I ' l l s leep . Foo l goes in Poor naked wretc hes , whereso 'e r you are , That b ide the pe l t ing o f th is p i t i less s to rm, How sha l l your house less heads and unfed s ides , Your loop 'd and window'd raggedness , de fend you From seasons suc h as these? O , I have ta 'en Too l i t t le care o f th is ! Take phys ic , pomp; Expose thyse l f to fee l what wretc hes fee l , That thou mayst shake the super f lux to them, And show the heavens more jus t . EDG AR [Wi th in ] Fathom and ha l f , fa thom and ha l f ! Poor Tom! The Foo l runs out f rom the hove l Foo l Come not in he re , nunc le , he re 's a sp i r i t Help me , he lp me!

ACT 3

SCENE 5

K I N G L E A R A n d my p o o r f o o l i s h a n g 'd ! N o , n o , n o l i f e ! W h y s h o u ld a d o g , a h o r se , a r a t , h a ve l i f e , A n d t h o u n o b r e a th a t a l l ? T h o u ' l t c o m e n o m o r e , N eve r, n eve r, n eve r, n eve r, n eve r ! P r ay yo u , u n d o t h i s b u t to n : t h a n k yo u , s i r . D o yo u s e e t h i s? L o o k o n h e r, l o o k , h e r l i p s , L o o k t h e r e , l o o k t h e r e ! D i e s E D G A R H e f a i n t s ! M y l o r d , my l o r d ! K E N T B r ea k , h e a r t ; I p r i t h ee , b r ea k ! E D G A R L o o k u p , my l o r d . K E N T Vex n o t h i s g h o s t : O , l e t h i m p a s s ! h e h a tes h i m m u c h T h a t w o u ld u p o n t h e r a c k o f t h i s to u g h w o r ld S t r e t c h h i m o u t l o n g er. E D G A R H e i s g o n e , i n d eed . K E N T T h e w o n d er i s , h e h a t h e n d u r ed s o l o n g : H e b u t u s u r p 'd h i s l i f e . A L B A NY B ea r t h e m f r o m h e n c e . O u r p r e sen t b u s i n es s I s g e n er a l w o e .

ACT 5

ALBANY Bear them from hence. Our present business Is general woe. To KENT and EDGAR Friends of my soul, you twain Rule in this realm, and the gored state sustain. KENT I have a journey, sir, shortly to go; My master calls me, I must not say no. ALBANY The weight of this sad t ime we must obey; Speak what we feel, not what we ought to say. The oldest hath borne most: we that are young Shall never see so much, nor l ive so long. Exeunt, with a dead march

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