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The Theban Plays #1鈥�
The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus
The heroic Greek dramas that have moved theatergoers and readers since the fifth century B.C.
Towering over the rest of Greek tragedy, the three plays that tell the story of the fated Theban royal family鈥擜ntigone, Oedipus the King and Oedipus at Colonus鈥攁re among the most enduring and timeless dramas ever written. Robert Fagles's authoritative and acclaimed translation conveys all of Sophocles's lucidity and power: the cut and thrust of his dialogue, his ironic edge, the surge and majesty of his choruses and, above all, the agonies and triumphs of his characters. This Penguin Classics edition features an introduction and notes by the renowned classicist Bernard Knox.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
(1939 translation)
Towering over the rest of Greek tragedy, the three plays that tell the story of the fated Theban royal family鈥擜ntigone, Oedipus the King and Oedipus at Colonus鈥攁re among the most enduring and timeless dramas ever written. Robert Fagles's authoritative and acclaimed translation conveys all of Sophocles's lucidity and power: the cut and thrust of his dialogue, his ironic edge, the surge and majesty of his choruses and, above all, the agonies and triumphs of his characters. This Penguin Classics edition features an introduction and notes by the renowned classicist Bernard Knox.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
(1939 translation)
430 pages, Paperback
First published January 1, 451
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About the author
Sophocles
2,273听books2,512听followersSophocles (497/496 BC-406/405 BC), (Greek:
危慰蠁慰魏位萎蟼
; German:
Sophokles
, Russian:
小芯褎芯泻谢
, 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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February 1, 2022
Oidipous Epi Kol艒n艒i = Oedipus Tyrannus Coloneus and Antigone = The Theban Plays, Sophocles
Oedipus at Colonus is one of the three Theban plays of the Athenian tragedian Sophocles. It was written shortly before Sophocles' death in 406 BC.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 亘蹖爻鬲 賵 卮卮賲 丌诏賵爻鬲 爻丕賱1974賲蹖賱丕丿蹖
毓賳賵丕賳: 爻賴 賳賲丕蹖卮賳丕賲赖 : 丕賵丿蹖倬賵爻 卮丕賴貙 丕賵丿蹖倬賵爻 丿乇 讴賵賱賵賳賵爻貙 丌賳鬲蹖诏賵賳貨 丕孬乇: 爻賵賮賵讴賱爻貨 賲鬲乇噩賲: 賲丨賲丿 爻毓蹖丿蹖貨 夭蹖乇賳馗乇 丕丨爻丕賳 蹖丕乇卮丕胤乇貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 賳禺爻鬲蹖賳 亘丕乇 爻丕賱1334貙 丿乇196氐貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 蹖賵賳丕賳 - 爻丿賴 倬賳噩賲 倬蹖卮 丕夭 賲蹖賱丕丿蹖
毓賳賵丕賳: 丕賮爻丕賳賴 賴丕蹖 鬲亘丕蹖貨 丕孬乇: 爻賵賮賵讴賱爻貨 鬲乇噩賲賴 卮丕賴乇禺 賲爻讴賵亘貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 禺賵丕乇夭賲蹖貙 爻丕賱1352貙 丿乇376氐貙 卮丕亘讴9644870328貨 趩丕倬 丿賵賲 爻丕賱1356貙 趩丕倬 趩賴丕乇賲 爻丕賱1385貙 賲賵囟賵毓: 丕丿蹖倬貙 賳賲丕蹖卮賳丕賲赖貙 丕爻丕胤蹖乇 蹖賵賳丕賳貙 爻丿賴 倬賳噩 倬蹖卮 丕夭 賲蹖賱丕丿
丕賮爻丕賳賴 賴丕蹖 芦鬲亘丕蹖禄貙 丌孬丕乇 賲丕賳丿诏丕乇 賳诏丕乇诏乇 賳丕賲丿丕乇 芦蹖賵賳丕賳蹖 (丌鬲賳蹖)禄貙 芦爻賵賮賵讴賱爻禄 賴爻鬲賳丿貨 丿乇 蹖丕丿丿丕卮鬲蹖 讴賵鬲丕賴貙 丿乇 丕亘鬲丿丕蹖 讴鬲丕亘貙 趩賳蹖賳 丌賲丿賴 (賳賲丕蹖卮賳丕賲赖鈥� 賴丕蹖: 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄貙 芦丕丿蹖倬賵爻 丿乇 讴賱賳賵爻禄貙 賵 芦丌賳鬲蹖诏賵賳赖禄貙 倬蹖卮 丕夭 丕蹖賳 亘丕 毓賳賵丕賳賴丕蹖: 芦丕丿蹖倬 卮賴乇蹖丕乇禄貙 芦丕丿蹖倬 丿乇 讴賱賳賵爻禄貙 賵 芦丌賳鬲蹖诏賵賳禄貙 噩丿丕诏丕賳賴 亘賴 趩丕倬 乇爻蹖丿賴鈥� 丕賳丿貨 丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖貙 亘乇 丕爻丕爻 丕爻胤賵乇賴鈥� 蹖 丿賵丿賲丕賳 芦賱丕亘丿丕爻蹖丿禄賴丕 賳賵卮鬲賴 卮丿賴貙 賵 丿賵乇賴鈥� 丕蹖 丕夭 爻乇诏匕卮鬲 丕賮爻丕賳賴鈥� 丕蹖 禺丕賳丿丕賳 卮丕賴蹖 卮賴乇 芦鬲亘丕蹖禄 乇丕貙 賲蹖鈥屬嗁呚й屫з嗁嗀� 賲賵囟賵毓 賴乇 爻賴 賳賲丕蹖卮賳丕賲赖貙 亘賴 賴賲 倬蹖賵爻鬲賴貙 賵 賲乇丕丨賱蹖 丕夭 倬丕蹖丕賳 爻乇賳賵卮鬲 蹖讴 禺丕賳賵丕丿賴 丕爻鬲貨 丕夭 賴賲蹖賳鈥� 乇賵蹖 丕蹖賳鈥屫ㄘж必� 賴乇 爻賴 賳賲丕蹖卮賳丕賲赖 丿乇 蹖讴 賲噩賱丿貙 賵 亘賴 賳丕賲 芦丕賮爻丕賳賴 賴丕蹖 鬲亘丕蹖禄 亘賴 趩丕倬 賲蹖鈥屫必池�.)貨 倬丕蹖丕賳 賳賯賱
丿丕爻鬲丕賳 賳禺爻鬲 芦丕賵丿蹖倬 卮賴乇蹖丕乇禄: 芦丕賵丿蹖倬禄 丕夭 禺丕賳丿丕賳 芦賱丕亘丿丕爻蹖丿禄 丕爻鬲貙 讴賴 亘賴 賳賮乇蹖賳 禺丿丕蹖丕賳 诏乇賮鬲丕乇賳丿貙 賵 賴賲賴 亘賴 賲乇诏蹖 噩丕賳讴丕賴 賲蹖賲蹖乇賳丿貨 賴丕鬲賮丕賳 亘賴 芦賱丕卅蹖賵爻禄貙 倬丿乇 芦丕賵丿蹖倬禄 賲蹖诏賵蹖賳丿貙 讴賴 亘乇 賮乇夭賳丿 賵蹖貙 賲賯丿賾乇 卮丿賴 丕爻鬲貙 讴賴 倬丿乇 禺賵丿 乇丕 亘讴卮丿貙 賵 賲丕丿乇卮 乇丕貙 亘賴 夭賳蹖 诏蹖乇丿貨 丌賳诏丕賴 讴賴 芦丕賵丿蹖倬禄 夭丕丿賴 賲蹖卮賵丿貙 丕夭 丌賳噩丕 讴賴 倬丿乇 賵 賲丕丿乇貙 賳賲蹖禺賵丕賴賳丿 丿爻鬲 亘賴 禺賵賳 倬爻乇卮丕賳貙 亘蹖丕賱丕蹖賳丿貙 賵蹖 乇丕 丿乇 丿賵乇 丿爻鬲貙 亘乇 讴賵賴 芦讴蹖鬲丕乇蹖賵賳禄 乇賴丕 賲蹖讴賳賳丿貙 鬲丕 禺賵丿 亘賲蹖乇丿貨 卮亘丕賳蹖 丕賵 乇丕貙 丕夭 賲乇诏 賳噩丕鬲 賲蹖丿賴丿貙 賵 亘賴 芦讴賵乇賳蹖鬲賵爻禄貙 賳夭丿 芦倬賵賱蹖亘賵爻禄 卮賴乇蹖丕乇 賲蹖亘乇丿貨 芦丕賵丿蹖倬禄貙 丿乇 丌賳噩丕 亘夭乇诏 賲蹖卮賵丿貙 賵 丕夭 鬲賯丿蹖乇 禺賵丿 丌诏丕賴 賲蹖诏乇丿丿貨 賵蹖 趩賵賳 倬丿乇禺賵丕賳丿賴 賵 賲丕丿乇禺賵丕賳丿賴 丕卮 乇丕貙 賵丕賱丿蹖賳 賵丕賯毓蹖 禺賵丿貙 賲蹖倬賳丿丕卮鬲賳丿貙 丕夭 芦讴賵乇賳蹖鬲賵爻禄 賲蹖诏乇蹖夭賳丿貙 鬲丕 爻乇賳賵卮鬲 卮賵賲 禺賵丿 乇丕 鬲睾蹖蹖乇 丿賴賳丿貨 丿乇 乇丕賴 卮賴乇 芦鬲亘丕蹖禄貙 亘賴 芦賱丕卅蹖賵爻禄貙 倬丿乇 乇丕爻鬲蹖賳 賵 賳丕卮賳丕禺鬲賴 蹖 禺賵丿貙 賲蹖乇爻丿貙 賵 丿乇 賳亘乇丿蹖 丕賵 乇丕 賲蹖讴卮丿貙 賵 丿乇 亘乇禺賵乇丿 亘丕 丕跇丿賴丕蹖蹖貙 亘賴 賳丕賲 芦丕亘賵丕賱賴賵賱禄貙 亘賴 賲毓賲賾丕蹖 丕賵 乇丕 倬丕爻禺 賲蹖丿賴丿貙 賵 賲乇丿賲丕賳 乇丕貙 丕夭 賲氐蹖亘鬲蹖 亘夭乇诏 賲蹖乇賴丕賳丿貙 賵 賲乇丿賲丕賳貙 亘賴 卮讴乇丕賳賴 蹖 丌賳貙 丕賵 乇丕 倬丕丿卮丕賴 賲蹖讴賳賳丿貙 賵 卮賴亘丕賳賵 芦賲丕丿乇 丕賵丿蹖倬禄 賴賲爻乇 丕賵 賲蹖卮賵丿貨 倬爻 丕夭 爻丕賱賴丕 賮乇賲丕賳乇賵丕蹖蹖 毓丕丿賱丕賳賴貙 胤丕毓賵賳貙 亘乇 卮賴乇 芦丕賵丿蹖倬禄 賮乇賵 賲蹖丌蹖丿貨 賲乇丿賲丕賳 卮賴乇貙 亘乇丕蹖 乇賴丕蹖蹖 丕夭 趩賳诏丕賱 芦胤丕毓賵賳禄貙 丿乇 亘乇丕亘乇 讴丕禺賽 倬丕丿卮丕賴 诏乇丿 賲蹖丌蹖賳丿貙 賵 丿乇賲丕賳 賲蹖禺賵丕賴賳丿貨 賴丕鬲賮 賲毓亘丿 賲蹖诏賵蹖丿: 芦诏賳丕賴讴丕乇蹖 丿乇 卮賴乇 賴爻鬲 讴賴 禺賵賳 亘蹖诏賳丕賴蹖 乇丕 乇蹖禺鬲賴 丕爻鬲貙 賵 鬲丕 丕賵 賲噩丕夭丕鬲 賳卮賵丿貙 胤丕毓賵賳 卮賴乇 乇丕 乇賴丕 賳禺賵丕賴丿 讴乇丿禄貨 芦丕賵丿蹖倬禄 亘賴 鬲丿乇蹖噩 倬蹖 賲蹖亘乇丿貙 讴賴 丕賵 趩賵倬丕賳 夭丕丿賴 賳蹖爻鬲貙 賵 賮乇夭賳丿 芦賱丕卅蹖賵爻禄 丕爻鬲貙 讴賴 亘賴 丿爻鬲 芦丕賵丿蹖倬禄貙 讴卮鬲賴 卮丿賴 丕爻鬲貙 賵 亘丕 賲賱讴賴 蹖 丕賵 丕夭丿賵丕噩 讴乇丿賴 丕爻鬲貨 倬爻 丕夭 丕蹖賳 讴卮賮 丿乇丿賳丕讴貙 賲丕丿乇 禺賵丿 乇丕貙 亘賴 丿丕乇 賲蹖丌賵蹖夭丿貙 賵 芦丕賵丿蹖倬禄 禺賵丿 乇丕 賳丕亘蹖賳丕 賲蹖讴賳丿貙 賵 亘乇 丕孬乇 丕蹖賳 噩賳丕蹖鬲貙 丕夭 夭丕丿诏丕賴 禺賵丿 丿賵乇 賲蹖卮賵丿
丿丕爻鬲丕賳 丿賵賲: 芦丕賵丿蹖倬 丿乇 讴賵賱賵賳蹖禄: 倬蹖乇賲乇丿 賳丕亘蹖賳丕貙 賴賲乇丕賴 丿禺鬲乇卮 芦丌賳鬲蹖诏賵賳禄貙 亘賴 蹖讴蹖 丕夭 丨賵賲賴 賴丕蹖 卮賴乇 芦丌鬲賳禄 倬賳丕賴 賲蹖亘乇丿貙 賵 丿蹖诏乇 丕毓鬲賲丕丿蹖 亘賴 禺蹖乇 賳蹖乇賵蹖 禺丿丕蹖丕賳貙 賵 丕賳爻丕賳賴丕 賳丿丕乇丿貨 芦丕蹖爻賲蹖賳賴禄 丿禺鬲乇 芦丕賵丿蹖倬禄貙 亘賴 丌賳噩丕 賲蹖丌蹖丿貙 賵 禺亘乇 賲蹖丿賴丿貙 讴賴 亘賳丕 亘乇 诏賮鬲賴 蹖 賴丕鬲賮賽 賲毓亘丿 芦丿賽賱賮蹖禄貙 禺丿丕蹖丕賳貙 芦丕賵丿蹖倬禄 乇丕 亘禺卮蹖丿賴 丕賳丿貙 賵 诏賮鬲賴 丕賳丿: 诏賵乇 芦丕賵丿蹖倬禄 賴乇噩丕 亘丕卮丿貙 丌賳噩丕 丕夭 禺卮賲 禺丿丕蹖丕賳 丿乇 丕賲丕賳 禺賵丕賴丿 亘賵丿貨 丕夭 爻賵蹖 丿蹖诏乇貙 亘蹖賳 賮乇夭賳丿丕賳 芦丕賵丿蹖倬禄貙 亘乇 爻乇 倬丕丿卮丕賴蹖 爻鬲蹖夭 丿乇賲蹖诏蹖乇丿貙 賵 賮乇夭賳丿 亘夭乇诏鬲乇貙 賲睾賱賵亘 賵 鬲亘毓蹖丿 賲蹖卮賵丿貨 丕賵 讴賴 倬丿乇 禺賵丿 芦丕賵丿蹖倬禄 乇丕貙 丕夭 卮賴乇 亘蹖乇賵賳 乇丕賳丿賴 亘賵丿貙 丕讴賳賵賳 亘乇丕蹖 胤賱亘賽 亘禺卮卮貙 賳夭丿 倬丿乇 賲蹖丌蹖丿 賵 鬲賲賳賾丕蹖 诏匕卮鬲 丿丕乇丿貨 芦丕賵丿蹖倬禄貙 賮乇夭賳丿 乇丕 賳賲蹖亘禺卮丿貙 賵 丕賵 乇丕 賳丕丕賲蹖丿貙 亘丕夭 賲蹖诏乇丿丕賳丿貨 芦丕賵丿蹖倬禄 倬蹖卮 丕夭 賲乇诏貙 丕夭 倬丕丿卮丕賴 芦丌鬲賳禄 賲蹖禺賵丕賴丿貙 讴賴 噩丕蹖 诏賵乇 丕賵 乇丕貙 丕夭 賴賲賴 倬賳賴丕賳 亘丿丕乇丿貙 賵 噩夭 亘賴 噩丕賳卮蹖賳丕賳卮貙 亘賴 讴爻蹖 賳卮丕賳 賳丿賴丿貙 賵 丌乇丕賲 賲蹖賲蹖乇丿
丿丕爻鬲丕賳 爻賵賲: 芦丌賳鬲蹖诏賵賳赖禄: 倬爻 丕夭 賲乇诏 芦丕賵丿蹖倬禄貙 賮乇夭賳丿丕賳卮 芦丕鬲賴 丕讴賱爻禄貙 賵 芦倬賵賱賵賳蹖讴爻禄貙 賴乇 丿賵 亘賴 丿爻鬲 賴賲 讴卮鬲賴 賲蹖卮賵賳丿貨 芦讴乇卅賵賳禄 賮乇夭賳丿 讴賵趩讴 芦丕鬲賴 丕讴賱爻禄 乇丕貙 亘賴 禺丕讴 賲蹖爻倬丕乇丿貙 賵賱蹖 丕噩丕夭賴 賳賲蹖丿賴丿貙 噩爻丿 芦倬賵賱賵賳蹖讴爻禄 乇丕貙 亘賴 禺丕讴 亘爻倬丕乇賳丿貨 禺賵丕賴乇丕賳 丕賵 芦丌賳鬲蹖诏賵賳赖禄 賵 芦丕蹖爻賲蹖賳賴禄 鬲氐賲蹖賲 賲蹖诏蹖乇賳丿貙 賴乇胤賵乇 卮丿賴貙 噩爻丿 亘乇丕丿乇 乇丕貙 亘賴 禺丕讴 亘爻倬丕乇賳丿貨 丕賳丿讴蹖 亘毓丿貙 芦丕蹖爻賲賳賴禄貙 丕夭 鬲乇爻 倬丕丿卮丕賴貙 禺賵丕賴乇卮 乇丕貙 鬲賳賴丕 乇賴丕 賲蹖讴賳丿貙 賵 芦丌賳鬲蹖诏賵賳赖禄 亘丕 倬匕蹖乇卮 禺胤乇貙 亘賴 鬲賳賴丕蹖蹖 亘乇丕丿乇卮 乇丕貙 丿賮賳 賲蹖讴賳丿貨 芦讴乇卅賵賳禄 丿爻鬲賵乇 賲蹖丿賴丿貙 賲噩丕夭丕鬲 賲乇诏貙 丿乇亘丕乇賴 蹖 芦丌賳鬲蹖诏賵賳赖禄貙 丕噩乇丕 卮賵丿貨 芦賴丕蹖賲賳禄貙 賮乇夭賳丿 芦讴乇卅賵賳禄貙 毓丕卮賯 芦丌賳鬲蹖诏賵賳赖禄 丕爻鬲貙 賵 賲蹖讴賵卮丿貙 倬丿乇 乇丕貙 丕夭 鬲氐賲蹖賲 禺賵丿貙 亘丕夭 丿丕乇丿貨 芦讴乇卅賵賳禄 禺賵丕爻鬲賴 蹖 賮乇夭賳丿 乇丕貙 賳賲蹖倬匕蹖乇丿貙 賵 倬蹖卮诏賵蹖蹖 賴丕鬲賮 乇丕 賳蹖夭貙 亘賴 趩蹖夭蹖 賳賲蹖禺乇丿貨 芦賴丕蹖賲賳禄 賳夭丿 芦丌賳鬲蹖诏賵賳赖禄 賲蹖乇賵丿貨 芦丌賳鬲蹖诏賵賳赖禄 禺賵丿 乇丕貙 丨賱賯 丌賵蹖夭 讴乇丿賴 丕爻鬲貨 芦賴丕蹖賲賳禄 賳蹖夭貙 丿卮賳賴 丕蹖 丿乇 賯賱亘 禺賵丿貙 賮乇賵 賲蹖亘乇丿貨 賴賲爻乇 芦讴乇卅賵賳禄 賳蹖夭貙 禺賵丿 乇丕 賲蹖讴卮丿貙 賵 亘丿蹖賳诏賵賳賴貙 丿賵丿賲丕賳蹖 賮丿丕蹖 丕爻鬲亘丿丕丿貙 賵 禺賵丿爻乇蹖 芦讴乇卅賵賳禄 賲蹖卮賵丿
丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖貙 丿乇 賵丕賯毓貙 氐丨賳賴 賴丕蹖 丿蹖诏乇诏賵賳賴 蹖 蹖讴 賲丕噩乇丕 賴爻鬲賳丿貨 芦丕賵丿蹖倬禄貙 禺賵丕賴丕賳 丿丕賳丕蹖蹖 丕爻鬲貙 賵 毓卮賯 亘賴 丿丕賳丕蹖蹖 丿乇 賵蹖貙 趩蹖夭蹖 亘乇鬲乇貙 賵 亘蹖乇賵賳 丕夭 丕乇丕丿賴 蹖 丕賵爻鬲貨 丕賳诏蹖夭賴 蹖 噩爻鬲噩賵蹖 芦丕賵丿蹖倬禄貙 亘乇丕蹖 卮賳丕禺鬲賳 乇丕爻鬲蹖貙 毓卮賯 亘賴 噩賲丕毓鬲 丕爻鬲貙 賵 丌乇夭賵蹖 亘賴乇賵夭蹖 丌賳丕賳 丿乇 丌賳 禺賵丕爻鬲賴 丕爻鬲貨 賳蹖夭 卮賳丕禺鬲 乇丕爻鬲蹖貙 鬲賯丿蹖乇 丕賵爻鬲貙 賵 倬蹖乇賵夭蹖 丕賵貙 丿乇 鬲爻賱蹖賲 賳卮丿賳 丕爻鬲貙 賳賴 丿乇 鬲爻賱蹖賲 讴乇丿賳
賳賲丕蹖卮 芦丌賳鬲蹖诏賵賳赖禄貙 鬲兀讴蹖丿蹖 亘乇 丕賴賲蹖鬲 毓卮賯貙 丿乇 夭賳丿诏蹖 噩賲毓蹖 丕爻鬲貨 毓卮賯 賴乇趩賳丿 賲賵囟賵毓蹖 丕賳賮乇丕丿蹖爻鬲貙 丕賲丕 亘丿賵賳 丌賳貙 噩丕賲毓賴貙 卮丕丿丕亘蹖 賵 丨乇讴鬲 禺賵丿 乇丕貙 丕夭 丿爻鬲 賲蹖丿賴丿貨 夭蹖乇丕 爻乇趩卮賲賴貙 賵 丕賳诏蹖夭賴 蹖 亘爻蹖丕乇蹖 丕夭 丕毓賲丕賱 賲丕 丿乇 噩丕賲毓賴貙 毓卮賯 丕爻鬲貨 丕禺賱丕賯貙 賵丕賲丿丕乇 毓卮賯 丕爻鬲貨 賮乇賲丕賳 禺丿丕蹖丕賳貙 丿乇 倬乇鬲賵 毓卮賯貙 丕噩乇丕 賲蹖卮賵丿貨 丨讴賵賲鬲貙 亘丕 賳蹖乇賵蹖 毓卮賯貙 倬丕蹖丿丕乇 賵 爻丕賱賲 賲蹖賲丕賳丿貨 鬲毓丕丿賱 噩賴丕賳貙 亘丕 毓卮賯 鬲丨賯賾賯 賲蹖蹖丕亘丿貨 芦毓卮賯 賮乇夭賳丿禄 亘賴 倬丿乇 賵 賲丕丿乇貙 芦毓卮賯 禺賵丕賴乇禄 亘賴 亘乇丕丿乇貙 芦毓卮賯 夭賳禄 亘賴 賲乇丿貙 賵 亘乇毓讴爻貙 賴賲诏蹖 賲囟賲賵賳 丕氐賱蹖 鬲乇丕跇丿蹖 (睾賲賳丕賲賴)賴丕蹖 芦爻賵賮賵讴賱禄 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 15/11/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 11/11/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Oedipus at Colonus is one of the three Theban plays of the Athenian tragedian Sophocles. It was written shortly before Sophocles' death in 406 BC.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 亘蹖爻鬲 賵 卮卮賲 丌诏賵爻鬲 爻丕賱1974賲蹖賱丕丿蹖
毓賳賵丕賳: 爻賴 賳賲丕蹖卮賳丕賲赖 : 丕賵丿蹖倬賵爻 卮丕賴貙 丕賵丿蹖倬賵爻 丿乇 讴賵賱賵賳賵爻貙 丌賳鬲蹖诏賵賳貨 丕孬乇: 爻賵賮賵讴賱爻貨 賲鬲乇噩賲: 賲丨賲丿 爻毓蹖丿蹖貨 夭蹖乇賳馗乇 丕丨爻丕賳 蹖丕乇卮丕胤乇貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 賳禺爻鬲蹖賳 亘丕乇 爻丕賱1334貙 丿乇196氐貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 蹖賵賳丕賳 - 爻丿賴 倬賳噩賲 倬蹖卮 丕夭 賲蹖賱丕丿蹖
毓賳賵丕賳: 丕賮爻丕賳賴 賴丕蹖 鬲亘丕蹖貨 丕孬乇: 爻賵賮賵讴賱爻貨 鬲乇噩賲賴 卮丕賴乇禺 賲爻讴賵亘貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 禺賵丕乇夭賲蹖貙 爻丕賱1352貙 丿乇376氐貙 卮丕亘讴9644870328貨 趩丕倬 丿賵賲 爻丕賱1356貙 趩丕倬 趩賴丕乇賲 爻丕賱1385貙 賲賵囟賵毓: 丕丿蹖倬貙 賳賲丕蹖卮賳丕賲赖貙 丕爻丕胤蹖乇 蹖賵賳丕賳貙 爻丿賴 倬賳噩 倬蹖卮 丕夭 賲蹖賱丕丿
丕賮爻丕賳賴 賴丕蹖 芦鬲亘丕蹖禄貙 丌孬丕乇 賲丕賳丿诏丕乇 賳诏丕乇诏乇 賳丕賲丿丕乇 芦蹖賵賳丕賳蹖 (丌鬲賳蹖)禄貙 芦爻賵賮賵讴賱爻禄 賴爻鬲賳丿貨 丿乇 蹖丕丿丿丕卮鬲蹖 讴賵鬲丕賴貙 丿乇 丕亘鬲丿丕蹖 讴鬲丕亘貙 趩賳蹖賳 丌賲丿賴 (賳賲丕蹖卮賳丕賲赖鈥� 賴丕蹖: 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄貙 芦丕丿蹖倬賵爻 丿乇 讴賱賳賵爻禄貙 賵 芦丌賳鬲蹖诏賵賳赖禄貙 倬蹖卮 丕夭 丕蹖賳 亘丕 毓賳賵丕賳賴丕蹖: 芦丕丿蹖倬 卮賴乇蹖丕乇禄貙 芦丕丿蹖倬 丿乇 讴賱賳賵爻禄貙 賵 芦丌賳鬲蹖诏賵賳禄貙 噩丿丕诏丕賳賴 亘賴 趩丕倬 乇爻蹖丿賴鈥� 丕賳丿貨 丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖貙 亘乇 丕爻丕爻 丕爻胤賵乇賴鈥� 蹖 丿賵丿賲丕賳 芦賱丕亘丿丕爻蹖丿禄賴丕 賳賵卮鬲賴 卮丿賴貙 賵 丿賵乇賴鈥� 丕蹖 丕夭 爻乇诏匕卮鬲 丕賮爻丕賳賴鈥� 丕蹖 禺丕賳丿丕賳 卮丕賴蹖 卮賴乇 芦鬲亘丕蹖禄 乇丕貙 賲蹖鈥屬嗁呚й屫з嗁嗀� 賲賵囟賵毓 賴乇 爻賴 賳賲丕蹖卮賳丕賲赖貙 亘賴 賴賲 倬蹖賵爻鬲賴貙 賵 賲乇丕丨賱蹖 丕夭 倬丕蹖丕賳 爻乇賳賵卮鬲 蹖讴 禺丕賳賵丕丿賴 丕爻鬲貨 丕夭 賴賲蹖賳鈥� 乇賵蹖 丕蹖賳鈥屫ㄘж必� 賴乇 爻賴 賳賲丕蹖卮賳丕賲赖 丿乇 蹖讴 賲噩賱丿貙 賵 亘賴 賳丕賲 芦丕賮爻丕賳賴 賴丕蹖 鬲亘丕蹖禄 亘賴 趩丕倬 賲蹖鈥屫必池�.)貨 倬丕蹖丕賳 賳賯賱
丿丕爻鬲丕賳 賳禺爻鬲 芦丕賵丿蹖倬 卮賴乇蹖丕乇禄: 芦丕賵丿蹖倬禄 丕夭 禺丕賳丿丕賳 芦賱丕亘丿丕爻蹖丿禄 丕爻鬲貙 讴賴 亘賴 賳賮乇蹖賳 禺丿丕蹖丕賳 诏乇賮鬲丕乇賳丿貙 賵 賴賲賴 亘賴 賲乇诏蹖 噩丕賳讴丕賴 賲蹖賲蹖乇賳丿貨 賴丕鬲賮丕賳 亘賴 芦賱丕卅蹖賵爻禄貙 倬丿乇 芦丕賵丿蹖倬禄 賲蹖诏賵蹖賳丿貙 讴賴 亘乇 賮乇夭賳丿 賵蹖貙 賲賯丿賾乇 卮丿賴 丕爻鬲貙 讴賴 倬丿乇 禺賵丿 乇丕 亘讴卮丿貙 賵 賲丕丿乇卮 乇丕貙 亘賴 夭賳蹖 诏蹖乇丿貨 丌賳诏丕賴 讴賴 芦丕賵丿蹖倬禄 夭丕丿賴 賲蹖卮賵丿貙 丕夭 丌賳噩丕 讴賴 倬丿乇 賵 賲丕丿乇貙 賳賲蹖禺賵丕賴賳丿 丿爻鬲 亘賴 禺賵賳 倬爻乇卮丕賳貙 亘蹖丕賱丕蹖賳丿貙 賵蹖 乇丕 丿乇 丿賵乇 丿爻鬲貙 亘乇 讴賵賴 芦讴蹖鬲丕乇蹖賵賳禄 乇賴丕 賲蹖讴賳賳丿貙 鬲丕 禺賵丿 亘賲蹖乇丿貨 卮亘丕賳蹖 丕賵 乇丕貙 丕夭 賲乇诏 賳噩丕鬲 賲蹖丿賴丿貙 賵 亘賴 芦讴賵乇賳蹖鬲賵爻禄貙 賳夭丿 芦倬賵賱蹖亘賵爻禄 卮賴乇蹖丕乇 賲蹖亘乇丿貨 芦丕賵丿蹖倬禄貙 丿乇 丌賳噩丕 亘夭乇诏 賲蹖卮賵丿貙 賵 丕夭 鬲賯丿蹖乇 禺賵丿 丌诏丕賴 賲蹖诏乇丿丿貨 賵蹖 趩賵賳 倬丿乇禺賵丕賳丿賴 賵 賲丕丿乇禺賵丕賳丿賴 丕卮 乇丕貙 賵丕賱丿蹖賳 賵丕賯毓蹖 禺賵丿貙 賲蹖倬賳丿丕卮鬲賳丿貙 丕夭 芦讴賵乇賳蹖鬲賵爻禄 賲蹖诏乇蹖夭賳丿貙 鬲丕 爻乇賳賵卮鬲 卮賵賲 禺賵丿 乇丕 鬲睾蹖蹖乇 丿賴賳丿貨 丿乇 乇丕賴 卮賴乇 芦鬲亘丕蹖禄貙 亘賴 芦賱丕卅蹖賵爻禄貙 倬丿乇 乇丕爻鬲蹖賳 賵 賳丕卮賳丕禺鬲賴 蹖 禺賵丿貙 賲蹖乇爻丿貙 賵 丿乇 賳亘乇丿蹖 丕賵 乇丕 賲蹖讴卮丿貙 賵 丿乇 亘乇禺賵乇丿 亘丕 丕跇丿賴丕蹖蹖貙 亘賴 賳丕賲 芦丕亘賵丕賱賴賵賱禄貙 亘賴 賲毓賲賾丕蹖 丕賵 乇丕 倬丕爻禺 賲蹖丿賴丿貙 賵 賲乇丿賲丕賳 乇丕貙 丕夭 賲氐蹖亘鬲蹖 亘夭乇诏 賲蹖乇賴丕賳丿貙 賵 賲乇丿賲丕賳貙 亘賴 卮讴乇丕賳賴 蹖 丌賳貙 丕賵 乇丕 倬丕丿卮丕賴 賲蹖讴賳賳丿貙 賵 卮賴亘丕賳賵 芦賲丕丿乇 丕賵丿蹖倬禄 賴賲爻乇 丕賵 賲蹖卮賵丿貨 倬爻 丕夭 爻丕賱賴丕 賮乇賲丕賳乇賵丕蹖蹖 毓丕丿賱丕賳賴貙 胤丕毓賵賳貙 亘乇 卮賴乇 芦丕賵丿蹖倬禄 賮乇賵 賲蹖丌蹖丿貨 賲乇丿賲丕賳 卮賴乇貙 亘乇丕蹖 乇賴丕蹖蹖 丕夭 趩賳诏丕賱 芦胤丕毓賵賳禄貙 丿乇 亘乇丕亘乇 讴丕禺賽 倬丕丿卮丕賴 诏乇丿 賲蹖丌蹖賳丿貙 賵 丿乇賲丕賳 賲蹖禺賵丕賴賳丿貨 賴丕鬲賮 賲毓亘丿 賲蹖诏賵蹖丿: 芦诏賳丕賴讴丕乇蹖 丿乇 卮賴乇 賴爻鬲 讴賴 禺賵賳 亘蹖诏賳丕賴蹖 乇丕 乇蹖禺鬲賴 丕爻鬲貙 賵 鬲丕 丕賵 賲噩丕夭丕鬲 賳卮賵丿貙 胤丕毓賵賳 卮賴乇 乇丕 乇賴丕 賳禺賵丕賴丿 讴乇丿禄貨 芦丕賵丿蹖倬禄 亘賴 鬲丿乇蹖噩 倬蹖 賲蹖亘乇丿貙 讴賴 丕賵 趩賵倬丕賳 夭丕丿賴 賳蹖爻鬲貙 賵 賮乇夭賳丿 芦賱丕卅蹖賵爻禄 丕爻鬲貙 讴賴 亘賴 丿爻鬲 芦丕賵丿蹖倬禄貙 讴卮鬲賴 卮丿賴 丕爻鬲貙 賵 亘丕 賲賱讴賴 蹖 丕賵 丕夭丿賵丕噩 讴乇丿賴 丕爻鬲貨 倬爻 丕夭 丕蹖賳 讴卮賮 丿乇丿賳丕讴貙 賲丕丿乇 禺賵丿 乇丕貙 亘賴 丿丕乇 賲蹖丌賵蹖夭丿貙 賵 芦丕賵丿蹖倬禄 禺賵丿 乇丕 賳丕亘蹖賳丕 賲蹖讴賳丿貙 賵 亘乇 丕孬乇 丕蹖賳 噩賳丕蹖鬲貙 丕夭 夭丕丿诏丕賴 禺賵丿 丿賵乇 賲蹖卮賵丿
丿丕爻鬲丕賳 丿賵賲: 芦丕賵丿蹖倬 丿乇 讴賵賱賵賳蹖禄: 倬蹖乇賲乇丿 賳丕亘蹖賳丕貙 賴賲乇丕賴 丿禺鬲乇卮 芦丌賳鬲蹖诏賵賳禄貙 亘賴 蹖讴蹖 丕夭 丨賵賲賴 賴丕蹖 卮賴乇 芦丌鬲賳禄 倬賳丕賴 賲蹖亘乇丿貙 賵 丿蹖诏乇 丕毓鬲賲丕丿蹖 亘賴 禺蹖乇 賳蹖乇賵蹖 禺丿丕蹖丕賳貙 賵 丕賳爻丕賳賴丕 賳丿丕乇丿貨 芦丕蹖爻賲蹖賳賴禄 丿禺鬲乇 芦丕賵丿蹖倬禄貙 亘賴 丌賳噩丕 賲蹖丌蹖丿貙 賵 禺亘乇 賲蹖丿賴丿貙 讴賴 亘賳丕 亘乇 诏賮鬲賴 蹖 賴丕鬲賮賽 賲毓亘丿 芦丿賽賱賮蹖禄貙 禺丿丕蹖丕賳貙 芦丕賵丿蹖倬禄 乇丕 亘禺卮蹖丿賴 丕賳丿貙 賵 诏賮鬲賴 丕賳丿: 诏賵乇 芦丕賵丿蹖倬禄 賴乇噩丕 亘丕卮丿貙 丌賳噩丕 丕夭 禺卮賲 禺丿丕蹖丕賳 丿乇 丕賲丕賳 禺賵丕賴丿 亘賵丿貨 丕夭 爻賵蹖 丿蹖诏乇貙 亘蹖賳 賮乇夭賳丿丕賳 芦丕賵丿蹖倬禄貙 亘乇 爻乇 倬丕丿卮丕賴蹖 爻鬲蹖夭 丿乇賲蹖诏蹖乇丿貙 賵 賮乇夭賳丿 亘夭乇诏鬲乇貙 賲睾賱賵亘 賵 鬲亘毓蹖丿 賲蹖卮賵丿貨 丕賵 讴賴 倬丿乇 禺賵丿 芦丕賵丿蹖倬禄 乇丕貙 丕夭 卮賴乇 亘蹖乇賵賳 乇丕賳丿賴 亘賵丿貙 丕讴賳賵賳 亘乇丕蹖 胤賱亘賽 亘禺卮卮貙 賳夭丿 倬丿乇 賲蹖丌蹖丿 賵 鬲賲賳賾丕蹖 诏匕卮鬲 丿丕乇丿貨 芦丕賵丿蹖倬禄貙 賮乇夭賳丿 乇丕 賳賲蹖亘禺卮丿貙 賵 丕賵 乇丕 賳丕丕賲蹖丿貙 亘丕夭 賲蹖诏乇丿丕賳丿貨 芦丕賵丿蹖倬禄 倬蹖卮 丕夭 賲乇诏貙 丕夭 倬丕丿卮丕賴 芦丌鬲賳禄 賲蹖禺賵丕賴丿貙 讴賴 噩丕蹖 诏賵乇 丕賵 乇丕貙 丕夭 賴賲賴 倬賳賴丕賳 亘丿丕乇丿貙 賵 噩夭 亘賴 噩丕賳卮蹖賳丕賳卮貙 亘賴 讴爻蹖 賳卮丕賳 賳丿賴丿貙 賵 丌乇丕賲 賲蹖賲蹖乇丿
丿丕爻鬲丕賳 爻賵賲: 芦丌賳鬲蹖诏賵賳赖禄: 倬爻 丕夭 賲乇诏 芦丕賵丿蹖倬禄貙 賮乇夭賳丿丕賳卮 芦丕鬲賴 丕讴賱爻禄貙 賵 芦倬賵賱賵賳蹖讴爻禄貙 賴乇 丿賵 亘賴 丿爻鬲 賴賲 讴卮鬲賴 賲蹖卮賵賳丿貨 芦讴乇卅賵賳禄 賮乇夭賳丿 讴賵趩讴 芦丕鬲賴 丕讴賱爻禄 乇丕貙 亘賴 禺丕讴 賲蹖爻倬丕乇丿貙 賵賱蹖 丕噩丕夭賴 賳賲蹖丿賴丿貙 噩爻丿 芦倬賵賱賵賳蹖讴爻禄 乇丕貙 亘賴 禺丕讴 亘爻倬丕乇賳丿貨 禺賵丕賴乇丕賳 丕賵 芦丌賳鬲蹖诏賵賳赖禄 賵 芦丕蹖爻賲蹖賳賴禄 鬲氐賲蹖賲 賲蹖诏蹖乇賳丿貙 賴乇胤賵乇 卮丿賴貙 噩爻丿 亘乇丕丿乇 乇丕貙 亘賴 禺丕讴 亘爻倬丕乇賳丿貨 丕賳丿讴蹖 亘毓丿貙 芦丕蹖爻賲賳賴禄貙 丕夭 鬲乇爻 倬丕丿卮丕賴貙 禺賵丕賴乇卮 乇丕貙 鬲賳賴丕 乇賴丕 賲蹖讴賳丿貙 賵 芦丌賳鬲蹖诏賵賳赖禄 亘丕 倬匕蹖乇卮 禺胤乇貙 亘賴 鬲賳賴丕蹖蹖 亘乇丕丿乇卮 乇丕貙 丿賮賳 賲蹖讴賳丿貨 芦讴乇卅賵賳禄 丿爻鬲賵乇 賲蹖丿賴丿貙 賲噩丕夭丕鬲 賲乇诏貙 丿乇亘丕乇賴 蹖 芦丌賳鬲蹖诏賵賳赖禄貙 丕噩乇丕 卮賵丿貨 芦賴丕蹖賲賳禄貙 賮乇夭賳丿 芦讴乇卅賵賳禄貙 毓丕卮賯 芦丌賳鬲蹖诏賵賳赖禄 丕爻鬲貙 賵 賲蹖讴賵卮丿貙 倬丿乇 乇丕貙 丕夭 鬲氐賲蹖賲 禺賵丿貙 亘丕夭 丿丕乇丿貨 芦讴乇卅賵賳禄 禺賵丕爻鬲賴 蹖 賮乇夭賳丿 乇丕貙 賳賲蹖倬匕蹖乇丿貙 賵 倬蹖卮诏賵蹖蹖 賴丕鬲賮 乇丕 賳蹖夭貙 亘賴 趩蹖夭蹖 賳賲蹖禺乇丿貨 芦賴丕蹖賲賳禄 賳夭丿 芦丌賳鬲蹖诏賵賳赖禄 賲蹖乇賵丿貨 芦丌賳鬲蹖诏賵賳赖禄 禺賵丿 乇丕貙 丨賱賯 丌賵蹖夭 讴乇丿賴 丕爻鬲貨 芦賴丕蹖賲賳禄 賳蹖夭貙 丿卮賳賴 丕蹖 丿乇 賯賱亘 禺賵丿貙 賮乇賵 賲蹖亘乇丿貨 賴賲爻乇 芦讴乇卅賵賳禄 賳蹖夭貙 禺賵丿 乇丕 賲蹖讴卮丿貙 賵 亘丿蹖賳诏賵賳賴貙 丿賵丿賲丕賳蹖 賮丿丕蹖 丕爻鬲亘丿丕丿貙 賵 禺賵丿爻乇蹖 芦讴乇卅賵賳禄 賲蹖卮賵丿
丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖貙 丿乇 賵丕賯毓貙 氐丨賳賴 賴丕蹖 丿蹖诏乇诏賵賳賴 蹖 蹖讴 賲丕噩乇丕 賴爻鬲賳丿貨 芦丕賵丿蹖倬禄貙 禺賵丕賴丕賳 丿丕賳丕蹖蹖 丕爻鬲貙 賵 毓卮賯 亘賴 丿丕賳丕蹖蹖 丿乇 賵蹖貙 趩蹖夭蹖 亘乇鬲乇貙 賵 亘蹖乇賵賳 丕夭 丕乇丕丿賴 蹖 丕賵爻鬲貨 丕賳诏蹖夭賴 蹖 噩爻鬲噩賵蹖 芦丕賵丿蹖倬禄貙 亘乇丕蹖 卮賳丕禺鬲賳 乇丕爻鬲蹖貙 毓卮賯 亘賴 噩賲丕毓鬲 丕爻鬲貙 賵 丌乇夭賵蹖 亘賴乇賵夭蹖 丌賳丕賳 丿乇 丌賳 禺賵丕爻鬲賴 丕爻鬲貨 賳蹖夭 卮賳丕禺鬲 乇丕爻鬲蹖貙 鬲賯丿蹖乇 丕賵爻鬲貙 賵 倬蹖乇賵夭蹖 丕賵貙 丿乇 鬲爻賱蹖賲 賳卮丿賳 丕爻鬲貙 賳賴 丿乇 鬲爻賱蹖賲 讴乇丿賳
賳賲丕蹖卮 芦丌賳鬲蹖诏賵賳赖禄貙 鬲兀讴蹖丿蹖 亘乇 丕賴賲蹖鬲 毓卮賯貙 丿乇 夭賳丿诏蹖 噩賲毓蹖 丕爻鬲貨 毓卮賯 賴乇趩賳丿 賲賵囟賵毓蹖 丕賳賮乇丕丿蹖爻鬲貙 丕賲丕 亘丿賵賳 丌賳貙 噩丕賲毓賴貙 卮丕丿丕亘蹖 賵 丨乇讴鬲 禺賵丿 乇丕貙 丕夭 丿爻鬲 賲蹖丿賴丿貨 夭蹖乇丕 爻乇趩卮賲賴貙 賵 丕賳诏蹖夭賴 蹖 亘爻蹖丕乇蹖 丕夭 丕毓賲丕賱 賲丕 丿乇 噩丕賲毓賴貙 毓卮賯 丕爻鬲貨 丕禺賱丕賯貙 賵丕賲丿丕乇 毓卮賯 丕爻鬲貨 賮乇賲丕賳 禺丿丕蹖丕賳貙 丿乇 倬乇鬲賵 毓卮賯貙 丕噩乇丕 賲蹖卮賵丿貨 丨讴賵賲鬲貙 亘丕 賳蹖乇賵蹖 毓卮賯貙 倬丕蹖丿丕乇 賵 爻丕賱賲 賲蹖賲丕賳丿貨 鬲毓丕丿賱 噩賴丕賳貙 亘丕 毓卮賯 鬲丨賯賾賯 賲蹖蹖丕亘丿貨 芦毓卮賯 賮乇夭賳丿禄 亘賴 倬丿乇 賵 賲丕丿乇貙 芦毓卮賯 禺賵丕賴乇禄 亘賴 亘乇丕丿乇貙 芦毓卮賯 夭賳禄 亘賴 賲乇丿貙 賵 亘乇毓讴爻貙 賴賲诏蹖 賲囟賲賵賳 丕氐賱蹖 鬲乇丕跇丿蹖 (睾賲賳丕賲賴)賴丕蹖 芦爻賵賮賵讴賱禄 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 15/11/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 11/11/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
June 12, 2017
The Three Theban Pays are the absolute pillar stone of ancient Greek drama, and in my opinion they contain two of the best plays ever written: Oedipus the King and Antigone.
Oedipus the King- because sometimes life's a real bitch.
Fate is unavoidable in ancient Greek Tragedy. Trying to avoid it will only lead to it, and doing nothing will lead you there too. So if a God tells you that you will die at the hands of your son, and that he will then go on to steal your wife, you鈥檇 best do nothing because it鈥檚 going to happen anyway. Any preventative action you take will only lead to the same ending. So, you鈥檙e pretty much screwed. You might as well lie down and accept it. The God's are mean.
But, nope, if you鈥檙e like the King of Thebes you鈥檒l leave your infant son for dead instead.
Poor Oedipus. He really didn鈥檛 have much chance in life. He could do nothing to intervene with his own destiny, mainly because his tragic flaw is his lack of awareness about his true origins. He hears a rumour of the prophecy told to his farther, so he endeavours to stay away from him. But, in doing so he is pushed ever closer to his real farther. That鈥檚 the problem with being abandoned at birth; you just don鈥檛 know who is who in the world! There鈥檚 some irony in this somewhere.
Indeed, it suggests that no free will exists at all because any exertions of the supposed free will lead to the predetermined fate. So every action has been accounted for already. The intended audience may have been aware of these powers but Oedipus and his farther were hapless in their wake. They had to both learn the hard way. Oedipus had to recognise it, and in the process he shattered his life: it made him tear out his very eyes. Now that鈥檚 real grief. There鈥檚 no wonder Aristotle made this his model for the perfect play because this is masterful.
Aristotle鈥檚 theory can be used to assist the reader in understanding how the plot contributes to the tragedy. I couldn鈥檛 have read tragedy without it. The tragedy is created, in part, by the complexity of its plot which leads towards the catharsis. According to Aristotle鈥檚 Poetics the complexity of the plot is established through reversal, recognition and suffering. A simple plot will only establish one of these; therefore, it will have a limited catharsis. The reversal (peritpeteia) is the change of a state of affairs to its opposite, such as the reversal of Oedipus鈥� identity. The recognition (anaghorsis) is achieved through the acquiring of knowledge, like the knowledge Oedipus gains of his birth. Aristotle argues that an effective plot has its anaghorisis bound up with the peritpeteia. This is because it, 鈥渃arries with it pity or fear鈥� such as these following lines:
"O god-
All come true, all busting to light!
O light- now let me look my last on you!
I stand revealed at last-鈥� (Lines 1305-9)
I hope I didn鈥檛 lose anyone or bore them to death with my summary of Poetics. The structure is the key; it is everything in delivering the plot. If, in the cathartic moment, the action can evoke suffering through a combination of a reversal of circumstances during a brutally stark recognition, then the ultimate delivery of pity and fear will be achieved. Such is the case with Oedipus. Oedipus鈥檚 hamartia, his tragic flaw at the core of his being, is his ignorance, and when the veil is lifted he realises the tragedy of the situation; he realises all too late that fate is unshakable and unconquerable.
He has unknowingly committed incest with his mother and murdered his farther, so, like I said, life is a real bitch.
Oedipus at Colonus
Oedipus has been cursed by fate. After unwittingly killing his farther and marrying his own mother, he was cast out of his own land: he was banished by fate. He is now blind, old and has but only one wish: death.
His sister-daughters (children born of incest with his mother) wish to help in this but his son-brothers want him to return to the land of Thebes alive and well. They have heard a new prophecy concerning his fate, and they have grown to fear it. However, as readers of Oedipus the King learnt, trying to change fate only leads to destiny changing the path; ultimately, the destination will always remain the same: there is no escape. Oedipus is resigned to let the wind take him wherever it may go. He has learnt that he has no power. His past remerges, a dangerous past that the world considers criminal. It is one he tried to avoid, but, again, he could never escape from it. King Creon, Oedipus鈥� taciturn brother in law is especially angry at Oedipus for the death of Jocasta hurt him severely. It's very easy to judge others in such a situation, but as Oedipus retorts:
"One thing, answer me just one thing. If,
here and now, a man strode up to kill you,
you, you self-righteous --- what would you do?
investigate whether the murderer were your farther
or deal with him straight off? Well I know,
as you love your life, you鈥檇 pay the killer back,
not hunt around for justification. "
As a sequel to Oedipus the King and a prequel to Antigone this play is very much the middle of The Three Theban Plays. Oddly, it seems to be read far less than the other two plays, which I think is a bit of a shame. Granted, it lacks the autonomy of the others, but it is just as important in understanding the trilogy. And this is the crux of the play; it is Oedipus鈥� moment to defend himself, and give voice to his actions which he was not responsible for. At the same time, the plot foreshadows and leads straight into Antigone and explains much about King Creon's choices.
In terms of action- I speak of the technical connotations of the word as defined by Aristotle in Poetics- the play is lacking. There is very little in the way of tragic elements. It was only performed after Sophocles鈥� death when the glory days of Athens had set. The play was a reminder to its audiences of what had been lost, Oedipus served as a reminder of an age gone by, one that would never return. Reading the play today, I see the same sense of departure. This line for example as spoke by the Chorus:
鈥淭hen it鈥檚 the end of Athens, Athens is no more!"
I love reading Ancient Greek drama; it is so well crafted; it is straightforward yet complex; it is sophisticated yet bold and bloody. Sort of odd really when considering the fact that all deaths were off stage, but you still get the idea from it. I鈥檇 love see some modern reproductions of it live.
Antigone
Antigone is a real heroine; she stands up for what she believes in. She was faced with a strong dilemma. The law of man, the word of her uncle the king, demands that her brother's body remains unburied in the open with no funeral rights, to be savaged by animals. For King Creon, this is a symbolic justice for a traitor and a rebel, but the laws of the God鈥檚, and the ruling of Antigone鈥檚 own mind, demands that she gives him libations (death rights) that all men deserve. She buries the body and faces the consequences of the crime.
Creon: And still you had the gall to break this law?
Antigone: Of course I did. It wasn't Zeus, not in the least,
who made this proclamation-not to me
Nor did that justice, dwelling with the gods
beneath the earth, ordain such laws for men.
Nor did I think your edict had such force
that you, a mere mortal, could override the gods.
So, like I said she鈥檚 a heroine, for standing up against tyranny, but she isn鈥檛 the play鈥檚 tragic hero: it鈥檚 clearly King Creon. Who has the right of this situation? It is easy to brand Creon a tyrant, though to do so overlooks the reasoning behind his actions. In punishing Antigone鈥檚 dead brother, her rebellious dead brother, he is sending a political message to those that threaten the peace of Thebes. In reality he is being an effective, albeit harsh, ruler. When his niece breaks his law, he has no choice but to punish her as he would any man. He couldn鈥檛 allow her to be an exception to the rule, to do so would be to undermine the law of the land and his politics: it would be to make him a hypocrite. But, to sentence her to death, that鈥檚 a little extreme.
Thus, Sophocles presents a beautifully conflicted situation. There is no longer a discernible sense of right or wrong, only a thin line of morality that separates a tyrant from a man of justice. And his conviction only gets worse; he refuses to hear what his son and the city (the chorus) think about the situation. He only sees his narrow-minded sense of justice, and ignores the effects it will have on his loved ones. He has no doubts about his actions, and demonstrates the questionable nature of a cold approach to kingship. The laws of man are not always right. Something Creon simply cannot perceive. To his mind, he is morally right, a man of good character and a king of honour. Is this not the most dangerous of leaders?
Creon: I will take her down some wild, desolate path
never trod by men, and wall her up alive
in a rocky vault, and set out short rations,
just the measure piety demands
to keep the entire city free of defilement.
There let her pray to the one god she worships:
Death鈥攚ho knows?鈥攎ay just reprieveher from death.
Or she may learn at last, better late than never,
what a waste of breath it is to worship Death.
And this is what makes him the play鈥檚 tragic hero. His hamartia, his tragic flaw in Aristotle terms, is his severe lack of judgement, and his inability to perceive the wrongness of his decree. The reversal, recognition and suffering come in the form of the priest Tiresias, an old wise man who speaks to the Gods. He tells Creon what will happen if he persists down his current path, and after much resistance, Creon finally relents his folly. But it is far too late. The blood has already been shed. Tragedy has already struck, death has already struck: Creon is left in tatters. It is the hardest of lessons to learn.
So what do we learn from this? Greek tragedy was didactical in purpose; it was used as a learning tool, a means of imparting wisdom to the audience. What is Sophocles message? For me it鈥檚 quite simple: open your eyes and your heart. Never presume that you are right and an absolute morale authority. For Creon, his realisation came too late. The result was a sacrifice he will never forget, Antigone's death, and the one most readers seem to sympathise with. But I implore you to look further into the play, and consider the full role of Creon. To overlook him is to overlook the point of the work:
鈥淎ll men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.鈥�
This play is a spectacular piece of work, though I think reading the other two plays helps to elucidate its greatness. For me, this book is one everybody should read at least once in their lifetime.
Oedipus the King- because sometimes life's a real bitch.
Fate is unavoidable in ancient Greek Tragedy. Trying to avoid it will only lead to it, and doing nothing will lead you there too. So if a God tells you that you will die at the hands of your son, and that he will then go on to steal your wife, you鈥檇 best do nothing because it鈥檚 going to happen anyway. Any preventative action you take will only lead to the same ending. So, you鈥檙e pretty much screwed. You might as well lie down and accept it. The God's are mean.
But, nope, if you鈥檙e like the King of Thebes you鈥檒l leave your infant son for dead instead.
Poor Oedipus. He really didn鈥檛 have much chance in life. He could do nothing to intervene with his own destiny, mainly because his tragic flaw is his lack of awareness about his true origins. He hears a rumour of the prophecy told to his farther, so he endeavours to stay away from him. But, in doing so he is pushed ever closer to his real farther. That鈥檚 the problem with being abandoned at birth; you just don鈥檛 know who is who in the world! There鈥檚 some irony in this somewhere.
Indeed, it suggests that no free will exists at all because any exertions of the supposed free will lead to the predetermined fate. So every action has been accounted for already. The intended audience may have been aware of these powers but Oedipus and his farther were hapless in their wake. They had to both learn the hard way. Oedipus had to recognise it, and in the process he shattered his life: it made him tear out his very eyes. Now that鈥檚 real grief. There鈥檚 no wonder Aristotle made this his model for the perfect play because this is masterful.
Aristotle鈥檚 theory can be used to assist the reader in understanding how the plot contributes to the tragedy. I couldn鈥檛 have read tragedy without it. The tragedy is created, in part, by the complexity of its plot which leads towards the catharsis. According to Aristotle鈥檚 Poetics the complexity of the plot is established through reversal, recognition and suffering. A simple plot will only establish one of these; therefore, it will have a limited catharsis. The reversal (peritpeteia) is the change of a state of affairs to its opposite, such as the reversal of Oedipus鈥� identity. The recognition (anaghorsis) is achieved through the acquiring of knowledge, like the knowledge Oedipus gains of his birth. Aristotle argues that an effective plot has its anaghorisis bound up with the peritpeteia. This is because it, 鈥渃arries with it pity or fear鈥� such as these following lines:
"O god-
All come true, all busting to light!
O light- now let me look my last on you!
I stand revealed at last-鈥� (Lines 1305-9)
I hope I didn鈥檛 lose anyone or bore them to death with my summary of Poetics. The structure is the key; it is everything in delivering the plot. If, in the cathartic moment, the action can evoke suffering through a combination of a reversal of circumstances during a brutally stark recognition, then the ultimate delivery of pity and fear will be achieved. Such is the case with Oedipus. Oedipus鈥檚 hamartia, his tragic flaw at the core of his being, is his ignorance, and when the veil is lifted he realises the tragedy of the situation; he realises all too late that fate is unshakable and unconquerable.
He has unknowingly committed incest with his mother and murdered his farther, so, like I said, life is a real bitch.
Oedipus at Colonus
Oedipus has been cursed by fate. After unwittingly killing his farther and marrying his own mother, he was cast out of his own land: he was banished by fate. He is now blind, old and has but only one wish: death.
His sister-daughters (children born of incest with his mother) wish to help in this but his son-brothers want him to return to the land of Thebes alive and well. They have heard a new prophecy concerning his fate, and they have grown to fear it. However, as readers of Oedipus the King learnt, trying to change fate only leads to destiny changing the path; ultimately, the destination will always remain the same: there is no escape. Oedipus is resigned to let the wind take him wherever it may go. He has learnt that he has no power. His past remerges, a dangerous past that the world considers criminal. It is one he tried to avoid, but, again, he could never escape from it. King Creon, Oedipus鈥� taciturn brother in law is especially angry at Oedipus for the death of Jocasta hurt him severely. It's very easy to judge others in such a situation, but as Oedipus retorts:
"One thing, answer me just one thing. If,
here and now, a man strode up to kill you,
you, you self-righteous --- what would you do?
investigate whether the murderer were your farther
or deal with him straight off? Well I know,
as you love your life, you鈥檇 pay the killer back,
not hunt around for justification. "
As a sequel to Oedipus the King and a prequel to Antigone this play is very much the middle of The Three Theban Plays. Oddly, it seems to be read far less than the other two plays, which I think is a bit of a shame. Granted, it lacks the autonomy of the others, but it is just as important in understanding the trilogy. And this is the crux of the play; it is Oedipus鈥� moment to defend himself, and give voice to his actions which he was not responsible for. At the same time, the plot foreshadows and leads straight into Antigone and explains much about King Creon's choices.
In terms of action- I speak of the technical connotations of the word as defined by Aristotle in Poetics- the play is lacking. There is very little in the way of tragic elements. It was only performed after Sophocles鈥� death when the glory days of Athens had set. The play was a reminder to its audiences of what had been lost, Oedipus served as a reminder of an age gone by, one that would never return. Reading the play today, I see the same sense of departure. This line for example as spoke by the Chorus:
鈥淭hen it鈥檚 the end of Athens, Athens is no more!"
I love reading Ancient Greek drama; it is so well crafted; it is straightforward yet complex; it is sophisticated yet bold and bloody. Sort of odd really when considering the fact that all deaths were off stage, but you still get the idea from it. I鈥檇 love see some modern reproductions of it live.
Antigone
Antigone is a real heroine; she stands up for what she believes in. She was faced with a strong dilemma. The law of man, the word of her uncle the king, demands that her brother's body remains unburied in the open with no funeral rights, to be savaged by animals. For King Creon, this is a symbolic justice for a traitor and a rebel, but the laws of the God鈥檚, and the ruling of Antigone鈥檚 own mind, demands that she gives him libations (death rights) that all men deserve. She buries the body and faces the consequences of the crime.
Creon: And still you had the gall to break this law?
Antigone: Of course I did. It wasn't Zeus, not in the least,
who made this proclamation-not to me
Nor did that justice, dwelling with the gods
beneath the earth, ordain such laws for men.
Nor did I think your edict had such force
that you, a mere mortal, could override the gods.
So, like I said she鈥檚 a heroine, for standing up against tyranny, but she isn鈥檛 the play鈥檚 tragic hero: it鈥檚 clearly King Creon. Who has the right of this situation? It is easy to brand Creon a tyrant, though to do so overlooks the reasoning behind his actions. In punishing Antigone鈥檚 dead brother, her rebellious dead brother, he is sending a political message to those that threaten the peace of Thebes. In reality he is being an effective, albeit harsh, ruler. When his niece breaks his law, he has no choice but to punish her as he would any man. He couldn鈥檛 allow her to be an exception to the rule, to do so would be to undermine the law of the land and his politics: it would be to make him a hypocrite. But, to sentence her to death, that鈥檚 a little extreme.
Thus, Sophocles presents a beautifully conflicted situation. There is no longer a discernible sense of right or wrong, only a thin line of morality that separates a tyrant from a man of justice. And his conviction only gets worse; he refuses to hear what his son and the city (the chorus) think about the situation. He only sees his narrow-minded sense of justice, and ignores the effects it will have on his loved ones. He has no doubts about his actions, and demonstrates the questionable nature of a cold approach to kingship. The laws of man are not always right. Something Creon simply cannot perceive. To his mind, he is morally right, a man of good character and a king of honour. Is this not the most dangerous of leaders?
Creon: I will take her down some wild, desolate path
never trod by men, and wall her up alive
in a rocky vault, and set out short rations,
just the measure piety demands
to keep the entire city free of defilement.
There let her pray to the one god she worships:
Death鈥攚ho knows?鈥攎ay just reprieveher from death.
Or she may learn at last, better late than never,
what a waste of breath it is to worship Death.
And this is what makes him the play鈥檚 tragic hero. His hamartia, his tragic flaw in Aristotle terms, is his severe lack of judgement, and his inability to perceive the wrongness of his decree. The reversal, recognition and suffering come in the form of the priest Tiresias, an old wise man who speaks to the Gods. He tells Creon what will happen if he persists down his current path, and after much resistance, Creon finally relents his folly. But it is far too late. The blood has already been shed. Tragedy has already struck, death has already struck: Creon is left in tatters. It is the hardest of lessons to learn.
So what do we learn from this? Greek tragedy was didactical in purpose; it was used as a learning tool, a means of imparting wisdom to the audience. What is Sophocles message? For me it鈥檚 quite simple: open your eyes and your heart. Never presume that you are right and an absolute morale authority. For Creon, his realisation came too late. The result was a sacrifice he will never forget, Antigone's death, and the one most readers seem to sympathise with. But I implore you to look further into the play, and consider the full role of Creon. To overlook him is to overlook the point of the work:
鈥淎ll men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.鈥�
This play is a spectacular piece of work, though I think reading the other two plays helps to elucidate its greatness. For me, this book is one everybody should read at least once in their lifetime.
June 5, 2023
Exist膬 葯i lecturi obligatorii? Negre葯it, Oedip rege este una dintre ele...
脦ntreaga tragedie se sprijin膬 pe un paradox. Oedip e chemat rege 卯n Teba, fiindc膬 dezleag膬 enigma pus膬 de Sfinx. Dac膬 nu ar solu葲iona enigma, Oedip ar fi ucis. G膬se葯te r膬spunsul 葯i, prin asta, omoar膬, el, monstrul feminin. A葯adar, faptul c膬 卯nvinge Sfinxul este pentru tebani un merit suficient pentru a-l desemna ca rege (= tiran). Oricum, alegerea nu va fi deloc fericit膬. Nici pentru locuitorii cet膬葲ii, nici pentru Oedip. Se c膬s膬tore葯te f膬r膬 s膬 葯tie cu mama sa. E un sacrilegiu.
Dup膬 aceast膬 desemnare, Teba e lovit膬 de nenorociri cumplite. 脦n fa葲a lui Oedip st膬 o nou膬 enigm膬. Locuitorii vor s膬 afle pricina n膬pastelor care au lovit cetatea. Oracolul din Delphi dezv膬luie c膬 printre tebani exist膬 un mare vinovat. Locuitorii 卯l solicit膬 pe profetul Tiresias. Este b膬tr卯n 葯i orb. Ei vor un r膬spuns limpede. Tiresias se fere葯te s膬 dezv膬luie numele 葯i identitatea vinovatului. C卯nd 卯nsu葯i Oedip 卯i cere imperios r膬spunsul, prime葯te acest avertisment:
鈥濾ai, vai, cumplit e s膬 cuno葯ti, c卯nd a cunoa葯te / Nu-葲i este de folos...鈥�.
Oedip vrea, totu葯i, s膬 afle adev膬rul. Cu orice pre葲. P卯n膬 la urm膬 va 卯n葲elege c膬 vinovatul este el 卯nsu葯i. El l-a ucis pe Laios, tat膬l s膬u, el s-a cas膬torit cu Iocasta, mama sa. Pentru acest motiv tebanii sufer膬. Problema este, a葯adar, urm膬toarea. Dac膬 Oedip nu ar dezlega enigma Sfinxului, el nu ar mai ajunge rege 卯n Teba (葯i so葲 al propriei mame). 葮i ar muri precum to葲i cei care nu au g膬sit r膬spunsul. Dar Teba ar r膬m卯ne sub amenin葲area Sfinxului. Oedip dezleag膬 enigma, iar consecin葲a este la fel de atroce. Are de r膬spuns la 卯ntrebarea cu privire la vinovatul din cetate. Iar r膬spunsul este unul singur: Oedip.
Dar este Oedip 卯ntr-adev膬r vinovat? Mai mult: exist膬 cazuri 卯n care adev膬rul trebuie ascuns? Sf卯ntul Augustin ar fi spus (葯i chiar a spus) c膬 nu...
脦ntreaga tragedie se sprijin膬 pe un paradox. Oedip e chemat rege 卯n Teba, fiindc膬 dezleag膬 enigma pus膬 de Sfinx. Dac膬 nu ar solu葲iona enigma, Oedip ar fi ucis. G膬se葯te r膬spunsul 葯i, prin asta, omoar膬, el, monstrul feminin. A葯adar, faptul c膬 卯nvinge Sfinxul este pentru tebani un merit suficient pentru a-l desemna ca rege (= tiran). Oricum, alegerea nu va fi deloc fericit膬. Nici pentru locuitorii cet膬葲ii, nici pentru Oedip. Se c膬s膬tore葯te f膬r膬 s膬 葯tie cu mama sa. E un sacrilegiu.
Dup膬 aceast膬 desemnare, Teba e lovit膬 de nenorociri cumplite. 脦n fa葲a lui Oedip st膬 o nou膬 enigm膬. Locuitorii vor s膬 afle pricina n膬pastelor care au lovit cetatea. Oracolul din Delphi dezv膬luie c膬 printre tebani exist膬 un mare vinovat. Locuitorii 卯l solicit膬 pe profetul Tiresias. Este b膬tr卯n 葯i orb. Ei vor un r膬spuns limpede. Tiresias se fere葯te s膬 dezv膬luie numele 葯i identitatea vinovatului. C卯nd 卯nsu葯i Oedip 卯i cere imperios r膬spunsul, prime葯te acest avertisment:
鈥濾ai, vai, cumplit e s膬 cuno葯ti, c卯nd a cunoa葯te / Nu-葲i este de folos...鈥�.
Oedip vrea, totu葯i, s膬 afle adev膬rul. Cu orice pre葲. P卯n膬 la urm膬 va 卯n葲elege c膬 vinovatul este el 卯nsu葯i. El l-a ucis pe Laios, tat膬l s膬u, el s-a cas膬torit cu Iocasta, mama sa. Pentru acest motiv tebanii sufer膬. Problema este, a葯adar, urm膬toarea. Dac膬 Oedip nu ar dezlega enigma Sfinxului, el nu ar mai ajunge rege 卯n Teba (葯i so葲 al propriei mame). 葮i ar muri precum to葲i cei care nu au g膬sit r膬spunsul. Dar Teba ar r膬m卯ne sub amenin葲area Sfinxului. Oedip dezleag膬 enigma, iar consecin葲a este la fel de atroce. Are de r膬spuns la 卯ntrebarea cu privire la vinovatul din cetate. Iar r膬spunsul este unul singur: Oedip.
Dar este Oedip 卯ntr-adev膬r vinovat? Mai mult: exist膬 cazuri 卯n care adev膬rul trebuie ascuns? Sf卯ntul Augustin ar fi spus (葯i chiar a spus) c膬 nu...
March 31, 2020
This is how I feel about Antigone:
Translation Notes
I have read four versions of the Antigone, three versions of Oedipus Rex, and two versions of Oedipus at Colonus, over five years. I don't know why I'm like this either. (Comment your favorite Antigone translations and I'll read them.)
Oxford edition, trans. unk (2015): In ninth grade, I read the Theban plays in my English class. I liked them. Antigone, specifically, made a very very large impression on me. I promptly forgot every single thing I thought about them. [I have a terrible memory.] So when audible offered a free audio of the plays with a full-cast narration鈥� I went for it. And of course loved it again. Will need to reread these translations to fully retranslate.
Audio edition, trans. unk (2018): This audio stars the excellent Jamie Glover as Oedipus and the always-talented Hayley Atwell as Antigone, but casting such as Samantha Bond as Jocasta, Michael Melone as Creon, and Lydia Leonard as Ismene stand out as well. This is the reading upon which I decided perhaps Oedipus the King was very good.
Antigonick trans. Anne Carson (2019): More an adaption than a translation, and certainly not my favorite, if only because I love Antigone's original words so much. Worth reading, but after reading Antigone proper. Reviewed here.
The Greek Plays edition trans. Frank Nisetich (2020): I loved the biting stychomythia of this translation.
Play Reviews for Everything
鈫扥edipus the King鈫� 鈽呪槄鈽呪槄鈽�
Oedipus means swollen foot, in reference to his broken feet as a child, but holds a double meaning: Oida means I know, and Eidon means I saw, so the term could also be 'seeing foot'. If only he could see where his feet were going. Seeing, indeed, is the primary tension of the play. One eyewitness has two key details to give: the story of exposing the baby for Laius, and the story of watching a stranger kill Laius on a dark road.
What I like about this play is that it is a tragedy where no character has purposefully fucked things up. Every single character 鈥� from the later-unsympathetic Creon to the excellently written Jocasta 鈥� is sympathetic. It is so upsetting to see it unfold, see these characters have their lives so completely ruined. Around halfway through the play, Jocasta figures it out, and begs Oedipus to stop the process; knowing, but thinking to take it to her grave: he does not take it. Oedipus receives the opportunity to blame it all on Creon and keep his leadership: he does not take it. He is finding the truth for altruism, and will take it to the end.
For Oedipus, his recognition and reversal are a nightmare come true, a dream he never thought could occur. I was near tears during Oedipus鈥� final speech.
鈫扥edipus at Colonus鈫� 鈽呪槄鈽呪槄鈽�
I actually, in hindsight, am not sure I read this in ninth grade. [We were only actually required to read Antigone.] This is the Family Feelings play, as in鈥� the relationship between Antigone and Ismene and Oedipus is upsetting and I don鈥檛 like it. Almost all the action of this one is offstage, which makes it far harder to follow; honestly, this feels like a joiner between Oedipus the King and Antigone. I did enjoy the sense of tragedy and the character development.
鈫扐苍迟颈驳辞苍别鈫� 鈽呪槄鈽呪槄鈽�
What I like about Antigone is Antigone. No, that's not quite right. What I like about Antigone is its focus on very different characters as they try to undermine Creon in three very different ways. Acting from honor, from logic, from empathy, the three youth of the royal family protest his decisions: Antigone representing the god鈥檚 honor and the woman鈥檚 honor; Ismene representing the woman鈥檚 honor; Haemon representing the youth鈥檚 honor and the city鈥檚 honor. The actions of Antigone, Haemon, and Ismene break the heirarchy down, and though by the end of the play, two lie dead, they have taught Creon his lesson. When the tyrant does not listen to those around him, he has nothing, and leaves the dead in his wake.
Antigone loves her honor before the gods, and will break any heirarchy, woman or not, to get to it; yet the city is on her side, following her lead. Ismene and Antigone have a fascinating sisterly relationship. The stychomythia (certain kind of meter used for conversation) between Haemon and Creon is one of my favorite scenes in any play I鈥檝e read ever.
The 'guard' witnesses two very key events in Antigone's life: he is almost more 'casual', and oddly comedic. He introduces two burials, one scattering of earth, one seemingly divine and done by Antigone. This is not notable on the first readthrough. On the second, the question of who actually does the first burial hits.
Notable in the sense of tragic convention is that the chorus is all-male; in this genre, the chorus is generally the same gender as the protagonists, generally of a lower social position, but sympathetic. Though the chorus here is at times kind to Antigone, they are never fully on her side. By the time she gives her death speech, about to walk into her tomb, we know she is truly alone. Antigone is a spectacle to the chorus, as Oedipus once was.
Notable Lines (Frank Nisetich translation):
ANTIGONE: No dread of what some man might think would ever make me鈥� be guilty before the gods. (457-459)
ANTIGONE: And I can鈥檛 join in hate, but only in love. (528)
ANTIGONE: Your thoughts appealed to some, mine to others.
ISMENE: And yet we鈥檙e both found guilty, both alike. (558-559)
CREON: Rulers own their cities--isn鈥檛 that the saying?
HAEMON: A fine ruler you鈥檇 make, alone, in a desert.
CREON: This fellow, it seems, is on the woman鈥檚 side.
HAEMON: If you鈥檙e a woman: it鈥檚 you I care for. (738-741)
HAEMON: Do you want to talk and talk and never listen? (755)
These plays are an excellent look at the nature of humanity, the hypocrisy of us and the fact that we all have our good sides and our bad. I know I will not be ending my love affair with Antigone anytime soon.
| | | | | |
Translation Notes
I have read four versions of the Antigone, three versions of Oedipus Rex, and two versions of Oedipus at Colonus, over five years. I don't know why I'm like this either. (Comment your favorite Antigone translations and I'll read them.)
Oxford edition, trans. unk (2015): In ninth grade, I read the Theban plays in my English class. I liked them. Antigone, specifically, made a very very large impression on me. I promptly forgot every single thing I thought about them. [I have a terrible memory.] So when audible offered a free audio of the plays with a full-cast narration鈥� I went for it. And of course loved it again. Will need to reread these translations to fully retranslate.
Audio edition, trans. unk (2018): This audio stars the excellent Jamie Glover as Oedipus and the always-talented Hayley Atwell as Antigone, but casting such as Samantha Bond as Jocasta, Michael Melone as Creon, and Lydia Leonard as Ismene stand out as well. This is the reading upon which I decided perhaps Oedipus the King was very good.
Antigonick trans. Anne Carson (2019): More an adaption than a translation, and certainly not my favorite, if only because I love Antigone's original words so much. Worth reading, but after reading Antigone proper. Reviewed here.
The Greek Plays edition trans. Frank Nisetich (2020): I loved the biting stychomythia of this translation.
Play Reviews for Everything
鈫扥edipus the King鈫� 鈽呪槄鈽呪槄鈽�
Oedipus means swollen foot, in reference to his broken feet as a child, but holds a double meaning: Oida means I know, and Eidon means I saw, so the term could also be 'seeing foot'. If only he could see where his feet were going. Seeing, indeed, is the primary tension of the play. One eyewitness has two key details to give: the story of exposing the baby for Laius, and the story of watching a stranger kill Laius on a dark road.
What I like about this play is that it is a tragedy where no character has purposefully fucked things up. Every single character 鈥� from the later-unsympathetic Creon to the excellently written Jocasta 鈥� is sympathetic. It is so upsetting to see it unfold, see these characters have their lives so completely ruined. Around halfway through the play, Jocasta figures it out, and begs Oedipus to stop the process; knowing, but thinking to take it to her grave: he does not take it. Oedipus receives the opportunity to blame it all on Creon and keep his leadership: he does not take it. He is finding the truth for altruism, and will take it to the end.
For Oedipus, his recognition and reversal are a nightmare come true, a dream he never thought could occur. I was near tears during Oedipus鈥� final speech.
鈫扥edipus at Colonus鈫� 鈽呪槄鈽呪槄鈽�
I actually, in hindsight, am not sure I read this in ninth grade. [We were only actually required to read Antigone.] This is the Family Feelings play, as in鈥� the relationship between Antigone and Ismene and Oedipus is upsetting and I don鈥檛 like it. Almost all the action of this one is offstage, which makes it far harder to follow; honestly, this feels like a joiner between Oedipus the King and Antigone. I did enjoy the sense of tragedy and the character development.
鈫扐苍迟颈驳辞苍别鈫� 鈽呪槄鈽呪槄鈽�
What I like about Antigone is Antigone. No, that's not quite right. What I like about Antigone is its focus on very different characters as they try to undermine Creon in three very different ways. Acting from honor, from logic, from empathy, the three youth of the royal family protest his decisions: Antigone representing the god鈥檚 honor and the woman鈥檚 honor; Ismene representing the woman鈥檚 honor; Haemon representing the youth鈥檚 honor and the city鈥檚 honor. The actions of Antigone, Haemon, and Ismene break the heirarchy down, and though by the end of the play, two lie dead, they have taught Creon his lesson. When the tyrant does not listen to those around him, he has nothing, and leaves the dead in his wake.
Antigone loves her honor before the gods, and will break any heirarchy, woman or not, to get to it; yet the city is on her side, following her lead. Ismene and Antigone have a fascinating sisterly relationship. The stychomythia (certain kind of meter used for conversation) between Haemon and Creon is one of my favorite scenes in any play I鈥檝e read ever.
The 'guard' witnesses two very key events in Antigone's life: he is almost more 'casual', and oddly comedic. He introduces two burials, one scattering of earth, one seemingly divine and done by Antigone. This is not notable on the first readthrough. On the second, the question of who actually does the first burial hits.
Notable in the sense of tragic convention is that the chorus is all-male; in this genre, the chorus is generally the same gender as the protagonists, generally of a lower social position, but sympathetic. Though the chorus here is at times kind to Antigone, they are never fully on her side. By the time she gives her death speech, about to walk into her tomb, we know she is truly alone. Antigone is a spectacle to the chorus, as Oedipus once was.
Notable Lines (Frank Nisetich translation):
ANTIGONE: No dread of what some man might think would ever make me鈥� be guilty before the gods. (457-459)
ANTIGONE: And I can鈥檛 join in hate, but only in love. (528)
ANTIGONE: Your thoughts appealed to some, mine to others.
ISMENE: And yet we鈥檙e both found guilty, both alike. (558-559)
CREON: Rulers own their cities--isn鈥檛 that the saying?
HAEMON: A fine ruler you鈥檇 make, alone, in a desert.
CREON: This fellow, it seems, is on the woman鈥檚 side.
HAEMON: If you鈥檙e a woman: it鈥檚 you I care for. (738-741)
HAEMON: Do you want to talk and talk and never listen? (755)
These plays are an excellent look at the nature of humanity, the hypocrisy of us and the fact that we all have our good sides and our bad. I know I will not be ending my love affair with Antigone anytime soon.
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August 16, 2021
丌賳鬲蹖诏賵賳赖! 丕蹖 丕賵賱 賮賲賳蹖爻鬲 噩賴丕賳貙 丕蹖 夭丕丿賴鈥屰� 賳賮乇蹖賳 賵 卮乇賲貙 丕蹖 讴爻蹖讴賴 亘乇 爻賳鬲鈥屬囏� 卮賵乇蹖丿蹖貙 丕蹖 賲蹖乇賳丿賴 丿乇 乇丕賴 毓卮賯貙 丿賵爻鬲鬲 丿丕乇賲.
鬲爻賱蹖賲 卮丿賳 蹖丕 鬲爻賱蹖賲 賳卮丿賳. 賲爻兀賱賴 丕蹖賳 丕爻鬲.
賵 賲賳 賴賲趩賳丕賳 賲毓鬲賯丿賲 倬蹖丕賲 丕蹖賳 鬲乇丕跇丿蹖 賴賲賵賳 噩賲賱賴 賲毓乇賵賮 亘賵讴賵賮爻讴蹖 毓賴
Don't try
.....
丕蹖賳 讴鬲丕亘 乇賵 亘丕蹖丿 賴丿蹖賴 丿丕丿.
鬲爻賱蹖賲 卮丿賳 蹖丕 鬲爻賱蹖賲 賳卮丿賳. 賲爻兀賱賴 丕蹖賳 丕爻鬲.
賵 賲賳 賴賲趩賳丕賳 賲毓鬲賯丿賲 倬蹖丕賲 丕蹖賳 鬲乇丕跇丿蹖 賴賲賵賳 噩賲賱賴 賲毓乇賵賮 亘賵讴賵賮爻讴蹖 毓賴
Don't try
.....
丕蹖賳 讴鬲丕亘 乇賵 亘丕蹖丿 賴丿蹖賴 丿丕丿.
November 17, 2016
丕诏乇 乇丕爻鬲 亘丕卮丿 讴賴 丨賯蹖賯鬲 夭賴乇丌诏蹖賳 丕爻鬲貙 丌賳鬲蹖诏賵賳赖 乇丕 亘丕蹖丿 蹖讴 卮賵讴乇丕賳 鬲賱禺 賳丕賲蹖丿. 鬲乇丕跇丿蹖 鬲賯丕亘賱鈥屬囏ж� 賴賲賴 趩蹖夭 丿乇 亘乇丕亘乇 賴賲賴 趩蹖夭貙 讴卮卮蹖 亘賴 爻賵蹖 賲乇诏...
June 4, 2018
Oedipus the King was the first Greek tragedy I read in my life, when I was still of a single-digit school age and not exactly because it was compulsory reading for my class (who wants to inflict uninentional incest on young children, anyhow?). I don't recall how old I was, besides too young, nor the exact circumstances that led me to pick up an "adult" book, but I do recall the copy belonged to an older cousin of mine who was definitely reading it for school, and that I also read Homer's two epics round the same time.
No, I wasn't traumatised. No, I don't recall being grossed out of my young wits by the amount of age-inappropriate content. No, I didn't find the story disturbing at all. No, I didn't have nightmares, and didn't remember the plot for long after.
Yes, it's probably behind my grown-up tolerance for the likes of House Lannister. Ahem!
More seriously, I never read the entire trilogy until now. Mostly because I already knew what was coming after the first play, and that more or less spoilt it for me. But currently I'm on a Big Three Tragedians reading binge, and it was Sophocles' turn. Looking in my shelves, turns out I've hoarded about seven different translations of his plays, from which I selected Robert Fagles as the best of the lot after sample-reading the others (Bagg and Kitto are next for the top three, by the way).
Did I like the two other plays that complete the Oedipan cycle, Oedipus at Colonus and Antigone? Yes! Definitely yes, it's the only trilogy that got 5 stars for all three in a row, despite not being my favourite drama plot. It's too good to rate lower, in my opinion. And seeing the quality, it made me wish Sophocles' complete take on the House of Atreus hadn't been lost.
As a curious observation, there's an interesting little detail here: Sophocles chose to have Oedipus get divine compensation for his tragic fate upon death, by an ending that looked similar to biblical tales of similar tone, and also reminded me somewhat of J. R. R. Tolkien's T煤rin, another tragically cursed character also driven to unintentional incest by forces beyond his control. Very interesting! What it is, I won't be telling, just do read it.
No, I wasn't traumatised. No, I don't recall being grossed out of my young wits by the amount of age-inappropriate content. No, I didn't find the story disturbing at all. No, I didn't have nightmares, and didn't remember the plot for long after.
Yes, it's probably behind my grown-up tolerance for the likes of House Lannister. Ahem!
More seriously, I never read the entire trilogy until now. Mostly because I already knew what was coming after the first play, and that more or less spoilt it for me. But currently I'm on a Big Three Tragedians reading binge, and it was Sophocles' turn. Looking in my shelves, turns out I've hoarded about seven different translations of his plays, from which I selected Robert Fagles as the best of the lot after sample-reading the others (Bagg and Kitto are next for the top three, by the way).
Did I like the two other plays that complete the Oedipan cycle, Oedipus at Colonus and Antigone? Yes! Definitely yes, it's the only trilogy that got 5 stars for all three in a row, despite not being my favourite drama plot. It's too good to rate lower, in my opinion. And seeing the quality, it made me wish Sophocles' complete take on the House of Atreus hadn't been lost.
As a curious observation, there's an interesting little detail here: Sophocles chose to have Oedipus get divine compensation for his tragic fate upon death, by an ending that looked similar to biblical tales of similar tone, and also reminded me somewhat of J. R. R. Tolkien's T煤rin, another tragically cursed character also driven to unintentional incest by forces beyond his control. Very interesting! What it is, I won't be telling, just do read it.
May 19, 2016
'Take these things to heart, my son, I warn you.
All men make mistakes, it is only human.
But once the wrong is done, a man
can turn his back on folly, misfortune too,
if he tries to make amends, however low he鈥檚 fallen,
and stops his bullnecked ways. Stubbornness
brands you for stupidity 鈥� pride is a crime.
No, yield to the dead!
Never stab the fighter when he鈥檚 down.
Where鈥檚 the glory, killing the dead twice over?鈥�
(Tiresias, the blind prophet, to Creon, king of Thebes, uncle of Antigone in 鈥楢ntigone鈥� )
Three very good decisions led me to finally read the Penguin Classic Edition of Sophocles鈥� three Theban plays: First and foremost, I have eventually decided a few month ago to take a course in Classical Mythology. This has always been my wish, but as with so many things in life it had been postponed for years. The course did not open Pandora鈥檚 box, it has instead enhanced my understanding of literature and art in general and given me new insights of how Classical mythology is part of our cultural legacy. Amongst others we had to read Sophocles鈥� 鈥極edipus the King鈥�. I knew, somewhere in my house I would find a battered, yellow Reclam edition in German: This work by Sophocles is a set book for almost every high school student here in Zurich. On the spur of a moment I decided, however, to read not only this well-known play, but to add the two other Theban Plays: 鈥楢ntigone鈥� and 鈥極edipus at Colonus鈥�. This was my second good decision. My third brave decision was to read these plays in an English translation instead of a German one, mostly because I could not find any decent new translation into German. This is how I came into the possession of a brand new copy of the Penguin Classic Edition, translated by Robert Fagles (Professor of Comparative Literature, Emeritus, at Princeton University) with introductions and notes by Bernard Knox (Director Emeritus of Harvard鈥檚 Center for Hellenic Studies in Washington). As so often with Penguin Classics editions, I fell instantly in love with the cover, depicting Gustave Dor茅鈥檚 鈥楾he Enigma鈥� (Mus茅e d鈥橭rsay, Paris):
I cannot praise highly enough this edition and its translation. The beautiful and simple language is easy to understand even for non-native English speakers; the accompanying notes are clear and require only a basic knowledge of Greek mythology. They help to enjoy even more the compelling writing and subtle irony of the plays.
If you have read 鈥極edipus the King鈥� years ago and are now ready to revisit this work, give it a try and read all three Theban plays by Sophocles. They consist of 鈥楢ntigone鈥� (written ca. 442 B.C.), 鈥極edipus the King鈥� (ca. 430 B.C.) and 鈥極edipus at Colonus鈥� (produced after Sophocles death in 401 B.C.). Besides the beautifully structured 鈥極edipus the King鈥� the two other Theban plays about the idealistic Antigone and Oedipus in exile are no less captivating and have not lost their attractiveness. As all Greek dramas, Sophocles鈥� tragedies are based on myths that have been passed on orally. Bernard Knox explains:
鈥淭he stuff from which the tragic poet made his plays was not contemporary reality but myth. And yet it did reflect contemporary reality, did so perhaps in terms more authoritative because they were not colored by the partisan emotions of the time, terms which were in fact so authorative that they remain meaningful even for us today.鈥�(p.22)
One of the best examples that these stories have the same powerful meaning as 2400 years ago is the quote mentioned at the beginning of this review by Tiresias to Creon.
Nevertheless, I am aware that the modern reader of today has another approach to these works than the Athenian male viewer had (women apparently were rarely admitted to the spectacles). During my course I read several plays not only by Sophocles but also by Aeschylus and Euripides. Even though I love Greek Mythology and I am very much attracted to the Classical Antiquity, it has often been difficult for me to digest the misogyny of Classical cultures. Greek men do not seem to have been very comfortable around women. In several myths women are depicted as malicious, monstrous or even eerie. Monsters are often female. It seems that Antigone is a rare exception. Her integrity and humanity, which Sophocles describes so masterfully, makes her sympathetic to the modern reader. Oedipus might have been the hero of the male Athenian viewer (*), but I think Oedipus鈥� daughter Antigone is my personal hero of the stories. Let me thus conclude with a quote by Bernard Knox about my favourite character in the plays:
鈥溾€er courage and steadfastness are a gleam of light; she is the embodiment of the only consolation tragedy can offer 鈥� that in certain heroic natures unmerited suffering and death can be met with a greatness of soul which, because it is purely human, brings honor to us all.鈥� (p.53)
(*)Heroes in Greek mythology were not basically good or moral persons; they could be quite the opposite. A hero could have a divine parent or being extraordinary in some other ways, he did not have to be a good man.
All men make mistakes, it is only human.
But once the wrong is done, a man
can turn his back on folly, misfortune too,
if he tries to make amends, however low he鈥檚 fallen,
and stops his bullnecked ways. Stubbornness
brands you for stupidity 鈥� pride is a crime.
No, yield to the dead!
Never stab the fighter when he鈥檚 down.
Where鈥檚 the glory, killing the dead twice over?鈥�
(Tiresias, the blind prophet, to Creon, king of Thebes, uncle of Antigone in 鈥楢ntigone鈥� )
Three very good decisions led me to finally read the Penguin Classic Edition of Sophocles鈥� three Theban plays: First and foremost, I have eventually decided a few month ago to take a course in Classical Mythology. This has always been my wish, but as with so many things in life it had been postponed for years. The course did not open Pandora鈥檚 box, it has instead enhanced my understanding of literature and art in general and given me new insights of how Classical mythology is part of our cultural legacy. Amongst others we had to read Sophocles鈥� 鈥極edipus the King鈥�. I knew, somewhere in my house I would find a battered, yellow Reclam edition in German: This work by Sophocles is a set book for almost every high school student here in Zurich. On the spur of a moment I decided, however, to read not only this well-known play, but to add the two other Theban Plays: 鈥楢ntigone鈥� and 鈥極edipus at Colonus鈥�. This was my second good decision. My third brave decision was to read these plays in an English translation instead of a German one, mostly because I could not find any decent new translation into German. This is how I came into the possession of a brand new copy of the Penguin Classic Edition, translated by Robert Fagles (Professor of Comparative Literature, Emeritus, at Princeton University) with introductions and notes by Bernard Knox (Director Emeritus of Harvard鈥檚 Center for Hellenic Studies in Washington). As so often with Penguin Classics editions, I fell instantly in love with the cover, depicting Gustave Dor茅鈥檚 鈥楾he Enigma鈥� (Mus茅e d鈥橭rsay, Paris):
I cannot praise highly enough this edition and its translation. The beautiful and simple language is easy to understand even for non-native English speakers; the accompanying notes are clear and require only a basic knowledge of Greek mythology. They help to enjoy even more the compelling writing and subtle irony of the plays.
If you have read 鈥極edipus the King鈥� years ago and are now ready to revisit this work, give it a try and read all three Theban plays by Sophocles. They consist of 鈥楢ntigone鈥� (written ca. 442 B.C.), 鈥極edipus the King鈥� (ca. 430 B.C.) and 鈥極edipus at Colonus鈥� (produced after Sophocles death in 401 B.C.). Besides the beautifully structured 鈥極edipus the King鈥� the two other Theban plays about the idealistic Antigone and Oedipus in exile are no less captivating and have not lost their attractiveness. As all Greek dramas, Sophocles鈥� tragedies are based on myths that have been passed on orally. Bernard Knox explains:
鈥淭he stuff from which the tragic poet made his plays was not contemporary reality but myth. And yet it did reflect contemporary reality, did so perhaps in terms more authoritative because they were not colored by the partisan emotions of the time, terms which were in fact so authorative that they remain meaningful even for us today.鈥�(p.22)
One of the best examples that these stories have the same powerful meaning as 2400 years ago is the quote mentioned at the beginning of this review by Tiresias to Creon.
Nevertheless, I am aware that the modern reader of today has another approach to these works than the Athenian male viewer had (women apparently were rarely admitted to the spectacles). During my course I read several plays not only by Sophocles but also by Aeschylus and Euripides. Even though I love Greek Mythology and I am very much attracted to the Classical Antiquity, it has often been difficult for me to digest the misogyny of Classical cultures. Greek men do not seem to have been very comfortable around women. In several myths women are depicted as malicious, monstrous or even eerie. Monsters are often female. It seems that Antigone is a rare exception. Her integrity and humanity, which Sophocles describes so masterfully, makes her sympathetic to the modern reader. Oedipus might have been the hero of the male Athenian viewer (*), but I think Oedipus鈥� daughter Antigone is my personal hero of the stories. Let me thus conclude with a quote by Bernard Knox about my favourite character in the plays:
鈥溾€er courage and steadfastness are a gleam of light; she is the embodiment of the only consolation tragedy can offer 鈥� that in certain heroic natures unmerited suffering and death can be met with a greatness of soul which, because it is purely human, brings honor to us all.鈥� (p.53)
(*)Heroes in Greek mythology were not basically good or moral persons; they could be quite the opposite. A hero could have a divine parent or being extraordinary in some other ways, he did not have to be a good man.
August 16, 2021
1. 賲賴賲鈥屫臂屬� 賲囟賲賵賳賽 爻賴 賳賲丕蹖卮賳丕賲赖鈥屰� 鬲亘丕蹖 乇丕 賲蹖鈥屫堌з� 芦爻乇賳賵卮鬲禄 賲賯丿乇 賵 賳丕鬲賵丕賳蹖賽 丌丿賲蹖 丿乇 賮乇丕乇賽 丕夭 丌賳 丿丕賳爻鬲貨 丨鬲蹖 丕賵丿蹖倬賵爻賽 丿丕賳丕 賳蹖夭 賳鬲賵丕賳爻鬲 禺賵丿卮 乇丕 丕夭 丿丕賲 爻乇賳賵卮鬲蹖 讴賴 禺賵丕賴乇丕賳賽 芦賲賵蹖乇丕蹖禄 亘乇丕蹖 賵蹖 乇蹖爻蹖丿賴 賵 亘丕賮鬲賴 亘賵丿賳丿貙 乇賴丕蹖蹖 丿賴丿 賵 禺賵丿 賳蹖夭 亘賴 爻乇賳賵卮鬲賽 卮賵賲 禺丕賳丿丕賳卮 賲亘鬲賱丕 卮丿賴 賵 賮乇夭賳丿丕賳/亘乇丕丿乇丕賳 賵 禺賵丕賴乇丕賳卮 乇丕 賳蹖夭 丕夭 丌賳 亘蹖鈥屬嗀帝屫� 讴乇丿.
丕賲丕 丌賳趩賴 讴賴 賮讴乇 賲乇丕 亘賴 禺賵丿 賲卮睾賵賱 丿丕卮鬲貙 卮亘丕賴鬲賽 丕賵丿蹖倬賵爻 賵 诏蹖賱诏賲卮 亘賵丿貨 賴乇 丿賵蹖 丌賳鈥屬囏� 讴丕禺 倬丕丿卮丕賴蹖 賵 夭丕丿诏丕賴鈥屫簇з� 乇丕 鬲乇讴 賲蹖鈥屭┵嗁嗀� 鬲丕 卮丕蹖丿 乇丕賴蹖 亘乇丕蹖 賮乇丕乇 丕夭 爻乇賳賵卮鬲鈥屫簇з� 倬蹖丿丕 讴賳賳丿. 賵 噩丕賱亘 丕蹖賳讴賴 賴乇 丿賵 丕夭 丿丕賳丕鬲乇蹖賳 賵 亘夭乇诏鈥屫臂屬� 賲乇丿賲丕賳 禺賵丿 亘賵丿賳丿貨 賴賲 诏蹖賱诏賲卮 賵 賴賲 丕賵丿蹖倬賵爻 卮賴乇卮丕賳 乇丕 亘賴 鬲乇鬲蹖亘 丕夭 卮乇賽 诏丕賵 丌爻賲丕賳 賵 丕亘賵丕賱賴賵賱 賲蹖鈥屫辟囏з嗁嗀� 賵 賳丕噩蹖賽 卮賴乇 禺賵丿 賲蹖鈥屫促堎嗀�. 丕賲丕 賲賵丕噩賴賴鈥屫簇з� 亘丕 賲乇诏貙 蹖讴蹖 賲乇诏 丿賵爻鬲卮 賵 丿蹖诏乇蹖 賲乇诏 賲乇丿賲丕賳卮貙 丌賳鈥屬囏� 乇丕 亘丕 爻乇賳賵卮鬲賽 賲丨鬲賵賲鈥屫簇з� 乇賵亘乇賵 賲蹖鈥屭┵嗀�.
丕賲丕 趩賴 賲蹖鈥屫促堌� 讴賴 蹖讴 賳賲丕蹖卮賳丕賲赖鈥屬嗁堐屫迟� 丌鬲賳蹖 (丕蹖賳 丿賵賱鬲鈥屫促囏� 爻毓丕丿鬲鈥屬呝嗀� 賵 鬲賲丿賳鈥屫池ж�) 亘乇 丌賳 賲蹖鈥屭必� 鬲丕 丕蹖賳鈥屭堎嗁� 鬲蹖乇賴 賵 鬲丕乇 亘賴 爻乇賳賵卮鬲賽 诏乇蹖夭賳丕倬匕蹖乇 丌丿賲蹖 賵 丿爻鬲 賵 倬丕 夭丿賳鈥屬囏й� 亘蹖賴賵丿賴鈥屰� 賵蹖貙 夭蹖乇 賳诏丕賴 禺蹖乇賴鈥屰� 禺丿丕蹖丕賳 亘賳诏乇丿.
2. 丕賲丕 蹖讴蹖 丕夭 賯丿乇鬲賲賳丿鬲乇蹖賳 賵 蹖诏丕賳賴鈥屫臂屬� 卮禺氐蹖鬲鈥屬囏й� 丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖貙 芦丌賳鬲蹖诏賵賳赖禄 丕爻鬲貨 丕蹖賳 卮賴丿禺鬲蹖 讴賴 卮噩丕毓丕賳賴 倬丿乇 倬蹖乇 賵 賳丕亘蹖賳丕蹖 禺賵丿 乇丕 乇賴賳賲丕 賵 趩卮賲 賲蹖鈥屫促堌� 賵 诏賵蹖蹖 讴賴 亘丕乇 爻賳诏蹖賳賽 爻乇賳賵卮鬲賽 丕賵 乇丕 卮乇蹖讴 賲蹖鈥屫促堌�. 丌賳鬲蹖诏賵賳赖 亘賴 賵囟賵丨 賵 亘丕 賯丿乇鬲貙 爻乇賳賵卮鬲賽 禺丕賳賵丕丿诏蹖鈥屫簇з� 乇丕 賲蹖鈥屬矩佰屫必� 賵 亘蹖 賴蹖趩 賴乇丕爻蹖 亘賴 丕爻鬲賯亘丕賱 丕賵 賵 亘賴 丕爻鬲賯亘丕賱 賲乇诏 賲蹖鈥屫辟堌�.
丕賳诏丕乇 讴賴 丌賳鬲蹖诏賵賳赖鈥屰� 賳賲丕蹖卮賳丕賲赖 芦丕賵丿蹖倬賵爻 丿乇 讴賱賵賳賵爻禄貙 乇賵卮 賵 賲賳卮賽 賲賵丕噩賴賴 亘丕 爻乇賳賵卮鬲 賵 賲乇诏 乇丕 丕夭 丕賵丿蹖倬賵爻賽 賳丕亘蹖賳丕貙 倬丿乇/亘乇丕丿乇卮 丌賲賵禺鬲賴 丕爻鬲貙 賵 丕讴賳賵賳 丿乇 賳賲丕蹖卮賳丕賲赖 芦丌賳鬲蹖诏賵賳赖禄貙 蹖讴 鬲賳賴 賵 讴丕賲賱丕賸 丌诏丕賴 丕夭 賵 倬匕蹖乇丕蹖 爻乇賳賵卮鬲蹖 讴賴 亘乇丕蹖卮 乇賯賲 禺賵乇丿賴貙 亘賴 噩賳诏賽 亘丕 丿跇禺蹖賲賽 夭賲丕賳賴鈥屫ж� 賲蹖 乇賵丿.
3. 賲爻讴賵亘 丿乇 鬲乇噩賲賴鈥屰� 禺賵丿貙 賳賴 鬲賳賴丕 亘賴 禺賵亘蹖 鬲賵丕賳爻鬲賴 丕爻鬲 讴賴 丨丕賱 賵 賴賵丕蹖 丌乇讴丕卅蹖讴賽 賳賲丕蹖卮賳丕賲赖鈥屬囏� 乇丕 鬲乇爻蹖賲 讴賳丿貙 亘賱讴賴 賲鬲賳蹖 蹖讴鈥屫池� 賵 丿賱賳卮蹖賳 丕乇丕卅賴 丿丕丿賴 丕爻鬲. 賵 丕賱亘鬲賴 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 趩賳蹖賳 賳孬乇 賵 丕丿亘蹖鬲蹖貙 亘乇 讴丕乇 丿卮賵丕乇賽 亘賴 乇賵蹖 氐丨賳賴 亘乇丿賳 丕蹖賳 賳賲丕蹖卮賳丕賲赖 賴丕 乇丕 丿賵 趩賳丿丕賳 賲蹖 丕賮夭丕蹖丿.
賵 丿蹖诏乇 丕蹖賳讴賴 賲賯丿賲賴鈥屰� 賲爻讴賵亘 亘乇 賳賲丕蹖卮賳丕賲赖鈥屰� 丕賵丿蹖倬賵爻 卮賴乇蹖丕乇 乇丕 賳倬爻賳丿蹖丿賲 賵 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 乇丕賴 鬲賮爻蹖乇賽 丕爻胤賵乇賴貙 丕蹖賳 賳亘丕卮丿貨 丕蹖賳讴賴 賲賳賽 賲禺丕胤亘/賲賯丿賲賴鈥屬嗁堐屫�/賲鬲乇噩賲 丕賮讴丕乇 賵 鬲乇丕賵卮丕鬲 匕賴賳蹖賽 禺賵丿 乇丕 丨賵賱賽 蹖讴蹖 丕夭 卮禺氐蹖鬲鈥屬囏� 卮讴賱 亘丿賴賲 賵 爻倬爻 丕夭 賴乇 讴噩丕 讴賴 匕賴賳鈥屫з� 蹖丕乇蹖 賳賲賵丿貙 丿丕爻鬲丕賳鈥屬囏� 賵 丕爻丕胤蹖乇賽 賲禺鬲賱賮賽 丿蹖诏乇 乇丕 亘賴 毓賳賵丕賳 卮丕賴丿 蹖丕 賴乇 趩蹖夭 丿蹖诏乇蹖 亘賴 丌賳 丕賱氐丕賯 讴賳賲貙 鬲丕 賲鬲賳蹖 倬賳噩丕賴 氐賮丨賴鈥屫й� 丕夭 丌賳 丿乇 丌賵乇賲 讴賴 賲蹖鈥屫簇� 鬲賲丕賲蹖 丌賳 乇丕 丿乇 丿賴 氐賮丨賴鈥屫з� 禺賱丕氐賴 讴乇丿.
倬 賳賵卮鬲 1: 禺賵丕賳卮賽 丕蹖賳 讴鬲丕亘 丿乇 丕蹖賳 賲賯胤毓貙 噩夭 亘賴 賴賲鬲賽 丿賵爻鬲丕賳賽 倬蹖卮賳賴丕丿丿賴賳丿賴 賵 丕賱亘鬲賴 賴賲乇丕賴蹖鈥屭┵嗁嗀団€屰� 噩賲毓鈥屫堌з嗃� 賲爻鬲胤丕亘 丨丕氐賱 賳賲蹖鈥屫簇� 丕夭 賴賲诏丕賳鈥屫簇з� 爻倬丕爻诏夭丕乇賲.
倬 賳賵卮鬲 2: 丕賲鬲蹖丕夭 賲賳 亘賴 賳賲丕蹖卮賳丕賲赖 賴丕貙 亘賴 鬲乇鬲蹖亘貙 5 賵 4 賵 4.5 賲蹖鈥屫ㄘж簇�.
丕賲丕 丌賳趩賴 讴賴 賮讴乇 賲乇丕 亘賴 禺賵丿 賲卮睾賵賱 丿丕卮鬲貙 卮亘丕賴鬲賽 丕賵丿蹖倬賵爻 賵 诏蹖賱诏賲卮 亘賵丿貨 賴乇 丿賵蹖 丌賳鈥屬囏� 讴丕禺 倬丕丿卮丕賴蹖 賵 夭丕丿诏丕賴鈥屫簇з� 乇丕 鬲乇讴 賲蹖鈥屭┵嗁嗀� 鬲丕 卮丕蹖丿 乇丕賴蹖 亘乇丕蹖 賮乇丕乇 丕夭 爻乇賳賵卮鬲鈥屫簇з� 倬蹖丿丕 讴賳賳丿. 賵 噩丕賱亘 丕蹖賳讴賴 賴乇 丿賵 丕夭 丿丕賳丕鬲乇蹖賳 賵 亘夭乇诏鈥屫臂屬� 賲乇丿賲丕賳 禺賵丿 亘賵丿賳丿貨 賴賲 诏蹖賱诏賲卮 賵 賴賲 丕賵丿蹖倬賵爻 卮賴乇卮丕賳 乇丕 亘賴 鬲乇鬲蹖亘 丕夭 卮乇賽 诏丕賵 丌爻賲丕賳 賵 丕亘賵丕賱賴賵賱 賲蹖鈥屫辟囏з嗁嗀� 賵 賳丕噩蹖賽 卮賴乇 禺賵丿 賲蹖鈥屫促堎嗀�. 丕賲丕 賲賵丕噩賴賴鈥屫簇з� 亘丕 賲乇诏貙 蹖讴蹖 賲乇诏 丿賵爻鬲卮 賵 丿蹖诏乇蹖 賲乇诏 賲乇丿賲丕賳卮貙 丌賳鈥屬囏� 乇丕 亘丕 爻乇賳賵卮鬲賽 賲丨鬲賵賲鈥屫簇з� 乇賵亘乇賵 賲蹖鈥屭┵嗀�.
丕賲丕 趩賴 賲蹖鈥屫促堌� 讴賴 蹖讴 賳賲丕蹖卮賳丕賲赖鈥屬嗁堐屫迟� 丌鬲賳蹖 (丕蹖賳 丿賵賱鬲鈥屫促囏� 爻毓丕丿鬲鈥屬呝嗀� 賵 鬲賲丿賳鈥屫池ж�) 亘乇 丌賳 賲蹖鈥屭必� 鬲丕 丕蹖賳鈥屭堎嗁� 鬲蹖乇賴 賵 鬲丕乇 亘賴 爻乇賳賵卮鬲賽 诏乇蹖夭賳丕倬匕蹖乇 丌丿賲蹖 賵 丿爻鬲 賵 倬丕 夭丿賳鈥屬囏й� 亘蹖賴賵丿賴鈥屰� 賵蹖貙 夭蹖乇 賳诏丕賴 禺蹖乇賴鈥屰� 禺丿丕蹖丕賳 亘賳诏乇丿.
2. 丕賲丕 蹖讴蹖 丕夭 賯丿乇鬲賲賳丿鬲乇蹖賳 賵 蹖诏丕賳賴鈥屫臂屬� 卮禺氐蹖鬲鈥屬囏й� 丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖貙 芦丌賳鬲蹖诏賵賳赖禄 丕爻鬲貨 丕蹖賳 卮賴丿禺鬲蹖 讴賴 卮噩丕毓丕賳賴 倬丿乇 倬蹖乇 賵 賳丕亘蹖賳丕蹖 禺賵丿 乇丕 乇賴賳賲丕 賵 趩卮賲 賲蹖鈥屫促堌� 賵 诏賵蹖蹖 讴賴 亘丕乇 爻賳诏蹖賳賽 爻乇賳賵卮鬲賽 丕賵 乇丕 卮乇蹖讴 賲蹖鈥屫促堌�. 丌賳鬲蹖诏賵賳赖 亘賴 賵囟賵丨 賵 亘丕 賯丿乇鬲貙 爻乇賳賵卮鬲賽 禺丕賳賵丕丿诏蹖鈥屫簇з� 乇丕 賲蹖鈥屬矩佰屫必� 賵 亘蹖 賴蹖趩 賴乇丕爻蹖 亘賴 丕爻鬲賯亘丕賱 丕賵 賵 亘賴 丕爻鬲賯亘丕賱 賲乇诏 賲蹖鈥屫辟堌�.
丕賳诏丕乇 讴賴 丌賳鬲蹖诏賵賳赖鈥屰� 賳賲丕蹖卮賳丕賲赖 芦丕賵丿蹖倬賵爻 丿乇 讴賱賵賳賵爻禄貙 乇賵卮 賵 賲賳卮賽 賲賵丕噩賴賴 亘丕 爻乇賳賵卮鬲 賵 賲乇诏 乇丕 丕夭 丕賵丿蹖倬賵爻賽 賳丕亘蹖賳丕貙 倬丿乇/亘乇丕丿乇卮 丌賲賵禺鬲賴 丕爻鬲貙 賵 丕讴賳賵賳 丿乇 賳賲丕蹖卮賳丕賲赖 芦丌賳鬲蹖诏賵賳赖禄貙 蹖讴 鬲賳賴 賵 讴丕賲賱丕賸 丌诏丕賴 丕夭 賵 倬匕蹖乇丕蹖 爻乇賳賵卮鬲蹖 讴賴 亘乇丕蹖卮 乇賯賲 禺賵乇丿賴貙 亘賴 噩賳诏賽 亘丕 丿跇禺蹖賲賽 夭賲丕賳賴鈥屫ж� 賲蹖 乇賵丿.
3. 賲爻讴賵亘 丿乇 鬲乇噩賲賴鈥屰� 禺賵丿貙 賳賴 鬲賳賴丕 亘賴 禺賵亘蹖 鬲賵丕賳爻鬲賴 丕爻鬲 讴賴 丨丕賱 賵 賴賵丕蹖 丌乇讴丕卅蹖讴賽 賳賲丕蹖卮賳丕賲赖鈥屬囏� 乇丕 鬲乇爻蹖賲 讴賳丿貙 亘賱讴賴 賲鬲賳蹖 蹖讴鈥屫池� 賵 丿賱賳卮蹖賳 丕乇丕卅賴 丿丕丿賴 丕爻鬲. 賵 丕賱亘鬲賴 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 趩賳蹖賳 賳孬乇 賵 丕丿亘蹖鬲蹖貙 亘乇 讴丕乇 丿卮賵丕乇賽 亘賴 乇賵蹖 氐丨賳賴 亘乇丿賳 丕蹖賳 賳賲丕蹖卮賳丕賲赖 賴丕 乇丕 丿賵 趩賳丿丕賳 賲蹖 丕賮夭丕蹖丿.
賵 丿蹖诏乇 丕蹖賳讴賴 賲賯丿賲賴鈥屰� 賲爻讴賵亘 亘乇 賳賲丕蹖卮賳丕賲赖鈥屰� 丕賵丿蹖倬賵爻 卮賴乇蹖丕乇 乇丕 賳倬爻賳丿蹖丿賲 賵 賮讴乇 賲蹖鈥屭┵嗁� 讴賴 乇丕賴 鬲賮爻蹖乇賽 丕爻胤賵乇賴貙 丕蹖賳 賳亘丕卮丿貨 丕蹖賳讴賴 賲賳賽 賲禺丕胤亘/賲賯丿賲賴鈥屬嗁堐屫�/賲鬲乇噩賲 丕賮讴丕乇 賵 鬲乇丕賵卮丕鬲 匕賴賳蹖賽 禺賵丿 乇丕 丨賵賱賽 蹖讴蹖 丕夭 卮禺氐蹖鬲鈥屬囏� 卮讴賱 亘丿賴賲 賵 爻倬爻 丕夭 賴乇 讴噩丕 讴賴 匕賴賳鈥屫з� 蹖丕乇蹖 賳賲賵丿貙 丿丕爻鬲丕賳鈥屬囏� 賵 丕爻丕胤蹖乇賽 賲禺鬲賱賮賽 丿蹖诏乇 乇丕 亘賴 毓賳賵丕賳 卮丕賴丿 蹖丕 賴乇 趩蹖夭 丿蹖诏乇蹖 亘賴 丌賳 丕賱氐丕賯 讴賳賲貙 鬲丕 賲鬲賳蹖 倬賳噩丕賴 氐賮丨賴鈥屫й� 丕夭 丌賳 丿乇 丌賵乇賲 讴賴 賲蹖鈥屫簇� 鬲賲丕賲蹖 丌賳 乇丕 丿乇 丿賴 氐賮丨賴鈥屫з� 禺賱丕氐賴 讴乇丿.
倬 賳賵卮鬲 1: 禺賵丕賳卮賽 丕蹖賳 讴鬲丕亘 丿乇 丕蹖賳 賲賯胤毓貙 噩夭 亘賴 賴賲鬲賽 丿賵爻鬲丕賳賽 倬蹖卮賳賴丕丿丿賴賳丿賴 賵 丕賱亘鬲賴 賴賲乇丕賴蹖鈥屭┵嗁嗀団€屰� 噩賲毓鈥屫堌з嗃� 賲爻鬲胤丕亘 丨丕氐賱 賳賲蹖鈥屫簇� 丕夭 賴賲诏丕賳鈥屫簇з� 爻倬丕爻诏夭丕乇賲.
倬 賳賵卮鬲 2: 丕賲鬲蹖丕夭 賲賳 亘賴 賳賲丕蹖卮賳丕賲赖 賴丕貙 亘賴 鬲乇鬲蹖亘貙 5 賵 4 賵 4.5 賲蹖鈥屫ㄘж簇�.
June 24, 2019
趩賴 賱匕鬲蹖 亘乇丿賲 丕夭 禺賵賳丿賳 丕蹖賳 爻賴 鬲乇丕跇丿蹖 蹖賵賳丕賳 亘丕爻鬲丕賳.
丕氐賱丕 亘丕賵乇賲 賳賲蹖鈥屫簇� 鄄郯郯郯 爻丕賱 倬蹖卮 蹖丕 賴賲趩蹖賳 丨丿賵丿蹖 賳賵卮鬲賴 卮丿賴 亘丕卮賳 賵 賴賳賵夭 丕賳賯丿乇 噩匕丕亘 賵 诏蹖乇丕 亘乇丕蹖 賲賳 賲禺丕胤亘 賯乇賳 亘蹖爻鬲 賵 蹖讴賲蹖 亘丕卮賳.
爻賴 賳賲丕蹖卮賳丕賲赖 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄貙 芦丕丿蹖倬賵爻 丿乇 讴賱賵賳爻禄 賵 芦丌賳鬲蹖诏賳賴禄.
丕丿蹖倬賵爻 賮乇夭賳丿 讴丕蹖丿賵爻 賳賮乇蹖賳 卮丿賴 讴賴 鬲賯丿蹖乇卮 讴卮鬲賳 倬丿乇 賵 亘賴 賴賲爻乇蹖 诏乇賮鬲賳 賲丕丿乇 禺賵丿卮 賴爻鬲. 賯胤毓丕 賲蹖丿賵賳蹖丿 讴賴 賮乇賵蹖丿 賳馗乇蹖賴 芦毓賯丿賴 丕丿蹖倬禄 乇賵 丕夭 丕蹖賳 賳賲丕蹖卮賳丕賲赖 亘乇丿丕卮鬲 讴乇丿賴.
丿丕爻鬲丕賳 丕丿蹖倬賵爻 丿乇 賲賵丕噩賴賴 亘丕 鬲賯丿蹖乇卮 賵 丿丕爻鬲丕賳 賮乇夭賳丿丕賳卮 讴賴 蹖讴蹖 丕夭 丕賵賳賴丕 丌賳鬲蹖诏賳賴 亘丕卮賴 丿乇 丕丿丕賲賴 賳賮乇蹖賳 丕亘丿蹖 讴賴 禺丕賳丿丕賳卮賵賳 亘賴卮 诏乇賮鬲丕乇賴 鬲賵蹖 丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖 賳賯賱 賲蹖卮賴.
蹖讴 賳讴鬲賴 噩丕賱亘 丕蹖賳 亘賵丿 讴賴 禺亘 趩賵賳 賳賲蹖鬲賵賳爻鬲賳 噩賳诏鈥屬囏� 乇賵 丕賵賳 夭賲丕賳 乇賵蹖 氐丨賳賴 丕噩乇丕 讴賳賳貙 蹖讴 诏乇賵賴 賴賲爻乇丕蹖丕賳 丿丕爻鬲丕賳 噩賳诏鈥屬囏� 乇賵 亘丕 丌亘 賵 鬲丕亘 賳賯賱 賲蹖讴賳賴貙 蹖毓賳蹖 乇賵蹖丿丕丿賴丕 賴賲 丿蹖丕賱賵诏鈥屫焚堌� 乇賵丕蹖鬲 賲蹖卮賳.
賳賲丕蹖卮賳丕賲赖鈥屸€� 賲賳馗賵賲 亘丕 鬲乇噩賲賴 亘蹖鈥屬嗀港屫� 卮丕賴乇禺 賲爻讴賵亘 讴賴 賲賳鬲噩 卮丿賴 亘賴 蹖讴 賳孬乇 讴賴賳 賮丕禺乇 丌賴賳诏蹖賳 讴賴 賱匕鬲 禺賵賳丿賳 乇賵 氐丿趩賳丿丕賳 賲蹖讴賳賴.
毓賱丕賵賴 亘乇 賴賲賴 丕蹖賳 賳讴丕鬲 賲賳 毓丕卮賯 禺丿丕蹖丕賳 蹖賵賳丕賳蹖 賵 賯氐賴鈥屬囏ж促堎� 賴爻鬲賲 賵 趩賴 賳賯卮 倬乇乇賳诏蹖 丿丕卮鬲賳 鬲賵蹖 丕蹖賳 讴鬲丕亘. 賵 賲賳 丕夭 鬲賱賮馗 丕爻賲賴丕卮賵賳 賵 賳蹖乇賳诏鈥屬囏ж促堎� 賵 亘丕夭蹖鈥屬囏й屰� 讴賴 亘丕 丕賳爻丕賳 賮丕賳蹖 賲蹖讴賳賳 趩賯丿乇 讴蹖賮 讴乇丿賲.
蹖讴 賲賯丿賲賴 賲鬲乇噩賲 賳賵卮鬲賴 亘乇 丕蹖賳 丕孬乇 讴賴 卮丕賴讴丕乇 賲爻賱賲賴. 蹖讴 賲賵禺乇賴 亘爻蹖丕乇 噩匕丕亘 賴賲 丕囟丕賮賴 讴乇丿賴 乇丕噩毓 亘賴 鬲乇丕跇丿蹖 丌賳鬲蹖诏賳賴.
丕氐賱丕 丿乇 禺賵賳丿賳 丕蹖賳 丕孬乇 卮讴 賳讴賳蹖丿 讴賴 丕夭 賴乇 賱丨丕馗 亘丕丕乇夭卮賴.
丕氐賱丕 亘丕賵乇賲 賳賲蹖鈥屫簇� 鄄郯郯郯 爻丕賱 倬蹖卮 蹖丕 賴賲趩蹖賳 丨丿賵丿蹖 賳賵卮鬲賴 卮丿賴 亘丕卮賳 賵 賴賳賵夭 丕賳賯丿乇 噩匕丕亘 賵 诏蹖乇丕 亘乇丕蹖 賲賳 賲禺丕胤亘 賯乇賳 亘蹖爻鬲 賵 蹖讴賲蹖 亘丕卮賳.
爻賴 賳賲丕蹖卮賳丕賲赖 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄貙 芦丕丿蹖倬賵爻 丿乇 讴賱賵賳爻禄 賵 芦丌賳鬲蹖诏賳賴禄.
丕丿蹖倬賵爻 賮乇夭賳丿 讴丕蹖丿賵爻 賳賮乇蹖賳 卮丿賴 讴賴 鬲賯丿蹖乇卮 讴卮鬲賳 倬丿乇 賵 亘賴 賴賲爻乇蹖 诏乇賮鬲賳 賲丕丿乇 禺賵丿卮 賴爻鬲. 賯胤毓丕 賲蹖丿賵賳蹖丿 讴賴 賮乇賵蹖丿 賳馗乇蹖賴 芦毓賯丿賴 丕丿蹖倬禄 乇賵 丕夭 丕蹖賳 賳賲丕蹖卮賳丕賲赖 亘乇丿丕卮鬲 讴乇丿賴.
丿丕爻鬲丕賳 丕丿蹖倬賵爻 丿乇 賲賵丕噩賴賴 亘丕 鬲賯丿蹖乇卮 賵 丿丕爻鬲丕賳 賮乇夭賳丿丕賳卮 讴賴 蹖讴蹖 丕夭 丕賵賳賴丕 丌賳鬲蹖诏賳賴 亘丕卮賴 丿乇 丕丿丕賲賴 賳賮乇蹖賳 丕亘丿蹖 讴賴 禺丕賳丿丕賳卮賵賳 亘賴卮 诏乇賮鬲丕乇賴 鬲賵蹖 丕蹖賳 爻賴 賳賲丕蹖卮賳丕賲赖 賳賯賱 賲蹖卮賴.
蹖讴 賳讴鬲賴 噩丕賱亘 丕蹖賳 亘賵丿 讴賴 禺亘 趩賵賳 賳賲蹖鬲賵賳爻鬲賳 噩賳诏鈥屬囏� 乇賵 丕賵賳 夭賲丕賳 乇賵蹖 氐丨賳賴 丕噩乇丕 讴賳賳貙 蹖讴 诏乇賵賴 賴賲爻乇丕蹖丕賳 丿丕爻鬲丕賳 噩賳诏鈥屬囏� 乇賵 亘丕 丌亘 賵 鬲丕亘 賳賯賱 賲蹖讴賳賴貙 蹖毓賳蹖 乇賵蹖丿丕丿賴丕 賴賲 丿蹖丕賱賵诏鈥屫焚堌� 乇賵丕蹖鬲 賲蹖卮賳.
賳賲丕蹖卮賳丕賲赖鈥屸€� 賲賳馗賵賲 亘丕 鬲乇噩賲賴 亘蹖鈥屬嗀港屫� 卮丕賴乇禺 賲爻讴賵亘 讴賴 賲賳鬲噩 卮丿賴 亘賴 蹖讴 賳孬乇 讴賴賳 賮丕禺乇 丌賴賳诏蹖賳 讴賴 賱匕鬲 禺賵賳丿賳 乇賵 氐丿趩賳丿丕賳 賲蹖讴賳賴.
毓賱丕賵賴 亘乇 賴賲賴 丕蹖賳 賳讴丕鬲 賲賳 毓丕卮賯 禺丿丕蹖丕賳 蹖賵賳丕賳蹖 賵 賯氐賴鈥屬囏ж促堎� 賴爻鬲賲 賵 趩賴 賳賯卮 倬乇乇賳诏蹖 丿丕卮鬲賳 鬲賵蹖 丕蹖賳 讴鬲丕亘. 賵 賲賳 丕夭 鬲賱賮馗 丕爻賲賴丕卮賵賳 賵 賳蹖乇賳诏鈥屬囏ж促堎� 賵 亘丕夭蹖鈥屬囏й屰� 讴賴 亘丕 丕賳爻丕賳 賮丕賳蹖 賲蹖讴賳賳 趩賯丿乇 讴蹖賮 讴乇丿賲.
蹖讴 賲賯丿賲賴 賲鬲乇噩賲 賳賵卮鬲賴 亘乇 丕蹖賳 丕孬乇 讴賴 卮丕賴讴丕乇 賲爻賱賲賴. 蹖讴 賲賵禺乇賴 亘爻蹖丕乇 噩匕丕亘 賴賲 丕囟丕賮賴 讴乇丿賴 乇丕噩毓 亘賴 鬲乇丕跇丿蹖 丌賳鬲蹖诏賳賴.
丕氐賱丕 丿乇 禺賵賳丿賳 丕蹖賳 丕孬乇 卮讴 賳讴賳蹖丿 讴賴 丕夭 賴乇 賱丨丕馗 亘丕丕乇夭卮賴.
August 20, 2023
丿乇 亘丕亘 賲毓乇賮蹖 賳賵蹖爻賳丿賴:
爻賵賮賵讴賱 卮丕蹖丿 亘夭乇诏鬲乇蹖賳 丿乇丕賲鈥屬嗁堐屫� 丕丿亘蹖丕鬲 賯丿蹖賲 賴爻鬲 讴賴 賴蹖趩讴爻 乇丕 噩夭 卮讴爻倬蹖乇 蹖丕乇丕蹖 賲賯丕亘賱賴 亘丕 丕賵 賳蹖爻鬲. 丕賵 丿乇 胤蹖 酃郯 爻丕賱 毓賲乇 禺賵丿 蹖讴蹖 丕夭 禺賵卮亘禺鬲鈥屫臂屬� 賲乇丿賲丕賳 丌賳 丿賵乇賴 賵 乇賵夭诏丕乇 亘賵丿貙 毓賲乇 丿乇丕夭貙 爻賱丕賲鬲 賲夭丕噩 賵 夭蹖亘丕蹖蹖 丕賳丿丕賲 賵 賯丿乇鬲 賵 鬲賲賵賱 賵 卮賴乇鬲 賵 匕賵賯 賵 賯乇蹖丨賴 亘蹖鈥屬囐呚ж� 賴賲賴 乇丕 亘丕 賴賲 丿丕卮鬲鈥屫� 亘丕 丕蹖賳 賵噩賵丿貙 賵蹖貙 蹖讴蹖 丕夭 亘丿亘蹖賳鈥屫臂屬� 賵 賳丕乇丕囟蹖鈥屫臂屬� 丕賮乇丕丿 乇賵蹖 讴乇賴鈥屰� 夭賲蹖賳 亘賵丿貨 亘丿亘蹖賳蹖鈥屫й� 讴賴 賲蹖鈥屫堌з嗃屫� 鬲丕孬蹖乇 丌賳 乇丕 丿乇 鬲賲丕賲 丌孬丕乇 丕賵 亘亘蹖賳蹖丿. 丌孬丕乇蹖 讴賴 诏賵蹖丕 郾郾鄢 賳賲丕蹖卮賳丕賲赖 亘賵丿賴鈥屫з嗀� 賵 丕賱丕賳 賴蹖趩 丕孬乇蹖 丕夭 丌賳丕賳 亘賴 睾蹖乇 丕夭 賴賮鬲 賳賲丕蹖卮賳丕賲赖 禺丕氐 賳蹖爻鬲貙 賴賮鬲 賳賲丕蹖卮賳丕賲赖鈥屫й� 讴賴 鬲丕乇蹖禺 賳賵卮鬲賳 丌賳丕賳 賳蹖夭 賲卮禺氐 賳蹖爻鬲. 毓夭鬲 賵 丕丨鬲乇丕賲蹖 讴賴 蹖賵賳丕賳蹖丕賳 亘乇丕蹖 爻賵賮賵讴賱 賯丕卅賱 亘賵丿賴鈥屫з嗀� 亘乇丕蹖 賴蹖趩讴爻 丿蹖诏乇 賯丕卅賱 賳亘賵丿賳丿貙 亘賴鈥屭堎嗁団€屫й� 讴賴 丕乇爻胤賵蹖 亘夭乇诏賵丕乇 丌孬丕乇 丕賵 乇丕 賴賲蹖卮賴 賴賲乇丕賴 禺賵丿 丿丕卮鬲 賵 丨鬲蹖 亘賴鈥屬囐嗂з� 禺賵丕亘 賳蹖夭 丌賳鈥屬囏� 乇丕 賲胤丕賱毓賴 賲蹖鈥屬嗁呝堌団€� 丕爻鬲. 賲毓乇賵賮 丕爻鬲 讴賴 乇賵夭蹖 爻賵賮賵讴賱 丕夭 胤乇賮 丿丕丿诏丕賴 丕丨囟丕乇 賲蹖鈥屫促堌� 賵 亘乇丕蹖 氐賵乇鬲鈥屫池ж� 賲爻卅賱賴鈥屫й� 亘賴 丌賳噩丕 賲蹖鈥屫辟堌� 亘毓丿 丕夭 卮賳蹖丿賳 丕鬲賴丕賲丕鬲 禺賵丿 亘丕 禺賵丕賳丿賳 賮賯胤 賵 鬲賳賴丕 蹖讴 亘蹖鬲 卮毓乇 賲爻蹖乇 丿丕丿诏丕賴 乇丕 亘賴 賳賮毓 禺賵丿 鬲睾蹖蹖乇 賲蹖鈥屫囏� 賵 亘乇 丿爻鬲丕賳 賲乇丿賲 亘賴 禺丕賳賴 禺賵丿 亘丕夭賲蹖鈥屭必�.
丿乇 亘丕亘 爻亘讴 賳诏丕乇卮:
丿乇丕賲 亘賴 卮讴賱蹖 讴賴 賲丕 丕賲乇賵夭賴 丕夭 丌賳 丕爻鬲賮丕丿賴 賲蹖鈥屭┵嗃屬呚� 丕夭 丕禺鬲乇丕毓丕鬲 爻賵賮賵讴賱 賲蹖鈥屫ㄘж簇� 丕賵 亘賵丿 讴賴 丿乇丕賲鈥屬囏й� 丕賵賱蹖賴 蹖賵賳丕蹖蹖 乇丕 讴賴 倬丕乇賴鈥屫й� 丕夭 丕卮毓丕乇 睾賳丕卅蹖 蹖丕 丨賲丕爻蹖 丕夭 胤乇賮 丿爻鬲賴 禺賵丕賳賳丿诏丕賳 亘賵丿賳丿 乇丕 亘丕 丨囟賵乇 亘丕夭蹖诏乇丕賳 鬲乇讴蹖亘 讴乇丿 賵 丕毓賲丕賱 賵 丨乇讴丕鬲蹖 賲鬲賳丕爻亘 亘丕 丿蹖丕賱賵诏鈥屬囏� 丕囟丕賮賴 讴乇丿 賵 丿乇丕賲 乇丕 亘賴 卮讴賱蹖 賳賵蹖賳 倬丿蹖丿 丌賵乇丿.
丕卮毓丕乇 爻賵賮賵讴賱 亘爻蹖丕乇 卮蹖賵丕 賵 乇賵丕賳 丕爻鬲貙 丕賵 丕夭 丕爻鬲毓丕乇丕鬲 卮賮丕賮 賵 賵丕囟丨 丕爻鬲賮丕丿賴 賲蹖鈥屭┵嗀� 禺賵丿 乇丕 丿乇诏蹖乇 氐賳丕蹖毓 丕丿亘蹖 賳賲蹖鈥屭┵嗀� 賵 賲賳馗賵乇 禺賵丿 乇丕 賵丕囟丨 丕丿丕 賲蹖鈥屭┵嗀� 賲丕 丿乇 賮丕乇爻蹖 亘賴 趩賳蹖賳 爻亘讴 爻丕丿賴 賵 乇賵丕賳蹖 爻賴賱 賲賲鬲賳毓 賲蹖鈥屭堐屰屬呚� 爻亘讴蹖 讴賴 亘丕 讴賲鬲乇蹖賳 噩賲賱丕鬲貙 亘爻蹖丕乇 丿賯蹖賯 賵 毓賲蹖賯 丿丕爻鬲丕賳鈥屫池必й屰� 賲蹖鈥屭┵嗀�.
爻賵賮賵讴賱 毓賯蹖丿賴 乇丕爻禺蹖 亘賴 賲賮賴賵賲 鬲賯丿蹖乇 丿丕卮鬲 賵 丌丿賲蹖 乇丕 亘丕夭蹖趩賴 丿爻鬲 丌賳 賲蹖鈥屫з嗀池� 亘賴鈥屭堎嗁団€屫й� 讴賴 丿乇 蹖讴噩丕 賲蹖鈥屭堐屫�:
丕蹖 倬爻乇丕賳 賵 丿禺鬲乇丕賳 賵賱丕蹖鬲 鬲亘爻貙 亘賳诏乇蹖丿: 丕蹖賳 丕爻鬲 丕賵丿蹖倬賵爻 讴賴 乇賵夭诏丕乇蹖 丕夭 賴賲賴 賲乇丿賲 亘夭乇诏鈥屫� 亘賵丿 賵賲賮鬲丕丨 賲毓賲丕賴丕 賵 丕爻乇丕乇 禺賮蹖賴 乇丕 丿乇 丿爻鬲 丿丕卮鬲貙 卮賵讴鬲 賵 噩賱丕賱 丕賵 亘賴 倬丕蹖賴鈥屫й� 乇爻蹖丿賴 亘賵丿 讴賴 賴賲賴鈥屭┴� 丿乇 丕蹖賳 毓氐乇 賵 夭賲丕賳 亘丿賵 乇卮讴 賲蹖鈥屫ㄘ必嗀€�. 丕賲丕 丨丕賱 亘賳诏乇蹖丿 丿爻鬲 鬲賯丿蹖乇 趩诏賵賳賴 蹖賵睾 丨丕丿孬丕鬲 乇丕 亘乇 爻乇 丕賵 诏匕丕乇丿賴 丕爻鬲. 倬爻 丕夭 讴丕乇 丕賵 毓亘乇鬲 亘诏蹖乇蹖丿 賵 亘丿丕賳蹖丿 讴賴 賮乇夭賳丿 丌丿賲蹖 亘丕蹖丿 倬蹖賵爻鬲賴 亘賴 毓丕賯亘鬲 讴丕乇 禺賵丿 亘賳诏乇丿 賵 丕夭 丕蹖賳 乇賵 鬲丕 丌丿賲蹖 亘賴 丌爻賵丿诏蹖 丿乇 诏賵乇 禺賵丿 賳禺爻亘丿貙 賳賲蹖鈥屫堌з嗀� 禺賵丿 乇丕 賳蹖讴亘禺鬲 亘丿丕賳丿.
卮丕蹖丿 賴賲蹖賳 诏賮鬲丕乇 爻丕丿賴 亘丕 毓賲蹖賯鈥屫臂屬� 丕賳丿蹖卮賴鈥屬囏й� 卮讴爻倬蹖乇 丿乇 賴賲賱鬲 賵 乇蹖趩丕乇丿 爻賵賲 亘乇丕亘乇蹖 讴賳丿鈥�.
丿賯鬲 讴賳蹖丿 讴賴 賮賯胤 賴賮鬲 賳賲丕蹖卮賳丕賲赖 丕夭 爻賵賮賵讴賱 亘丕賯蹖鈥屬呚з嗀� 丕爻鬲貙 鬲氐賵乇 丕蹖賳讴賴 賲蹖鈥屫堌з嗀池� 亘蹖卮鬲乇 丕夭 氐丿 賳賲丕蹖卮賳丕賲赖 丿蹖诏乇 丕夭 丕賵 丿丕卮鬲賴 亘丕卮蹖賲 丕卮讴 乇丕 丿乇 趩卮賲丕賳 賲賳 噩丕乇蹖 賲蹖鈥屭┵嗀�.
爻賵賮賵讴賱 亘丕 丌賳讴賴 毓賯蹖丿賴 讴丕賲賱蹖 亘賴 鬲賯丿蹖乇 丿丕乇丿貙 賵 诏乇丿卮 丕賲賵乇 毓丕賱賲 乇丕 亘賴 毓賴丿賴 賯囟丕 賵 賯丿乇 賲蹖鈥屫з嗀� 丕夭 賯賵賴鈥屰� 丕禺鬲蹖丕乇 亘乇丕蹖 丕賳爻丕賳鈥屬囏� 睾丕賮賱 賳賲蹖鈥屫促堌� 丕賵 賲毓鬲賯丿 丕爻鬲 丕賳爻丕賳 丿乇 鬲賲蹖夭 禺賵亘 賵 亘丿 賵 倬蹖丿丕 讴乇丿賳 乇丕賴 丨賯蹖賯鬲 賲禺鬲丕乇 丕爻鬲.
鬲乇丕跇丿蹖鈥屬囏й� 爻賵賮賵讴賱 亘蹖卮 丕夭 賴乇趩蹖夭 丌孬丕乇蹖 丿乇丕賲丕鬲蹖讴 賴爻鬲賳丿貙 丕賵 亘賴鈥屭堎嗁団€屫й� 亘爻鬲乇 噩乇蹖丕賳丕鬲蹖 乇丕 讴賴 丿乇 卮乇丕蹖胤 诏賵賳丕诏賵賳 亘丕 賯賴乇賲丕賳 鬲乇丕跇蹖讴 賲蹖鈥屫池屫藏� 乇丕 丕夭 讴爻丕賳 丿蹖诏乇 丿賵爻鬲 賵 丿卮賲賳 噩丿丕 賲蹖鈥屭┵嗀� 夭賳丿诏蹖 賵蹖 乇丕 丿乇 亘賳丿蹖 倬蹖賵爻鬲賴 鬲賳诏鈥屫� 賲蹖鈥屬佖簇ж必� 诏丕賴 丿乇 夭蹖乇賵亘賲鈥屬囏� 讴賴 賳賴丕賳诏丕賴 丿賱賴乇賴鈥屬囏й� 賲丕爻鬲 乇賴丕蹖卮 賲蹖鈥屭┵嗀� 賵賱蹖 賵賯鬲蹖 讴賴 亘賳丿賴丕蹖卮 乇丕 賲蹖鈥屭簇й屫� 丕賵 乇丕 亘蹖鈥屭┴� 賵 亘蹖鈥屫迟勜ж� 丿乇 亘乇丕亘乇 鬲乇丿蹖丿蹖 讴賴 鬲賱丕卮 賵蹖 乇丕 亘賴 賴蹖趩 賲蹖鈥屭屫必� 乇賴丕 賲蹖鈥屭┵嗀�.
丿乇 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 亘賴 賯賱賲 卮丕賴乇禺 賲爻讴賵亘 卮賲丕 爻賴 賳賲丕蹖卮賳丕賲赖 丕賵丿蹖倬賵爻 卮丕賴 賵 丕賵丿蹖倬賵爻 丿乇 讴賵賱賵賳賵爻 賵 丌賳鬲蹖诏賵賳赖 乇丕 賲蹖鈥屫堌з嗃屫�. 丕夭 诏賮鬲賳 禺賱丕氐賴 賳賲丕蹖卮賳丕賲赖鈥屬囏� 倬乇賴蹖夭 賲蹖鈥屭┵嗁呚� 乇丕賴蹖 賵噩賵丿 賳丿丕乇丿 讴賴 亘鬲賵丕賳賲 亘丿賵賳 丕賮卮丕爻丕夭蹖 賳讴丕鬲 丨蹖丕鬲蹖 禺賱丕氐賴鈥屫й� 丕夭 爻賴 賳賲丕蹖卮賳丕賲赖 讴賴 亘賴 蹖賯蹖賳 丕夭 亘賴鬲乇蹖賳 丌孬丕乇 讴賱丕爻蹖讴 鬲丕乇蹖禺 丕丿亘蹖丕鬲 賴爻鬲賳丿 亘賳賵蹖爻賲 賵 禺賵丕賳丿賳 賳賲丕蹖卮賳丕賲赖鈥屬囏� 賵 丌诏丕賴蹖 丕夭 噩夭蹖蹖丕鬲 丌賳丕賳 乇丕 亘賴 毓賴丿賴鈥� 禺賵丿鬲丕賳 賲蹖鈥屭柏ж辟�.
氐乇賮丕賸 亘丿丕賳蹖丿 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賵 賳賲丕蹖卮賳丕賲赖鈥屬囏й� 爻賵賮賵讴賱 鬲賳賴丕 丿乇 丿賳蹖丕蹖 丕丿亘蹖丕鬲 賲毓乇賵賮 賵 鬲丕孬蹖乇诏匕丕乇 賳蹖爻鬲賳丿貙 卮丕蹖丿 亘丕賵乇鬲丕賳 賳卮賵丿貙 賳賲丕蹖卮賳丕賲赖 丕賵丿蹖倬 丿乇 毓丕賱賲 胤亘丕亘鬲 賳蹖夭 賲毓乇賵賮 丕爻鬲貙 亘賴鈥屫蹿┵勠� 讴賴 賳丕禺賵卮蹖 毓氐亘蹖 賲毓乇賵賮 亘賴 芦讴賲倬賱讴爻禄貙 讴賴 馗丕賴乇丕賸 丿乇 賴賳诏丕賲 胤賮賵賱蹖鬲 丿乇 丌丿賲蹖 倬丿蹖丿丕乇 賲蹖鈥屫促堌� 賲賳爻賵亘 亘賴 賴賲蹖賳 丿丕爻鬲丕賳 丕爻鬲 賵 賮乇賵蹖丿 丌賳 乇丕 讴卮賮 賳賲賵丿賴 丕爻鬲.
丿乇 亘丕亘 賳賲丕蹖卮賳丕賲赖 丌賳鬲蹖诏賵賳赖 讴賴 爻乇鬲丕倬丕蹖 夭賳丿诏蹖 賲賳 乇丕 鬲丨鬲鈥屫ж屫� 賯乇丕乇 丿丕丿賴 丕爻鬲 亘丕蹖丿 亘诏賵蹖賲 讴賴 噩乇賯賴 賳賵卮鬲賳 賲噩賲賵毓賴 毓賱賲蹖鈥屫屬勠� 賯蹖丕賲 爻乇禺 蹖讴蹖 丕夭 賲噩賲賵毓賴鈥屬囏й� 毓賱賲蹖鈥屫屬勠� 賲賵乇丿 毓賱丕賯賴鈥屫з� 賴賳诏丕賲蹖 丿乇 匕賴賳 倬蹖乇爻 亘乇丕賵賳 夭丿賴 卮丿 讴賴 丿丕卮鬲 丿乇 诏丕乇丕跇蹖 讴賴 夭賳丿诏蹖 賲蹖鈥屭┴必� 賳賲丕蹖卮賳丕賲赖 丌賳鬲蹖诏賵賳赖 乇丕 賲蹖鈥屫堌з嗀� 丕蹖賳噩丕 亘賵丿 讴賴 亘丕 禺賵丿 诏賮鬲 趩賴 賲蹖鈥屫簇� 乇賵丕蹖鬲 鬲乇丕跇丿蹖鈥屬堌ж� 丌賳鬲蹖诏賵賳赖 丿乇 爻蹖丕乇賴鈥屫й� 讴賴 噩丕匕亘賴 讴賲鬲乇蹖 賲蹖鈥屫ж簇� 丕鬲賮丕賯 賲蹖鈥屫з佖ж�. 丕夭 鬲賲丕賲 丕蹖賳 賲爻丕卅賱 讴賴 亘诏匕乇蹖賲貙 亘丕蹖丿 匕讴乇 讴賳賲 讴賴 賳賲丕蹖卮賳丕賲赖 丌賳鬲蹖诏賵賳赖 丕夭 丨蹖孬 鬲賳馗蹖賲 氐丨賳賴鈥屬囏� 賵 乇賵丕賳蹖 丿丕爻鬲丕賳貙 爻丕丿诏蹖 賲胤丕賱亘 賵 賲丨鬲賵丕貙 亘賱賳丿蹖 丕賮讴丕乇 賵 丕賳丿蹖卮賴鈥屬囏� 丕夭 卮丕賴讴丕乇賴丕蹖 噩丕賵蹖丿丕賳 丿賳蹖丕蹖 丕丿亘蹖丕鬲 丕爻鬲貙 卮丕賴讴丕乇蹖 讴賴 賳馗蹖乇 賳丿丕乇丿 賵 亘賴 賲丕賳賳丿 丌賳 亘賴 鬲毓丿丕丿 丕賳诏卮鬲丕賳 丿爻鬲 蹖丕賮鬲 賳賲蹖鈥屫促堌� 卮丕賴讴丕乇蹖 讴賴 賲蹖鈥屫堌з嗀� 丿乇賵丕夭賴鈥屫й� 亘乇丕蹖 卮賳丕禺鬲 賵 丌诏丕賴蹖 丕夭 趩诏賵賳诏蹖 夭賳丿诏蹖 丿乇 鄄鄣 賯乇賳 倬蹖卮 亘丕卮丿貙 卮賲丕 賲蹖鈥屫堌з嗃屫� 賴賲蹖賳 丕賱丕賳 卮乇賵毓 亘賴 禺賵丕賳丿賳 芦丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖禄 讴賳蹖丿 賵 趩卮賲丕賳 禺賵丿 乇丕 亘亘爻鬲蹖丿 賵 禺賵丿 乇丕 丿乇 讴賳丕乇 賲乇丿賲丕賳 丌賳 夭賲丕賳 鬲氐賵乇 讴賳蹖丿.
鬲乇噩賲賴 卮丕賴乇禺 賲爻讴賵亘 丌賴賳诏蹖賳 亘賵丿 賵 丕丨鬲賲丕賱丕賸 鬲丕 丨丿蹖 亘賴 卮蹖賵賴 賳诏丕乇卮 亘丕爻鬲丕賳蹖 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賵賮丕丿丕乇 丕爻鬲貙 蹖讴 賲賯丿賲賴 賵 蹖讴 賲賵禺乇賴 丿乇噩賴 蹖讴 丿丕乇丿貙 賲賳鬲賴丕蹖 毓賲賱 鬲亘丕賴蹖鬲 丌賳 亘賴 丕卮讴丕賱丕鬲 丨乇賵賮鈥屭嗃屬嗃� 賵 賵蹖乇丕蹖卮蹖 讴賴 鬲毓丿丕丿 丌賳鈥屬囏� 亘賴 丕賳丿丕夭賴 賲賵賴丕蹖 爻乇鬲丕賳 丕爻鬲 亘乇賲蹖鈥屭必� 丨丕賱丕 丕蹖賳讴賴 鬲賯氐蹖乇 乇丕 亘賴 诏乇丿賳 丕賳鬲卮丕乇丕鬲 禺賵丕乇夭賲蹖 蹖丕 卮丕賴乇禺 賲爻讴賵亘 讴賴 趩賳丕賳 賲鬲賳 禺丕賲蹖 乇丕 鬲丨賵蹖賱 賳丕卮乇 丿丕丿賴 丕爻鬲 亘蹖賳丿丕夭蹖賲 丕夭 賯囟丕賵鬲 亘賳丿賴 亘丕 鬲賵噩賴 亘賴 丕胤賱丕毓丕鬲 賳丕賯氐蹖 讴賴 丿乇 夭賲蹖賳賴 賲賵乇丿賳馗乇 丿丕乇賲 禺丕乇噩 丕爻鬲鈥�.
丕賲鬲蹖丕夭 讴鬲丕亘:
亘丕 卮丕蹖爻鬲诏蹖 倬賳噩 爻鬲丕乇賴 乇丕 丕夭 賲賳 賲蹖鈥屭屫必€�.
爻賵賮賵讴賱 卮丕蹖丿 亘夭乇诏鬲乇蹖賳 丿乇丕賲鈥屬嗁堐屫� 丕丿亘蹖丕鬲 賯丿蹖賲 賴爻鬲 讴賴 賴蹖趩讴爻 乇丕 噩夭 卮讴爻倬蹖乇 蹖丕乇丕蹖 賲賯丕亘賱賴 亘丕 丕賵 賳蹖爻鬲. 丕賵 丿乇 胤蹖 酃郯 爻丕賱 毓賲乇 禺賵丿 蹖讴蹖 丕夭 禺賵卮亘禺鬲鈥屫臂屬� 賲乇丿賲丕賳 丌賳 丿賵乇賴 賵 乇賵夭诏丕乇 亘賵丿貙 毓賲乇 丿乇丕夭貙 爻賱丕賲鬲 賲夭丕噩 賵 夭蹖亘丕蹖蹖 丕賳丿丕賲 賵 賯丿乇鬲 賵 鬲賲賵賱 賵 卮賴乇鬲 賵 匕賵賯 賵 賯乇蹖丨賴 亘蹖鈥屬囐呚ж� 賴賲賴 乇丕 亘丕 賴賲 丿丕卮鬲鈥屫� 亘丕 丕蹖賳 賵噩賵丿貙 賵蹖貙 蹖讴蹖 丕夭 亘丿亘蹖賳鈥屫臂屬� 賵 賳丕乇丕囟蹖鈥屫臂屬� 丕賮乇丕丿 乇賵蹖 讴乇賴鈥屰� 夭賲蹖賳 亘賵丿貨 亘丿亘蹖賳蹖鈥屫й� 讴賴 賲蹖鈥屫堌з嗃屫� 鬲丕孬蹖乇 丌賳 乇丕 丿乇 鬲賲丕賲 丌孬丕乇 丕賵 亘亘蹖賳蹖丿. 丌孬丕乇蹖 讴賴 诏賵蹖丕 郾郾鄢 賳賲丕蹖卮賳丕賲赖 亘賵丿賴鈥屫з嗀� 賵 丕賱丕賳 賴蹖趩 丕孬乇蹖 丕夭 丌賳丕賳 亘賴 睾蹖乇 丕夭 賴賮鬲 賳賲丕蹖卮賳丕賲赖 禺丕氐 賳蹖爻鬲貙 賴賮鬲 賳賲丕蹖卮賳丕賲赖鈥屫й� 讴賴 鬲丕乇蹖禺 賳賵卮鬲賳 丌賳丕賳 賳蹖夭 賲卮禺氐 賳蹖爻鬲. 毓夭鬲 賵 丕丨鬲乇丕賲蹖 讴賴 蹖賵賳丕賳蹖丕賳 亘乇丕蹖 爻賵賮賵讴賱 賯丕卅賱 亘賵丿賴鈥屫з嗀� 亘乇丕蹖 賴蹖趩讴爻 丿蹖诏乇 賯丕卅賱 賳亘賵丿賳丿貙 亘賴鈥屭堎嗁団€屫й� 讴賴 丕乇爻胤賵蹖 亘夭乇诏賵丕乇 丌孬丕乇 丕賵 乇丕 賴賲蹖卮賴 賴賲乇丕賴 禺賵丿 丿丕卮鬲 賵 丨鬲蹖 亘賴鈥屬囐嗂з� 禺賵丕亘 賳蹖夭 丌賳鈥屬囏� 乇丕 賲胤丕賱毓賴 賲蹖鈥屬嗁呝堌団€� 丕爻鬲. 賲毓乇賵賮 丕爻鬲 讴賴 乇賵夭蹖 爻賵賮賵讴賱 丕夭 胤乇賮 丿丕丿诏丕賴 丕丨囟丕乇 賲蹖鈥屫促堌� 賵 亘乇丕蹖 氐賵乇鬲鈥屫池ж� 賲爻卅賱賴鈥屫й� 亘賴 丌賳噩丕 賲蹖鈥屫辟堌� 亘毓丿 丕夭 卮賳蹖丿賳 丕鬲賴丕賲丕鬲 禺賵丿 亘丕 禺賵丕賳丿賳 賮賯胤 賵 鬲賳賴丕 蹖讴 亘蹖鬲 卮毓乇 賲爻蹖乇 丿丕丿诏丕賴 乇丕 亘賴 賳賮毓 禺賵丿 鬲睾蹖蹖乇 賲蹖鈥屫囏� 賵 亘乇 丿爻鬲丕賳 賲乇丿賲 亘賴 禺丕賳賴 禺賵丿 亘丕夭賲蹖鈥屭必�.
丿乇 亘丕亘 爻亘讴 賳诏丕乇卮:
丿乇丕賲 亘賴 卮讴賱蹖 讴賴 賲丕 丕賲乇賵夭賴 丕夭 丌賳 丕爻鬲賮丕丿賴 賲蹖鈥屭┵嗃屬呚� 丕夭 丕禺鬲乇丕毓丕鬲 爻賵賮賵讴賱 賲蹖鈥屫ㄘж簇� 丕賵 亘賵丿 讴賴 丿乇丕賲鈥屬囏й� 丕賵賱蹖賴 蹖賵賳丕蹖蹖 乇丕 讴賴 倬丕乇賴鈥屫й� 丕夭 丕卮毓丕乇 睾賳丕卅蹖 蹖丕 丨賲丕爻蹖 丕夭 胤乇賮 丿爻鬲賴 禺賵丕賳賳丿诏丕賳 亘賵丿賳丿 乇丕 亘丕 丨囟賵乇 亘丕夭蹖诏乇丕賳 鬲乇讴蹖亘 讴乇丿 賵 丕毓賲丕賱 賵 丨乇讴丕鬲蹖 賲鬲賳丕爻亘 亘丕 丿蹖丕賱賵诏鈥屬囏� 丕囟丕賮賴 讴乇丿 賵 丿乇丕賲 乇丕 亘賴 卮讴賱蹖 賳賵蹖賳 倬丿蹖丿 丌賵乇丿.
丕卮毓丕乇 爻賵賮賵讴賱 亘爻蹖丕乇 卮蹖賵丕 賵 乇賵丕賳 丕爻鬲貙 丕賵 丕夭 丕爻鬲毓丕乇丕鬲 卮賮丕賮 賵 賵丕囟丨 丕爻鬲賮丕丿賴 賲蹖鈥屭┵嗀� 禺賵丿 乇丕 丿乇诏蹖乇 氐賳丕蹖毓 丕丿亘蹖 賳賲蹖鈥屭┵嗀� 賵 賲賳馗賵乇 禺賵丿 乇丕 賵丕囟丨 丕丿丕 賲蹖鈥屭┵嗀� 賲丕 丿乇 賮丕乇爻蹖 亘賴 趩賳蹖賳 爻亘讴 爻丕丿賴 賵 乇賵丕賳蹖 爻賴賱 賲賲鬲賳毓 賲蹖鈥屭堐屰屬呚� 爻亘讴蹖 讴賴 亘丕 讴賲鬲乇蹖賳 噩賲賱丕鬲貙 亘爻蹖丕乇 丿賯蹖賯 賵 毓賲蹖賯 丿丕爻鬲丕賳鈥屫池必й屰� 賲蹖鈥屭┵嗀�.
爻賵賮賵讴賱 毓賯蹖丿賴 乇丕爻禺蹖 亘賴 賲賮賴賵賲 鬲賯丿蹖乇 丿丕卮鬲 賵 丌丿賲蹖 乇丕 亘丕夭蹖趩賴 丿爻鬲 丌賳 賲蹖鈥屫з嗀池� 亘賴鈥屭堎嗁団€屫й� 讴賴 丿乇 蹖讴噩丕 賲蹖鈥屭堐屫�:
丕蹖 倬爻乇丕賳 賵 丿禺鬲乇丕賳 賵賱丕蹖鬲 鬲亘爻貙 亘賳诏乇蹖丿: 丕蹖賳 丕爻鬲 丕賵丿蹖倬賵爻 讴賴 乇賵夭诏丕乇蹖 丕夭 賴賲賴 賲乇丿賲 亘夭乇诏鈥屫� 亘賵丿 賵賲賮鬲丕丨 賲毓賲丕賴丕 賵 丕爻乇丕乇 禺賮蹖賴 乇丕 丿乇 丿爻鬲 丿丕卮鬲貙 卮賵讴鬲 賵 噩賱丕賱 丕賵 亘賴 倬丕蹖賴鈥屫й� 乇爻蹖丿賴 亘賵丿 讴賴 賴賲賴鈥屭┴� 丿乇 丕蹖賳 毓氐乇 賵 夭賲丕賳 亘丿賵 乇卮讴 賲蹖鈥屫ㄘ必嗀€�. 丕賲丕 丨丕賱 亘賳诏乇蹖丿 丿爻鬲 鬲賯丿蹖乇 趩诏賵賳賴 蹖賵睾 丨丕丿孬丕鬲 乇丕 亘乇 爻乇 丕賵 诏匕丕乇丿賴 丕爻鬲. 倬爻 丕夭 讴丕乇 丕賵 毓亘乇鬲 亘诏蹖乇蹖丿 賵 亘丿丕賳蹖丿 讴賴 賮乇夭賳丿 丌丿賲蹖 亘丕蹖丿 倬蹖賵爻鬲賴 亘賴 毓丕賯亘鬲 讴丕乇 禺賵丿 亘賳诏乇丿 賵 丕夭 丕蹖賳 乇賵 鬲丕 丌丿賲蹖 亘賴 丌爻賵丿诏蹖 丿乇 诏賵乇 禺賵丿 賳禺爻亘丿貙 賳賲蹖鈥屫堌з嗀� 禺賵丿 乇丕 賳蹖讴亘禺鬲 亘丿丕賳丿.
卮丕蹖丿 賴賲蹖賳 诏賮鬲丕乇 爻丕丿賴 亘丕 毓賲蹖賯鈥屫臂屬� 丕賳丿蹖卮賴鈥屬囏й� 卮讴爻倬蹖乇 丿乇 賴賲賱鬲 賵 乇蹖趩丕乇丿 爻賵賲 亘乇丕亘乇蹖 讴賳丿鈥�.
丿賯鬲 讴賳蹖丿 讴賴 賮賯胤 賴賮鬲 賳賲丕蹖卮賳丕賲赖 丕夭 爻賵賮賵讴賱 亘丕賯蹖鈥屬呚з嗀� 丕爻鬲貙 鬲氐賵乇 丕蹖賳讴賴 賲蹖鈥屫堌з嗀池� 亘蹖卮鬲乇 丕夭 氐丿 賳賲丕蹖卮賳丕賲赖 丿蹖诏乇 丕夭 丕賵 丿丕卮鬲賴 亘丕卮蹖賲 丕卮讴 乇丕 丿乇 趩卮賲丕賳 賲賳 噩丕乇蹖 賲蹖鈥屭┵嗀�.
爻賵賮賵讴賱 亘丕 丌賳讴賴 毓賯蹖丿賴 讴丕賲賱蹖 亘賴 鬲賯丿蹖乇 丿丕乇丿貙 賵 诏乇丿卮 丕賲賵乇 毓丕賱賲 乇丕 亘賴 毓賴丿賴 賯囟丕 賵 賯丿乇 賲蹖鈥屫з嗀� 丕夭 賯賵賴鈥屰� 丕禺鬲蹖丕乇 亘乇丕蹖 丕賳爻丕賳鈥屬囏� 睾丕賮賱 賳賲蹖鈥屫促堌� 丕賵 賲毓鬲賯丿 丕爻鬲 丕賳爻丕賳 丿乇 鬲賲蹖夭 禺賵亘 賵 亘丿 賵 倬蹖丿丕 讴乇丿賳 乇丕賴 丨賯蹖賯鬲 賲禺鬲丕乇 丕爻鬲.
鬲乇丕跇丿蹖鈥屬囏й� 爻賵賮賵讴賱 亘蹖卮 丕夭 賴乇趩蹖夭 丌孬丕乇蹖 丿乇丕賲丕鬲蹖讴 賴爻鬲賳丿貙 丕賵 亘賴鈥屭堎嗁団€屫й� 亘爻鬲乇 噩乇蹖丕賳丕鬲蹖 乇丕 讴賴 丿乇 卮乇丕蹖胤 诏賵賳丕诏賵賳 亘丕 賯賴乇賲丕賳 鬲乇丕跇蹖讴 賲蹖鈥屫池屫藏� 乇丕 丕夭 讴爻丕賳 丿蹖诏乇 丿賵爻鬲 賵 丿卮賲賳 噩丿丕 賲蹖鈥屭┵嗀� 夭賳丿诏蹖 賵蹖 乇丕 丿乇 亘賳丿蹖 倬蹖賵爻鬲賴 鬲賳诏鈥屫� 賲蹖鈥屬佖簇ж必� 诏丕賴 丿乇 夭蹖乇賵亘賲鈥屬囏� 讴賴 賳賴丕賳诏丕賴 丿賱賴乇賴鈥屬囏й� 賲丕爻鬲 乇賴丕蹖卮 賲蹖鈥屭┵嗀� 賵賱蹖 賵賯鬲蹖 讴賴 亘賳丿賴丕蹖卮 乇丕 賲蹖鈥屭簇й屫� 丕賵 乇丕 亘蹖鈥屭┴� 賵 亘蹖鈥屫迟勜ж� 丿乇 亘乇丕亘乇 鬲乇丿蹖丿蹖 讴賴 鬲賱丕卮 賵蹖 乇丕 亘賴 賴蹖趩 賲蹖鈥屭屫必� 乇賴丕 賲蹖鈥屭┵嗀�.
丿乇 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 亘賴 賯賱賲 卮丕賴乇禺 賲爻讴賵亘 卮賲丕 爻賴 賳賲丕蹖卮賳丕賲赖 丕賵丿蹖倬賵爻 卮丕賴 賵 丕賵丿蹖倬賵爻 丿乇 讴賵賱賵賳賵爻 賵 丌賳鬲蹖诏賵賳赖 乇丕 賲蹖鈥屫堌з嗃屫�. 丕夭 诏賮鬲賳 禺賱丕氐賴 賳賲丕蹖卮賳丕賲赖鈥屬囏� 倬乇賴蹖夭 賲蹖鈥屭┵嗁呚� 乇丕賴蹖 賵噩賵丿 賳丿丕乇丿 讴賴 亘鬲賵丕賳賲 亘丿賵賳 丕賮卮丕爻丕夭蹖 賳讴丕鬲 丨蹖丕鬲蹖 禺賱丕氐賴鈥屫й� 丕夭 爻賴 賳賲丕蹖卮賳丕賲赖 讴賴 亘賴 蹖賯蹖賳 丕夭 亘賴鬲乇蹖賳 丌孬丕乇 讴賱丕爻蹖讴 鬲丕乇蹖禺 丕丿亘蹖丕鬲 賴爻鬲賳丿 亘賳賵蹖爻賲 賵 禺賵丕賳丿賳 賳賲丕蹖卮賳丕賲赖鈥屬囏� 賵 丌诏丕賴蹖 丕夭 噩夭蹖蹖丕鬲 丌賳丕賳 乇丕 亘賴 毓賴丿賴鈥� 禺賵丿鬲丕賳 賲蹖鈥屭柏ж辟�.
氐乇賮丕賸 亘丿丕賳蹖丿 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賵 賳賲丕蹖卮賳丕賲赖鈥屬囏й� 爻賵賮賵讴賱 鬲賳賴丕 丿乇 丿賳蹖丕蹖 丕丿亘蹖丕鬲 賲毓乇賵賮 賵 鬲丕孬蹖乇诏匕丕乇 賳蹖爻鬲賳丿貙 卮丕蹖丿 亘丕賵乇鬲丕賳 賳卮賵丿貙 賳賲丕蹖卮賳丕賲赖 丕賵丿蹖倬 丿乇 毓丕賱賲 胤亘丕亘鬲 賳蹖夭 賲毓乇賵賮 丕爻鬲貙 亘賴鈥屫蹿┵勠� 讴賴 賳丕禺賵卮蹖 毓氐亘蹖 賲毓乇賵賮 亘賴 芦讴賲倬賱讴爻禄貙 讴賴 馗丕賴乇丕賸 丿乇 賴賳诏丕賲 胤賮賵賱蹖鬲 丿乇 丌丿賲蹖 倬丿蹖丿丕乇 賲蹖鈥屫促堌� 賲賳爻賵亘 亘賴 賴賲蹖賳 丿丕爻鬲丕賳 丕爻鬲 賵 賮乇賵蹖丿 丌賳 乇丕 讴卮賮 賳賲賵丿賴 丕爻鬲.
丿乇 亘丕亘 賳賲丕蹖卮賳丕賲赖 丌賳鬲蹖诏賵賳赖 讴賴 爻乇鬲丕倬丕蹖 夭賳丿诏蹖 賲賳 乇丕 鬲丨鬲鈥屫ж屫� 賯乇丕乇 丿丕丿賴 丕爻鬲 亘丕蹖丿 亘诏賵蹖賲 讴賴 噩乇賯賴 賳賵卮鬲賳 賲噩賲賵毓賴 毓賱賲蹖鈥屫屬勠� 賯蹖丕賲 爻乇禺 蹖讴蹖 丕夭 賲噩賲賵毓賴鈥屬囏й� 毓賱賲蹖鈥屫屬勠� 賲賵乇丿 毓賱丕賯賴鈥屫з� 賴賳诏丕賲蹖 丿乇 匕賴賳 倬蹖乇爻 亘乇丕賵賳 夭丿賴 卮丿 讴賴 丿丕卮鬲 丿乇 诏丕乇丕跇蹖 讴賴 夭賳丿诏蹖 賲蹖鈥屭┴必� 賳賲丕蹖卮賳丕賲赖 丌賳鬲蹖诏賵賳赖 乇丕 賲蹖鈥屫堌з嗀� 丕蹖賳噩丕 亘賵丿 讴賴 亘丕 禺賵丿 诏賮鬲 趩賴 賲蹖鈥屫簇� 乇賵丕蹖鬲 鬲乇丕跇丿蹖鈥屬堌ж� 丌賳鬲蹖诏賵賳赖 丿乇 爻蹖丕乇賴鈥屫й� 讴賴 噩丕匕亘賴 讴賲鬲乇蹖 賲蹖鈥屫ж簇� 丕鬲賮丕賯 賲蹖鈥屫з佖ж�. 丕夭 鬲賲丕賲 丕蹖賳 賲爻丕卅賱 讴賴 亘诏匕乇蹖賲貙 亘丕蹖丿 匕讴乇 讴賳賲 讴賴 賳賲丕蹖卮賳丕賲赖 丌賳鬲蹖诏賵賳赖 丕夭 丨蹖孬 鬲賳馗蹖賲 氐丨賳賴鈥屬囏� 賵 乇賵丕賳蹖 丿丕爻鬲丕賳貙 爻丕丿诏蹖 賲胤丕賱亘 賵 賲丨鬲賵丕貙 亘賱賳丿蹖 丕賮讴丕乇 賵 丕賳丿蹖卮賴鈥屬囏� 丕夭 卮丕賴讴丕乇賴丕蹖 噩丕賵蹖丿丕賳 丿賳蹖丕蹖 丕丿亘蹖丕鬲 丕爻鬲貙 卮丕賴讴丕乇蹖 讴賴 賳馗蹖乇 賳丿丕乇丿 賵 亘賴 賲丕賳賳丿 丌賳 亘賴 鬲毓丿丕丿 丕賳诏卮鬲丕賳 丿爻鬲 蹖丕賮鬲 賳賲蹖鈥屫促堌� 卮丕賴讴丕乇蹖 讴賴 賲蹖鈥屫堌з嗀� 丿乇賵丕夭賴鈥屫й� 亘乇丕蹖 卮賳丕禺鬲 賵 丌诏丕賴蹖 丕夭 趩诏賵賳诏蹖 夭賳丿诏蹖 丿乇 鄄鄣 賯乇賳 倬蹖卮 亘丕卮丿貙 卮賲丕 賲蹖鈥屫堌з嗃屫� 賴賲蹖賳 丕賱丕賳 卮乇賵毓 亘賴 禺賵丕賳丿賳 芦丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖禄 讴賳蹖丿 賵 趩卮賲丕賳 禺賵丿 乇丕 亘亘爻鬲蹖丿 賵 禺賵丿 乇丕 丿乇 讴賳丕乇 賲乇丿賲丕賳 丌賳 夭賲丕賳 鬲氐賵乇 讴賳蹖丿.
鬲乇噩賲賴 卮丕賴乇禺 賲爻讴賵亘 丌賴賳诏蹖賳 亘賵丿 賵 丕丨鬲賲丕賱丕賸 鬲丕 丨丿蹖 亘賴 卮蹖賵賴 賳诏丕乇卮 亘丕爻鬲丕賳蹖 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賵賮丕丿丕乇 丕爻鬲貙 蹖讴 賲賯丿賲賴 賵 蹖讴 賲賵禺乇賴 丿乇噩賴 蹖讴 丿丕乇丿貙 賲賳鬲賴丕蹖 毓賲賱 鬲亘丕賴蹖鬲 丌賳 亘賴 丕卮讴丕賱丕鬲 丨乇賵賮鈥屭嗃屬嗃� 賵 賵蹖乇丕蹖卮蹖 讴賴 鬲毓丿丕丿 丌賳鈥屬囏� 亘賴 丕賳丿丕夭賴 賲賵賴丕蹖 爻乇鬲丕賳 丕爻鬲 亘乇賲蹖鈥屭必� 丨丕賱丕 丕蹖賳讴賴 鬲賯氐蹖乇 乇丕 亘賴 诏乇丿賳 丕賳鬲卮丕乇丕鬲 禺賵丕乇夭賲蹖 蹖丕 卮丕賴乇禺 賲爻讴賵亘 讴賴 趩賳丕賳 賲鬲賳 禺丕賲蹖 乇丕 鬲丨賵蹖賱 賳丕卮乇 丿丕丿賴 丕爻鬲 亘蹖賳丿丕夭蹖賲 丕夭 賯囟丕賵鬲 亘賳丿賴 亘丕 鬲賵噩賴 亘賴 丕胤賱丕毓丕鬲 賳丕賯氐蹖 讴賴 丿乇 夭賲蹖賳賴 賲賵乇丿賳馗乇 丿丕乇賲 禺丕乇噩 丕爻鬲鈥�.
丕賲鬲蹖丕夭 讴鬲丕亘:
亘丕 卮丕蹖爻鬲诏蹖 倬賳噩 爻鬲丕乇賴 乇丕 丕夭 賲賳 賲蹖鈥屭屫必€�.
August 1, 2020
I was rather flippant about Greek drama throughout my time at university (much to the chagrin of every single professor teaching the unit), but even I had to concede to the immense talent of Sophocles: to cast a myth like Oedipus' on stage with such eloquence, and without leaning on its sensationalism, is inconceivable elsewhere in the theatrical tradition鈥攗nsurprising, then, that his Theban Plays have today become authoritative sources, rather than mere tellings, of the fate of the House of Cadmus.
In his acclaimed and unerringly beautiful translation, Robert Fagles reclaims for the three plays鈥�Antigone, Oedipus the King, and Oedipus at Colonus, arranged in order of composition rather than narrative chronology鈥攁 sense of crisp, lucid triumph, revealing their timelessness while also honouring the relevance of their politics for the Athenian audiences they were originally intended for. Despite being about a hundred generations too late a witness, I found myself completely immersed within the pages of these ancient tragedies.
Antigone (c. 441 BCE)
Antigone au chevet de Polynices by Jean-Joseph Benjamin-Constant (1868)
My favourite of the three, Antigone is a work of astounding depth鈥� masterful tragedy dealing with familial love, treachery, and morality in the face of despotic rule. Rebellion, too, is an important theme, be it Antigone's breaking the ruler's decree or Haemon opposing his own father. The protagonist's heroic temper, her defiance of authority, and her willingness to give up life and love in order to fulfill her moral duty has led to many interpreting this as a feminist play.
But beyond that, Antigone is also a complex exploration of our notions of 'right' and 'wrong'. Sophocles does not see his characters' actions as purely black and white: we get a glimpse of the true motivations governing Creon's degree as well as Antigone's transgression, and while we are explicitly told that Creon was wrong and see him suffer, it is only for his proud renunciation of divine power and familial ties鈥攏either the Chorus nor Sophocles himself seem to find fault with his statecraft. Meanwhile, no affirmation of Antigone's rightness is ever made. However, unlike Creon, she does not betray the loyalties she spoke for, and dies believing in the rightness of her actions even if others do not seem to.
While her death is part of the curse against the House of Cadmus鈥攖he same prophecy that led to the ruin of her father, Oedipus, and drove her brothers Etiocles and Polynices to kill each other鈥攊t is also an act of heroism, of upholding the laws of divinity and nature and standing up against the barbaric. Thus, Antigone explores the ideas of predestination and agency in tandem with each other, a concern dominant in Greek drama in general and the Theban plays in particular.
Oedipus the King (c. 430-426 BCE)
Blind Oedipus Commending his Children by B茅nigne Gagneraux (1784)
Perhaps the most prominent exploration of fate and free will in Sophoclean tragedy takes place in Oedipus the King: while he is destined to commit the acts of patricide and incest that we know him for, it is through his own determined, willful pursuit that this terrible truth comes to light and becomes known. Most importantly, however, the play illustrates divine indictment against the hubris of Oedipus and Jocasta, who believe that they can subvert the prophecy through their actions. That this play is focused on the discovery of Oedipus's sins rather than the sins themselves serves to highlight this latter aspect of the story (this, according to Bernard Knox, is rooted in contemporary politics; Sophocles wrote this play asserting the superiority of divine will at a time when the institution of the Oracle鈥攁nd thereby the validity of the gods themselves鈥攚as under public fire).
While this notion of predestination in the original myth was transformed and appropriated by the Freudian lens in the early 20th century; Oedipus the King transformed modern drama by presenting an existential model for stories dealing with our own terror of the unknown, uncontrollable future and the idea that our progress; Like Oedipus' success; will unwittingly bring us to our doom. All of this, moreover, allows Sophocles to master the art of dramatic irony, which is in many ways the lifeblood of this play.
It is no wonder that Oedipus the King has long been considered the most distinguished of all Greek tragedy鈥攅nough can never be said about a play like this, one so deeply rooted in our exploration of the complexities of art, society, and the human condition.
Oedipus at Colonus (c. 406 BCE)
Oedipus at Colonus by Jean-Antoine-Th茅odore Giroust (1788)
Written at the age of 90, Oedipus at Colonus was Sophocles' last play, hyperaware of the spectre of impending war and destruction loomed over Athens at the time. It has the least mythical precedent of all Theban plays, and is the tragedian's valedictory reminder of the glory, benevolence, and fame of Athens. This is also the play where Oedipus, whose terrible ruin is part of a divine curse on his bloodline, is finally redeemed, by yet another prophecy: in his death, Oedipus is raised from mortal to hero, he is also able to avenge the wrongs committed unto him by his sons Etiocles and Polynices and his other kinsmen in Thebes.
Here, Oedipus expresses his helplessness as an instrument of fate, and thereby achieves glory: although he is still polluted, he is extricated of blame and dies a painless death. His grave, as per the redemptive prophecy, becomes the site of a war bringing doom to Thebes; that has wronged him; and Victory to Athens, whose ruler, the noble Theseus, saves him (it is through Theseus that Sophocles affirms the spirit of Athens at its peak). This is also a far more mystical play than its predecessors, dealing with furies and rituals, but this only enhances the effect of the hero being lifted to a position that is more than human鈥攔everential, and almost holy.
While Oedipus at Colonus is only the second play concerning the House of Cadmus in Thebes if a narrative chronology is considered, its thematic concerns render it the perfect end to Sophocles' Theban triad. While fate has mark Oedipus with tragedy, and the end of his bloodline is known, this play manages to inject in this sagas a communion with the gods, and thus, a note of hope.
In his acclaimed and unerringly beautiful translation, Robert Fagles reclaims for the three plays鈥�Antigone, Oedipus the King, and Oedipus at Colonus, arranged in order of composition rather than narrative chronology鈥攁 sense of crisp, lucid triumph, revealing their timelessness while also honouring the relevance of their politics for the Athenian audiences they were originally intended for. Despite being about a hundred generations too late a witness, I found myself completely immersed within the pages of these ancient tragedies.
Antigone (c. 441 BCE)
Antigone au chevet de Polynices by Jean-Joseph Benjamin-Constant (1868)
My favourite of the three, Antigone is a work of astounding depth鈥� masterful tragedy dealing with familial love, treachery, and morality in the face of despotic rule. Rebellion, too, is an important theme, be it Antigone's breaking the ruler's decree or Haemon opposing his own father. The protagonist's heroic temper, her defiance of authority, and her willingness to give up life and love in order to fulfill her moral duty has led to many interpreting this as a feminist play.
But beyond that, Antigone is also a complex exploration of our notions of 'right' and 'wrong'. Sophocles does not see his characters' actions as purely black and white: we get a glimpse of the true motivations governing Creon's degree as well as Antigone's transgression, and while we are explicitly told that Creon was wrong and see him suffer, it is only for his proud renunciation of divine power and familial ties鈥攏either the Chorus nor Sophocles himself seem to find fault with his statecraft. Meanwhile, no affirmation of Antigone's rightness is ever made. However, unlike Creon, she does not betray the loyalties she spoke for, and dies believing in the rightness of her actions even if others do not seem to.
While her death is part of the curse against the House of Cadmus鈥攖he same prophecy that led to the ruin of her father, Oedipus, and drove her brothers Etiocles and Polynices to kill each other鈥攊t is also an act of heroism, of upholding the laws of divinity and nature and standing up against the barbaric. Thus, Antigone explores the ideas of predestination and agency in tandem with each other, a concern dominant in Greek drama in general and the Theban plays in particular.
Oedipus the King (c. 430-426 BCE)
Blind Oedipus Commending his Children by B茅nigne Gagneraux (1784)
Perhaps the most prominent exploration of fate and free will in Sophoclean tragedy takes place in Oedipus the King: while he is destined to commit the acts of patricide and incest that we know him for, it is through his own determined, willful pursuit that this terrible truth comes to light and becomes known. Most importantly, however, the play illustrates divine indictment against the hubris of Oedipus and Jocasta, who believe that they can subvert the prophecy through their actions. That this play is focused on the discovery of Oedipus's sins rather than the sins themselves serves to highlight this latter aspect of the story (this, according to Bernard Knox, is rooted in contemporary politics; Sophocles wrote this play asserting the superiority of divine will at a time when the institution of the Oracle鈥攁nd thereby the validity of the gods themselves鈥攚as under public fire).
While this notion of predestination in the original myth was transformed and appropriated by the Freudian lens in the early 20th century; Oedipus the King transformed modern drama by presenting an existential model for stories dealing with our own terror of the unknown, uncontrollable future and the idea that our progress; Like Oedipus' success; will unwittingly bring us to our doom. All of this, moreover, allows Sophocles to master the art of dramatic irony, which is in many ways the lifeblood of this play.
It is no wonder that Oedipus the King has long been considered the most distinguished of all Greek tragedy鈥攅nough can never be said about a play like this, one so deeply rooted in our exploration of the complexities of art, society, and the human condition.
Oedipus at Colonus (c. 406 BCE)
Oedipus at Colonus by Jean-Antoine-Th茅odore Giroust (1788)
Written at the age of 90, Oedipus at Colonus was Sophocles' last play, hyperaware of the spectre of impending war and destruction loomed over Athens at the time. It has the least mythical precedent of all Theban plays, and is the tragedian's valedictory reminder of the glory, benevolence, and fame of Athens. This is also the play where Oedipus, whose terrible ruin is part of a divine curse on his bloodline, is finally redeemed, by yet another prophecy: in his death, Oedipus is raised from mortal to hero, he is also able to avenge the wrongs committed unto him by his sons Etiocles and Polynices and his other kinsmen in Thebes.
Here, Oedipus expresses his helplessness as an instrument of fate, and thereby achieves glory: although he is still polluted, he is extricated of blame and dies a painless death. His grave, as per the redemptive prophecy, becomes the site of a war bringing doom to Thebes; that has wronged him; and Victory to Athens, whose ruler, the noble Theseus, saves him (it is through Theseus that Sophocles affirms the spirit of Athens at its peak). This is also a far more mystical play than its predecessors, dealing with furies and rituals, but this only enhances the effect of the hero being lifted to a position that is more than human鈥攔everential, and almost holy.
While Oedipus at Colonus is only the second play concerning the House of Cadmus in Thebes if a narrative chronology is considered, its thematic concerns render it the perfect end to Sophocles' Theban triad. While fate has mark Oedipus with tragedy, and the end of his bloodline is known, this play manages to inject in this sagas a communion with the gods, and thus, a note of hope.
December 22, 2022
丕蹖賳 趩賴 讴丕乇蹖鈥屫池� 賳賲蹖鈥屫з嗁�. 亘丕蹖丿 丕賵賱 賴乇 乇蹖賵蹖賵蹖蹖 賳賵卮鬲 讴賴 丕蹖賳 乇丕 亘乇丕蹖 讴丿丕賲 鬲乇噩賲賴鈥屰� 讴鬲丕亘 賲蹖鈥屬嗁堐屫驰屫�. 賴賮鬲 賴卮鬲 爻丕賱 倬丕蹖 讴鬲丕亘蹖 丕夭 鬲乇丕跇丿蹖鈥屬囏й� 亘丕爻鬲丕賳蹖 鬲乇噩賲賴鈥屰� 卮丕賴乇禺 賲爻讴賵亘 亘賴 賳丕賲 芦丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖禄 賲賳 賴蹖趩鈥屭┴ж辟団€屰� 毓丕賱賲 丕蹖賳 爻賴 噩賲賱賴 乇丕 賳賵卮鬲賴鈥屫з�: 芦讴鬲丕亘 乇丕 丿乇 鬲賳賴丕蹖蹖 亘丿蹖 禺賵丕賳丿賲 賵賯鬲蹖 賴蹖趩 賳賵乇 丕賲蹖丿蹖 賳亘賵丿. 丿乇 鬲賱禺蹖 賵 賲賱丕賱 鬲賳賴丕蹖蹖 丕蹖賳 鬲乇丕跇丿蹖鈥屬囏� 夭蹖亘丕鬲乇賳丿. 丕乇爻胤賵 賲蹖诏賵蹖丿 卮賮賯鬲 賵 鬲乇爻 丕夭 賲賱夭賵賲丕鬲 鬲乇丕跇丿蹖鈥屫池�. 賲賳 鬲乇爻賲 乇蹖禺鬲賴 亘賵丿 丕賳 乇賵夭賴丕 賵 卮丿賴 亘賵丿賲 卮賮賯鬲 賵 卮賮賯鬲禄 丕賱锟斤拷賳 蹖讴賴賵 趩卮賲賲 賲蹖鈥屫堌必� 亘賴 讴鬲丕亘蹖 丕夭 賳卮乇 毓賱賲蹖 賮乇賴賳诏蹖 亘丕 鬲乇噩賲賴鈥屰� 賲鬲乇噩賲蹖 讴賴 丕氐賱丕賸 賳卮賳蹖丿賲 賵 胤乇丨 噩賱丿蹖 讴賴 丕氐賱丕賸 亘賴 趩卮賲 賳丿蹖丿賴鈥屫з� 賵 夭蹖乇卮 丕蹖賳 乇蹖賵蹖賵 亘賳丿賴 讴賴 丨丕賱 丌丿賲 乇丕 亘丿 賲蹖鈥屭┵嗀� 蹖讴賱丨馗賴 丨爻 讴乇丿賲 蹖丕 賮乇丕賲賵卮蹖 诏乇賮鬲賴鈥屫з� 蹖丕 丿乇賵睾诏賵 亘賵丿賴鈥屫з�.
February 16, 2024
"Cu谩n terrible puede ser el conocimiento de la verdad cuando no hay ayuda en la verdad".
Arist贸teles, el primer cr铆tico y te贸rico literario de la historia, nos asegura sin nombrarlo expl铆citamente en su eterna 鈥淧o茅tica鈥� que 鈥淓dipo Rey鈥� de S贸foles es la tragedia perfecta.
Cuando estudi茅 la carrera de Licenciatura en Letras tuve el placer de conocer el perfecto an谩lisis que Arist贸teles hace de la tragedia y descubr铆 esos t茅rminos maravillosos como "eleos", "phobos", "hamarthia" y por su puesto "catarsis", entre otros.
Este desdichado rey que debe acarrear el sufrimiento y el oprobio de haber matado a su padre y haber engendrado sus hijos con su propia madre no tendr谩 paz ni descanso y al final de todo, cuando el desenlace y el destino que los dioses le propinan es inevitable, se condena al exilio y esa tragedia es la que continuar谩 en "Edipo en Colono" donde sufrir谩 por dem谩s los males que le aquejan y que lo llevar谩n a la muerte.
Mi edici贸n tambi茅n incluye "Ant铆gona", ahora en Tebas, que tambi茅n es una tr谩gica secuela de la hija que lega el sufrimiento de su padre, ante el conocimiento de la mutua muerte que se han propinado sus propio hermanos y al que se agregar谩 tambi茅n a sufrir su condici贸n de mujer.
En estas tragedias de S贸focles, no hay paz para nadie.
Solo dolor, desgracia y muerte.
Arist贸teles, el primer cr铆tico y te贸rico literario de la historia, nos asegura sin nombrarlo expl铆citamente en su eterna 鈥淧o茅tica鈥� que 鈥淓dipo Rey鈥� de S贸foles es la tragedia perfecta.
Cuando estudi茅 la carrera de Licenciatura en Letras tuve el placer de conocer el perfecto an谩lisis que Arist贸teles hace de la tragedia y descubr铆 esos t茅rminos maravillosos como "eleos", "phobos", "hamarthia" y por su puesto "catarsis", entre otros.
Este desdichado rey que debe acarrear el sufrimiento y el oprobio de haber matado a su padre y haber engendrado sus hijos con su propia madre no tendr谩 paz ni descanso y al final de todo, cuando el desenlace y el destino que los dioses le propinan es inevitable, se condena al exilio y esa tragedia es la que continuar谩 en "Edipo en Colono" donde sufrir谩 por dem谩s los males que le aquejan y que lo llevar谩n a la muerte.
Mi edici贸n tambi茅n incluye "Ant铆gona", ahora en Tebas, que tambi茅n es una tr谩gica secuela de la hija que lega el sufrimiento de su padre, ante el conocimiento de la mutua muerte que se han propinado sus propio hermanos y al que se agregar谩 tambi茅n a sufrir su condici贸n de mujer.
En estas tragedias de S贸focles, no hay paz para nadie.
Solo dolor, desgracia y muerte.
October 23, 2023
毓噩亘 卮丕賴讴丕乇蹖!
賴乇 趩蹖夭 乇丕 夭讴丕鬲蹖 丕爻鬲 賵 夭讴丕鬲 毓賯賱 丕賳丿賵賴蹖 丕爻鬲 胤賵蹖賱 (鬲匕讴乇賴鈥屫з勜з堎勠屫�)
爻賴 诏丕賳賴 賮賵賯鈥屫з勜关ж� 爻賵賮賵讴賱爻 (爻賵賮賵讴賱)貙 賲丕噩乇丕蹖 噩賳诏 丌丿賲蹖 亘丕 鬲賯丿蹖乇 丕爻鬲. 賲丕噩乇丕蹖 賲乇丿丕賳 賵 夭賳丕賳蹖 讴賴 鬲丕賵丕賳 丿丕賳爻鬲賳鈥屫簇з� 乇丕 賲蹖鈥屫囐嗀�. 丕丿蹖倬賵爻 讴賴 亘賳丕 亘乇 倬蹖卮诏賵蹖蹖 卮賵賲蹖 賮乇爻賳诏鈥屬囏� 丿乇 讴賵丿讴蹖 丕夭 賵丕賱丿蹖賳卮 噩丿丕 卮丿賴貨 亘乇 胤乇蹖賯 卮賵賲 爻乇賳賵卮鬲 賳夭丿 丌賳丕賳 賵 亘賴 鬲亘丕蹖 亘丕夭 賲蹖鈥屭必�. 丕賲丕 趩诏賵賳賴 賵 亘賴 趩賴 賳丨賵責 丕蹖賳 賲乇丿 丿丕賳丕貙 丕蹖賳 倬丕爻禺诏賵蹖 賲毓賲丕蹖 丕亘賵丕賱賴賵賱貙 卮賴乇 丌亘丕 賵 丕噩丿丕丿蹖 乇丕 賳噩丕鬲 賲蹖鈥屫囏�. 倬賱賴 倬賱賴 亘蹖卮鬲乇 賲蹖鈥屫з嗀� 賵 亘丕 賴乇 丿丕賳爻鬲賳貙 乇賵賱蹖 讴賴 禺丿丕蹖丕賳 亘乇丕蹖卮 丿乇 賳賲丕蹖卮 毓丕賱賲 賳賵卮鬲賴鈥屫з嗀� 乇丕 亘賴鬲乇 亘丕夭蹖 賲蹖鈥屭┵嗀�. 丿乇蹖睾 讴賴 賳賲蹖鈥屫з嗀� 趩賴 爻乇賳賵卮鬲 卮賵賲蹖 丿乇 丕賳鬲馗丕乇 丕賵爻鬲. 賴乇 亘丕乇 讴賴 丿乇蹖 丕夭 丨賯丕蹖賯 亘賴 乇賵蹖 賵蹖 亘丕夭 賲蹖鈥屫促堌� 丕賵 乇丕 賲丨賳鬲蹖 毓馗蹖賲鈥屫� 賮乇丕 賲蹖鈥屭屫必�.
丕丿蹖倬賵爻 (丕丿蹖倬) 賲乇丿 禺乇丿賲賳丿蹖 丕爻鬲 讴賴 倬賳噩賴 丿乇 趩賳诏丕賱 爻乇賳賵卮鬲 亘乇丿賴 丕爻鬲. 丌丿賲蹖夭丕丿诏丕賳蹖 讴賴 亘丕夭蹖趩賴 噩賳诏鈥屬囏й� 禺丿丕蹖丕賳 诏卮鬲賴鈥屫з嗀�. 丕蹖賳 爻賴 诏丕賳賴 乇賵丕蹖鬲 毓丕賯亘鬲 卮賵賲 蹖讴 禺丕賳丿丕賳 丕爻鬲. 禺丕賳丿丕賳鈥屫簇з囒� 讴賴 爻賳诏蹖賳蹖 诏賳丕賴 乇丕 丕夭 丕賵賱蹖賳鈥屫簇з� 蹖毓賳蹖 讴丕丿賲賵爻貙 亘乇 诏乇丿賳 丿丕乇賳丿. 噩賳诏 賲丕 亘蹖賳 賳蹖乇賵蹖蹖 丕夭 倬蹖卮 賲賯賴賵乇 賵 丿毓賵丕 亘乇 馗賮乇蹖 丕夭 倬蹖卮 賲毓蹖賳 丕爻鬲. 丌丿賲蹖 亘丕夭蹖趩賴 丕禺鬲賱丕賮丕鬲 禺丿丕蹖丕賳 丕爻鬲. 賴賲趩賵賳 讴賴 噩丿 丕丿蹖倬賵爻貙 亘賴 賮乇賲丕賳 禺丿丕蹖诏丕賳蹖 诏賵卮 丿丕丿 賵 丕蹖賳 睾囟亘 禺丿丕蹖 丿蹖诏乇蹖 乇丕 噩賱亘 讴乇丿 賵 亘乇丕蹖 賴賲蹖卮賴 丕賵 乇丕 賳賮乇蹖賳 賳賲賵丿.
丕丿蹖倬賵爻 賲賱睾賲賴 丕蹖 丕夭 賳蹖乇賵蹖 禺乇丿 賵 鬲丕乇蹖讴蹖 丕爻鬲. 丿乇 賳賲丕蹖卮賳丕賲赖 丕賵賱 丕蹖賳 鬲乇讴蹖亘 亘賴 禺賵亘蹖 賳賲丕蹖丕賳 丕爻鬲...
爻賴 诏丕賳賴 丕賮爻丕賳賴 賴丕蹖 鬲亘丕蹖貙 卮丕賲賱 爻賴 賳賲丕蹖卮賳丕賲赖 丕丿蹖倬賵爻 卮賴乇蹖丕乇貙 丕丿蹖倬賵爻 丿乇 讴賱賳賵爻 賵 丌賳鬲蹖诏賵賳赖 丕爻鬲. 乇禺丿丕丿賴丕蹖蹖 讴賴 丿乇 倬蹖 賴賲 乇禺 賲蹖鈥屫囐嗀�. 诏乇趩賴 爻賵賮賵讴賱爻 亘賴 丕蹖賳 鬲乇鬲蹖亘 賳賲丕蹖卮賳丕賲赖 賴丕 乇丕 賳賳賵卮鬲賴 丕爻鬲 丕賲丕 亘賴 禺丕胤乇 乇毓丕蹖鬲 鬲乇鬲蹖亘 丿丕爻鬲丕賳蹖貙 亘賴 丕蹖賳 卮讴賱 丿乇 讴鬲丕亘 趩蹖丿賴 卮丿賴 丕賳丿. (诏賮鬲賳蹖 丕爻鬲 讴賴 爻賵賮賵讴賱爻 丕亘鬲丿丕 丌賳鬲蹖诏賵賳赖 爻倬爻 丕丿蹖倬賵爻 卮賴乇蹖丕乇 賵 丿乇 丌禺乇 丕丿蹖倬賵爻 丿乇 讴賱賳賵爻 乇丕 賳賵卮鬲)
賳賲丕蹖卮賳丕賲赖 丕賵賱 賵 爻賵賲 賴乇 丿賵 卮丕賴讴丕乇 賴爻鬲賳丿 賵 賳賲丕蹖卮賳丕賲赖 丿賵賲 丕夭 丕蹖賳 噩賴鬲 賲賴賲 丕爻鬲 讴賴 丕蹖賳 丿賵 乇丕 亘賴 蹖讴丿蹖诏乇 賲鬲氐賱 賲蹖鈥屭┵嗀�.
丿乇 賲賵乇丿 丌賳鬲蹖诏賵賳赖 鬲乇噩蹖丨 賲蹖鈥屫囐� 亘賴 胤賵乇 賲爻鬲賯賱 丿乇 賲噩賱丿 噩丿丕蹖蹖 讴賴 亘賴 鬲乇噩賲賴 丌賯丕蹖 丿乇蹖丕亘賳丿乇蹖 賴爻鬲 亘賳賵蹖爻賲.
丕蹖賳 讴鬲丕亘 乇丕 丕夭 丿爻鬲 賳丿賴蹖丿. 诏乇趩賴 卮丕蹖丿 鬲乇噩賲賴 诏丕賴蹖 孬賯蹖賱 亘賳賲丕蹖丿 賵 讴賱賲丕鬲 丿賵乇 丕夭 匕賴賳. 丕賲丕 禺賵丕賳丿賳 賳孬乇 丌賯丕蹖 賲爻讴賵亘 賮賵賯鈥屫з勜关ж� 丕爻鬲. 賴賲鈥屭嗁嗃屬� 賲賯丿賲賴 卮丕賴乇禺 賲爻讴賵亘 丿乇 丕亘鬲丿丕蹖 讴鬲丕亘 賵 賲鬲賳 亘賵賲丕乇貙 亘丕 毓賳賵丕賳 丌賳鬲蹖诏賵賳赖 賵 賱匕鬲 鬲乇丕跇蹖讴貙 乇丕賴賳賲丕蹖 禺賵亘蹖 亘乇丕蹖 賮賴賲 賵 鬲毓賲賯 丿乇 丕蹖賳 丕孬乇 噩丕賵丿丕賳賴 丕爻鬲.
賴乇 趩蹖夭 乇丕 夭讴丕鬲蹖 丕爻鬲 賵 夭讴丕鬲 毓賯賱 丕賳丿賵賴蹖 丕爻鬲 胤賵蹖賱 (鬲匕讴乇賴鈥屫з勜з堎勠屫�)
爻賴 诏丕賳賴 賮賵賯鈥屫з勜关ж� 爻賵賮賵讴賱爻 (爻賵賮賵讴賱)貙 賲丕噩乇丕蹖 噩賳诏 丌丿賲蹖 亘丕 鬲賯丿蹖乇 丕爻鬲. 賲丕噩乇丕蹖 賲乇丿丕賳 賵 夭賳丕賳蹖 讴賴 鬲丕賵丕賳 丿丕賳爻鬲賳鈥屫簇з� 乇丕 賲蹖鈥屫囐嗀�. 丕丿蹖倬賵爻 讴賴 亘賳丕 亘乇 倬蹖卮诏賵蹖蹖 卮賵賲蹖 賮乇爻賳诏鈥屬囏� 丿乇 讴賵丿讴蹖 丕夭 賵丕賱丿蹖賳卮 噩丿丕 卮丿賴貨 亘乇 胤乇蹖賯 卮賵賲 爻乇賳賵卮鬲 賳夭丿 丌賳丕賳 賵 亘賴 鬲亘丕蹖 亘丕夭 賲蹖鈥屭必�. 丕賲丕 趩诏賵賳賴 賵 亘賴 趩賴 賳丨賵責 丕蹖賳 賲乇丿 丿丕賳丕貙 丕蹖賳 倬丕爻禺诏賵蹖 賲毓賲丕蹖 丕亘賵丕賱賴賵賱貙 卮賴乇 丌亘丕 賵 丕噩丿丕丿蹖 乇丕 賳噩丕鬲 賲蹖鈥屫囏�. 倬賱賴 倬賱賴 亘蹖卮鬲乇 賲蹖鈥屫з嗀� 賵 亘丕 賴乇 丿丕賳爻鬲賳貙 乇賵賱蹖 讴賴 禺丿丕蹖丕賳 亘乇丕蹖卮 丿乇 賳賲丕蹖卮 毓丕賱賲 賳賵卮鬲賴鈥屫з嗀� 乇丕 亘賴鬲乇 亘丕夭蹖 賲蹖鈥屭┵嗀�. 丿乇蹖睾 讴賴 賳賲蹖鈥屫з嗀� 趩賴 爻乇賳賵卮鬲 卮賵賲蹖 丿乇 丕賳鬲馗丕乇 丕賵爻鬲. 賴乇 亘丕乇 讴賴 丿乇蹖 丕夭 丨賯丕蹖賯 亘賴 乇賵蹖 賵蹖 亘丕夭 賲蹖鈥屫促堌� 丕賵 乇丕 賲丨賳鬲蹖 毓馗蹖賲鈥屫� 賮乇丕 賲蹖鈥屭屫必�.
丕丿蹖倬賵爻 (丕丿蹖倬) 賲乇丿 禺乇丿賲賳丿蹖 丕爻鬲 讴賴 倬賳噩賴 丿乇 趩賳诏丕賱 爻乇賳賵卮鬲 亘乇丿賴 丕爻鬲. 丌丿賲蹖夭丕丿诏丕賳蹖 讴賴 亘丕夭蹖趩賴 噩賳诏鈥屬囏й� 禺丿丕蹖丕賳 诏卮鬲賴鈥屫з嗀�. 丕蹖賳 爻賴 诏丕賳賴 乇賵丕蹖鬲 毓丕賯亘鬲 卮賵賲 蹖讴 禺丕賳丿丕賳 丕爻鬲. 禺丕賳丿丕賳鈥屫簇з囒� 讴賴 爻賳诏蹖賳蹖 诏賳丕賴 乇丕 丕夭 丕賵賱蹖賳鈥屫簇з� 蹖毓賳蹖 讴丕丿賲賵爻貙 亘乇 诏乇丿賳 丿丕乇賳丿. 噩賳诏 賲丕 亘蹖賳 賳蹖乇賵蹖蹖 丕夭 倬蹖卮 賲賯賴賵乇 賵 丿毓賵丕 亘乇 馗賮乇蹖 丕夭 倬蹖卮 賲毓蹖賳 丕爻鬲. 丌丿賲蹖 亘丕夭蹖趩賴 丕禺鬲賱丕賮丕鬲 禺丿丕蹖丕賳 丕爻鬲. 賴賲趩賵賳 讴賴 噩丿 丕丿蹖倬賵爻貙 亘賴 賮乇賲丕賳 禺丿丕蹖诏丕賳蹖 诏賵卮 丿丕丿 賵 丕蹖賳 睾囟亘 禺丿丕蹖 丿蹖诏乇蹖 乇丕 噩賱亘 讴乇丿 賵 亘乇丕蹖 賴賲蹖卮賴 丕賵 乇丕 賳賮乇蹖賳 賳賲賵丿.
丕丿蹖倬賵爻 賲賱睾賲賴 丕蹖 丕夭 賳蹖乇賵蹖 禺乇丿 賵 鬲丕乇蹖讴蹖 丕爻鬲. 丿乇 賳賲丕蹖卮賳丕賲赖 丕賵賱 丕蹖賳 鬲乇讴蹖亘 亘賴 禺賵亘蹖 賳賲丕蹖丕賳 丕爻鬲...
爻賴 诏丕賳賴 丕賮爻丕賳賴 賴丕蹖 鬲亘丕蹖貙 卮丕賲賱 爻賴 賳賲丕蹖卮賳丕賲赖 丕丿蹖倬賵爻 卮賴乇蹖丕乇貙 丕丿蹖倬賵爻 丿乇 讴賱賳賵爻 賵 丌賳鬲蹖诏賵賳赖 丕爻鬲. 乇禺丿丕丿賴丕蹖蹖 讴賴 丿乇 倬蹖 賴賲 乇禺 賲蹖鈥屫囐嗀�. 诏乇趩賴 爻賵賮賵讴賱爻 亘賴 丕蹖賳 鬲乇鬲蹖亘 賳賲丕蹖卮賳丕賲赖 賴丕 乇丕 賳賳賵卮鬲賴 丕爻鬲 丕賲丕 亘賴 禺丕胤乇 乇毓丕蹖鬲 鬲乇鬲蹖亘 丿丕爻鬲丕賳蹖貙 亘賴 丕蹖賳 卮讴賱 丿乇 讴鬲丕亘 趩蹖丿賴 卮丿賴 丕賳丿. (诏賮鬲賳蹖 丕爻鬲 讴賴 爻賵賮賵讴賱爻 丕亘鬲丿丕 丌賳鬲蹖诏賵賳赖 爻倬爻 丕丿蹖倬賵爻 卮賴乇蹖丕乇 賵 丿乇 丌禺乇 丕丿蹖倬賵爻 丿乇 讴賱賳賵爻 乇丕 賳賵卮鬲)
賳賲丕蹖卮賳丕賲赖 丕賵賱 賵 爻賵賲 賴乇 丿賵 卮丕賴讴丕乇 賴爻鬲賳丿 賵 賳賲丕蹖卮賳丕賲赖 丿賵賲 丕夭 丕蹖賳 噩賴鬲 賲賴賲 丕爻鬲 讴賴 丕蹖賳 丿賵 乇丕 亘賴 蹖讴丿蹖诏乇 賲鬲氐賱 賲蹖鈥屭┵嗀�.
丿乇 賲賵乇丿 丌賳鬲蹖诏賵賳赖 鬲乇噩蹖丨 賲蹖鈥屫囐� 亘賴 胤賵乇 賲爻鬲賯賱 丿乇 賲噩賱丿 噩丿丕蹖蹖 讴賴 亘賴 鬲乇噩賲賴 丌賯丕蹖 丿乇蹖丕亘賳丿乇蹖 賴爻鬲 亘賳賵蹖爻賲.
丕蹖賳 讴鬲丕亘 乇丕 丕夭 丿爻鬲 賳丿賴蹖丿. 诏乇趩賴 卮丕蹖丿 鬲乇噩賲賴 诏丕賴蹖 孬賯蹖賱 亘賳賲丕蹖丿 賵 讴賱賲丕鬲 丿賵乇 丕夭 匕賴賳. 丕賲丕 禺賵丕賳丿賳 賳孬乇 丌賯丕蹖 賲爻讴賵亘 賮賵賯鈥屫з勜关ж� 丕爻鬲. 賴賲鈥屭嗁嗃屬� 賲賯丿賲賴 卮丕賴乇禺 賲爻讴賵亘 丿乇 丕亘鬲丿丕蹖 讴鬲丕亘 賵 賲鬲賳 亘賵賲丕乇貙 亘丕 毓賳賵丕賳 丌賳鬲蹖诏賵賳赖 賵 賱匕鬲 鬲乇丕跇蹖讴貙 乇丕賴賳賲丕蹖 禺賵亘蹖 亘乇丕蹖 賮賴賲 賵 鬲毓賲賯 丿乇 丕蹖賳 丕孬乇 噩丕賵丿丕賳賴 丕爻鬲.
March 31, 2022
毓丕賱蹖 亘賵丿... 爻賴 賳賲丕蹖卮賳丕賲赖鈥屰� 倬卮鬲鈥屫池� 賴賲 丕夭 丕丿蹖倬. 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 鬲乇丕跇丿蹖鈥屬囏й� 蹖賵賳丕賳蹖
February 11, 2022
讴丕乇鬲丕爻蹖爻
丕诏乇 賲蹖禺賵丕賴蹖丿 亘賴 鬲噩賵蹖夭賽 倬蹖乇賽 毓丕賱賲賽 賮賱爻賮賴 丕乇爻胤賵蹖 讴亘蹖乇 毓賳丕氐乇 趩賴丕乇 诏丕賳賴 胤亘毓鬲賵賳( 亘賱睾賲 貙 爻賵丿丕 貙 氐賮乇丕 賵 禺賵賳 ) 賴賲蹖卮賴 賲蹖夭丕賳 亘丕卮賴 貙 卮亘丕 賯亘賱 禺賵丕亘 賲睾夭鬲賵賳 鬲乇丕跇丿蹖 賲蹖賱 讴賳賴 貨 鬲乇噩蹖丨丕 亘丕 卮乇亘鬲 丌亘賱蹖賲賵 賵 亘賴賲賳 讴賵趩蹖讴 .
丿賵賴夭丕乇 賵 倬賵賳氐丿 爻丕賱 丕夭 毓賲乇 乇賵丕蹖鬲 讴鬲亘蹖 丕蹖賳 鬲乇丕跇丿蹖 賲蹖诏匕乇賴 趩賴 亘爻丕 乇賵丕蹖鬲 卮賮丕賴蹖 毓賲乇 丿乇丕夭 鬲乇蹖 賴賲 丿丕卮鬲賴 亘丕卮賴. 丕賲丕 趩賴 噩丕匕亘賴 賵 噩丕丿賵蹖蹖 亘丕毓孬 賲氐賵賳 賲賵賳丿賳 賵 丕夭 趩卮賲 賳蹖賮鬲丕丿賳 倬蹖讴丕乇 鬲讴乇丕乇蹖 禺丿丕蹖丕賳 賵 丕賳爻丕賳 賲蹖卮賴 責 倬蹖讴丕乇蹖 讴賴 賲丕丨氐賱卮 亘乇丕蹖 賲丕 爻丕禺鬲 賯賴乇賲丕賳 鬲乇丕跇蹖讴賴.
亘賴 賳馗乇賲 丕賳爻丕賳 亘賵丿賳 賲賴賲鬲乇蹖賳 乇讴賳 丕蹖賳 噩丕賵丿丕賳诏蹖 亘丕卮賴.
丕蹖賳讴賴 賲丕 鬲賵 鬲蹖賲 丕賳爻丕賳賴丕蹖蹖賲 賵 亘丕 丕蹖賳讴賴 丌诏丕賴 丕夭 鬲爻賱蹖賲 賵 卮讴爻鬲 賯賴乇賲丕賳 鬲乇丕跇蹖讴 丿乇 亘乇丕亘乇 禺賵丕爻鬲 賵 丕乇丕丿賴 鬲賯丿蹖乇 禺丿丕蹖丕賳蹖賲 賵賱蹖 丕蹖賳 鬲賱丕卮 賵 亘賴 賳賵毓蹖 卮讴爻鬲 賯賴乇賲丕賳丕賳賴 乇賵 鬲丨爻蹖賳 賲蹖讴賳蹖賲 . 丨爻蹖 卮亘蹖賴 賴賵丕丿丕乇丕蹖 蹖讴 鬲蹖賲 丿爻鬲賴 爻賵賲蹖 讴賴 丕夭 卮讴爻鬲 賯胤毓蹖 鬲蹖賲卮 亘乇丕亘乇 丨乇蹖賮 賯丿乇鬲賲賳丿 丌诏丕賴賴 賵賱蹖 賮丕乇睾 丕夭 賳鬲蹖噩賴 丕夭 酃郯 丿賯蹖賯賴 鬲賱丕卮 鬲蹖賲 賳賴丕蹖鬲 賱匕鬲 乇賵 禺賵丕賴丿 亘乇丿 賵 賲賵賴亘鬲 讴丕鬲丕乇爻蹖爻 乇賵 鬲噩乇亘賴 賲蹖讴賳賴.
丕蹖賳 爻賴 诏丕賳賴 亘丕 卮讴賵賴 毓賱丕賵賴 亘乇 丕賳亘賵賴蹖 丕夭 賮囟丕蹖賱 賳蹖讴 讴賴 丕夭 卮賲丕乇卮 禺丕乇噩賴 丿賵 賵蹖跇诏蹖 賲賳丨氐乇 亘賮乇丿 賳爻亘鬲 亘賴 亘賯蹖賴 丕賮爻丕賳賴鈥屬囏� 丿丕乇賴 丕夭 賳馗乇 賲賳 貨
丕賵賱蹖卮 丕蹖賳鈥屭┵� 鬲賵噩賴卮 亘賴 亘購毓丿 丕賳爻丕賳蹖 丕賮爻丕賳賴 禺蹖賱蹖 亘蹖卮鬲乇 丕夭 禺丿丕蹖丕賳賴 . 亘賴 賳賵毓蹖 爻賵賮賵讴賱 蹖讴 賯丿賲 噩賱賵鬲乇 乇賮鬲賴 賵 亘賴 噩丕蹖 鬲賲乇讴夭 乇賵蹖 賳夭丕毓 賵 讴卮賲讴卮 亘蹖賳 丕賳爻丕賳 賵 禺丿丕蹖丕賳 貨 亘蹖卮鬲乇 亘賴 毓賵丕賯亘 賵 賲丕丨氐賱 丕蹖賳 讴卮賲讴卮 亘乇 爻乇卮鬲 賯賴乇賲丕賳 丕賮爻丕賳賴 禺賵丿卮 倬乇丿丕禺鬲賴 . 亘賴 賴賲蹖賳 丿賱蹖賱 禺賵丕賳賳丿賴 賵 蹖丕 卮賳賵賳丿賴 亘蹖卮鬲乇 丕夭 丕蹖賳讴賴 卮丕賴丿 蹖讴 倬蹖讴丕乇 亘丕卮賴 亘賴 毓賳賵丕賳 卮禺氐 爻賵賲 貨 賲丿丕賲 丿乇 丨丕賱 賴賲夭丕丿 倬賳丿丕乇蹖 毓丕胤賮蹖 亘丕 趩賳丿蹖賳 讴丕乇丕讴鬲乇 丿丕爻鬲丕賳賴 賵 蹖讴 趩乇禺賴 賲丿丕賵賲 丕夭 鬲賯丕亘賱賴丕蹖 亘丿賵賳 賯囟丕賵鬲 噩賱賵卮 卮讴賱 賲蹖诏蹖乇賴 讴賴 亘賴 鬲賮讴乇 乇丕噩毓 亘賴卮賵賳 鬲卮賵蹖賯卮 賲蹖讴賳賴 .
鬲蹖乇夭蹖丕爻
丿乇 乇賵丕蹖鬲蹖 丕賵賲丿賴 蹖讴 乇賵夭 讴賴 丌鬲賳丕 亘丕 蹖讴蹖 丕夭 倬乇蹖丕賳 噩賳诏賱 丿乇 乇賵丿禺丕賳賴 丕蹖 亘賴 卮賳丕 賲卮睾賵賱 亘賵丿 趩賵倬丕賳 夭蹖亘丕 賵 噩賵丕賳蹖 亘賴 賳丕賲 鬲蹖乇夭蹖丕爻 亘乇丨爻亘 鬲氐丕丿賮 丕夭 丕賵賳噩丕 賲蹖诏匕卮鬲賴 賵 趩卮賲卮 亘賴 丕賳丿丕賲 亘乇賴賳賴 丕賱賴賴 賲蹖賮鬲賴 賵 鬲賵 丕蹖賳 賳诏丕賴 鬲毓賲丿 賵 鬲賯氐蹖乇蹖 賳丿丕卮鬲賴 丕賲丕 丕賱賴賴 趩賳丕賳 亘賴 禺卮賲 丕賵賲丿賴 讴賴 亘賱丕賮丕氐賱賴 亘賳丿賴 禺丿丕乇賵 丕夭 賴乇 丿賵 趩卮賲 讴賵乇 賲蹖讴賳賴 . 亘丕 丕蹖賳讴賴 蹖讴蹖 丕夭 倬乇蹖丕賳 噩賳诏賱 亘賴 賳丕賲 讴丕乇蹖讴賱賵 讴賴 卮丕蹖丿 賮乇蹖賮鬲賴 夭蹖亘丕卅蹖 鬲蹖乇夭蹖丕爻 卮丿賴 亘賵丿 卮賮丕毓鬲卮賵 讴乇丿 賵 丌鬲賳丕 賴賲 丕毓鬲乇丕賮 讴乇丿 讴賴 胤賮賱 賲毓氐賵賲 鬲賯氐蹖乇 賳丿丕卮鬲賴 丕賲丕 丌鬲賳丕 丨丕囟乇 賳卮丿 趩卮賲 賴丕卅蹖 乇丕 讴賴 鬲賵賳爻鬲賴 亘賵丿 丕賳丿丕賲 亘乇賴賳卮賵 亘亘蹖賳賴 丿賵亘丕乇賴 亘蹖賳丕 讴賳賴 貨 賮賯胤 鬲蹖乇夭蹖丕爻 乇賵 亘賴 噩丕蹖 亘蹖賳丕蹖蹖 丕夭 丿爻鬲 乇賮鬲賴 丕夭 賯丿乇鬲 睾蹖亘 诏賵蹖蹖 賵 倬蹖卮 亘蹖賳蹖 亘乇禺賵乇丿丕乇 賲蹖讴賳賴 .
噩丕蹖诏丕賴 卮禺氐蹖鬲 鬲蹖乇夭蹖丕爻 亘爻蹖丕乇 亘爻蹖丕乇 鬲賵 讴鬲丕亘 丨丕卅夭 丕賴賲蹖鬲賴 賵 丨爻 賲蹖讴賳賲 爻賵賮賵讴賱 賴乇 亘丕乇 讴賴 丕爻賲卮賵 賲蹖賳賵卮鬲賴 亘賴 丕丨鬲乇丕賲卮 賲蹖鈥屫й屫池ж� .
蹖讴 丿丕賳丕蹖 讴賱 讴賴 賴蹖趩 卮讴 賵 鬲乇丿蹖丿蹖 丿乇 讴賱丕賲卮 乇賵丕 賳亘賵丿 賵 爻賵賮賵讴賱 亘賴 丿賵 卮讴賱 賲鬲賮丕賵鬲 丕夭 鬲蹖乇夭蹖丕爻 丿丕賳丕 亘賴乇賴 賲蹖亘乇賴 .
丕賵賱蹖賳 亘丕乇 鬲賯丕亘賱卮 亘丕 丕丿蹖倬賵爻 賵 丿賵賲蹖卮 亘丕 讴乇卅賵賳 .
鬲賯丕亘賱 亘蹖賳 丕丿蹖倬賵爻 賵 鬲蹖乇夭蹖丕爻 鬲亘丿蹖賱 亘賴 鬲賯丕亘賱 亘蹖賳 亘蹖賳丕蹖蹖 賵 賳丕亘蹖賳丕蹖蹖 賲蹖卮賴. 丿乇 蹖讴 爻賵 丕丿蹖倬賵爻 亘蹖賳丕 賵 丕賵賳 胤乇賮 鬲蹖乇夭蹖丕爻 賳丕亘蹖賳丕. 鬲賯丕亘賱 亘蹖賳丕蹖蹖 賵 賳丕亘蹖賳丕蹖蹖 丕賵賳 趩蹖夭蹖賴 讴賴 亘賴 賵囟賵丨 鬲賵 賳賲丕蹖卮賳丕賲赖 丿蹖丿賴 賲蹖卮賴 丕賲丕 鬲賮丕賵鬲鈥屬囏й屰� 賵噩賵丿 丿丕乇賴 .
鬲蹖乇夭蹖丕爻 丿乇 賲賵丕噩賴 亘丕 丕丿蹖倬賵爻 亘賴 氐賵乇鬲 睾蹖乇 賲爻鬲賯蹖賲 丕丿蹖倬賵爻 乇賵 丿丕乇丕蹖 禺乇丿 賲蹖鈥屫堎嗁�. 亘丕 丕蹖賳讴賴 丕丿蹖倬賵爻 賯丕丿乇 亘賴 丿蹖丿賳 賵 卮賳丕禺鬲 丕蹖賳 禺乇丿 賳蹖爻鬲 丕賲丕 亘丕 亘蹖丕賳 賵丕賯毓蹖鬲 賴丕蹖 賵 鬲賯丿蹖乇蹖 讴賴 亘乇 丕丿蹖倬 诏匕卮鬲賴 乇丕賴 乇賵 亘乇丕蹖 丿爻鬲蹖丕亘蹖卮 亘賴 丨賯蹖賯鬲 賵 禺乇丿 賮乇丕賴賲 賲蹖爻丕夭賴 .
丕賲丕 丿乇 賲賵丕噩賴 亘丕 讴乇卅賵賳 亘賴 胤賵乇 丕賵賳 乇賵 亘蹖 禺乇丿 貙 丕亘賱賴 賵 倬賵趩 賲蹖丿賵賳賴 讴賴 賴蹖趩 丕賲蹖丿蹖 亘賴卮 賳蹖爻鬲 .
亘賴 胤賵乇 讴賱 蹖讴蹖 丕夭 噩匕丕亘蹖鬲賴丕蹖 丕氐賱蹖 讴鬲丕亘 丿蹖丕賱賵诏賴丕蹖蹖賴 讴賴 丕夭 夭亘丕賳 鬲蹖乇夭蹖丕爻 亘蹖丕賳 賲蹖卮賴
丌賳鬲蹖诏賵賳赖
丿賵賲蹖賳 賵蹖跇诏蹖 賲賳丨氐乇 亘賴 賮乇丿 讴鬲丕亘 丕夭 丿蹖丿 賲賳 卮禺氐蹖鬲 賵 讴丕乇丕讴鬲乇 丌賳鬲蹖诏賵賳爻鬲 鈥�.
讴丕乇丕讴鬲乇蹖 讴賴 賯丿賲 亘賴 賯丿賲 卮讴賱 诏乇賮鬲 貙 乇卮丿 倬蹖丿丕 讴乇丿 賵 亘賴 毓乇賵噩 睾賳丕蹖蹖 禺賵丿卮 乇爻蹖丿 .
鬲氐賵蹖乇蹖 讴賴 爻賵賮賵讴賱 鄄鄣郯郯 爻丕賱 賯亘賱 丕夭 丌賳鬲蹖诏賵賳赖 丕乇丕卅賴 讴乇丿 賲氐丿丕賯 亘丕乇夭 賵 亘丿賵賳 匕乇賴 丕蹖 賳丕禺丕賱氐蹖 丕夭賳丕亘 鬲乇蹖賳 鬲賮讴乇 賮賲賳蹖爻鬲 毓氐乇 丨丕囟乇賴 讴賴 丕賱丕賳 丕夭 匕丕鬲 丕氐賱蹖 禺賵丿卮 丿賵乇 卮丿賴 .
卮禺氐蹖鬲蹖 讴賴 亘賴 噩丿 丿乇 禺賵乇 鬲丨爻蹖賳 賵 賯賴乇賲丕賳 丕氐賱蹖 丕賯亘丕賱 鬲賵 丕蹖賳 讴鬲丕亘賴 .
丌賳鬲蹖诏賵賳赖 亘賴 賳馗乇賲 亘夭乇诏鬲乇蹖賳 賯乇亘丕賳蹖 丕蹖賳 诏賳丕賴 賵 禺卮賲 賵 睾氐亘 禺丿丕蹖丕賳 亘賵丿 讴賴 卮噩丕毓鬲 乇賵 賲毓賳丕 讴乇丿 .
丕賯丕 丕氐賱丕 賴乇 趩蹖 亘诏賲 讴賲 诏賮鬲賲 .
乇丕噩毓 亘賴 禺蹖賱蹖 丕夭 賲爻丕卅賱 丕夭 噩賲賱賴 鬲乇噩賲賴 亘蹖 賳賯氐 賲爻讴賵亘 蹖丕 禺賵丿 賲爻卅賱賴 丕賮爻丕賳賴 鬲賵 乇蹖賵蹖賵賴丕蹖 丿賵爻鬲丕賳 氐丨亘鬲 卮丿賴 讴賴 鬲讴乇丕乇 賲讴乇乇丕鬲 賳賲蹖鈥屭┵嗁�.
亘禺賵丕賳蹖丿 賵 賱匕鬲 亘亘乇蹖丿 讴賴 丕夭 禺卮賲 禺丿丕蹖丕賳 亘賴 丿賵乇 亘丕卮蹖丿 .
丕诏乇 賲蹖禺賵丕賴蹖丿 亘賴 鬲噩賵蹖夭賽 倬蹖乇賽 毓丕賱賲賽 賮賱爻賮賴 丕乇爻胤賵蹖 讴亘蹖乇 毓賳丕氐乇 趩賴丕乇 诏丕賳賴 胤亘毓鬲賵賳( 亘賱睾賲 貙 爻賵丿丕 貙 氐賮乇丕 賵 禺賵賳 ) 賴賲蹖卮賴 賲蹖夭丕賳 亘丕卮賴 貙 卮亘丕 賯亘賱 禺賵丕亘 賲睾夭鬲賵賳 鬲乇丕跇丿蹖 賲蹖賱 讴賳賴 貨 鬲乇噩蹖丨丕 亘丕 卮乇亘鬲 丌亘賱蹖賲賵 賵 亘賴賲賳 讴賵趩蹖讴 .
丿賵賴夭丕乇 賵 倬賵賳氐丿 爻丕賱 丕夭 毓賲乇 乇賵丕蹖鬲 讴鬲亘蹖 丕蹖賳 鬲乇丕跇丿蹖 賲蹖诏匕乇賴 趩賴 亘爻丕 乇賵丕蹖鬲 卮賮丕賴蹖 毓賲乇 丿乇丕夭 鬲乇蹖 賴賲 丿丕卮鬲賴 亘丕卮賴. 丕賲丕 趩賴 噩丕匕亘賴 賵 噩丕丿賵蹖蹖 亘丕毓孬 賲氐賵賳 賲賵賳丿賳 賵 丕夭 趩卮賲 賳蹖賮鬲丕丿賳 倬蹖讴丕乇 鬲讴乇丕乇蹖 禺丿丕蹖丕賳 賵 丕賳爻丕賳 賲蹖卮賴 責 倬蹖讴丕乇蹖 讴賴 賲丕丨氐賱卮 亘乇丕蹖 賲丕 爻丕禺鬲 賯賴乇賲丕賳 鬲乇丕跇蹖讴賴.
亘賴 賳馗乇賲 丕賳爻丕賳 亘賵丿賳 賲賴賲鬲乇蹖賳 乇讴賳 丕蹖賳 噩丕賵丿丕賳诏蹖 亘丕卮賴.
丕蹖賳讴賴 賲丕 鬲賵 鬲蹖賲 丕賳爻丕賳賴丕蹖蹖賲 賵 亘丕 丕蹖賳讴賴 丌诏丕賴 丕夭 鬲爻賱蹖賲 賵 卮讴爻鬲 賯賴乇賲丕賳 鬲乇丕跇蹖讴 丿乇 亘乇丕亘乇 禺賵丕爻鬲 賵 丕乇丕丿賴 鬲賯丿蹖乇 禺丿丕蹖丕賳蹖賲 賵賱蹖 丕蹖賳 鬲賱丕卮 賵 亘賴 賳賵毓蹖 卮讴爻鬲 賯賴乇賲丕賳丕賳賴 乇賵 鬲丨爻蹖賳 賲蹖讴賳蹖賲 . 丨爻蹖 卮亘蹖賴 賴賵丕丿丕乇丕蹖 蹖讴 鬲蹖賲 丿爻鬲賴 爻賵賲蹖 讴賴 丕夭 卮讴爻鬲 賯胤毓蹖 鬲蹖賲卮 亘乇丕亘乇 丨乇蹖賮 賯丿乇鬲賲賳丿 丌诏丕賴賴 賵賱蹖 賮丕乇睾 丕夭 賳鬲蹖噩賴 丕夭 酃郯 丿賯蹖賯賴 鬲賱丕卮 鬲蹖賲 賳賴丕蹖鬲 賱匕鬲 乇賵 禺賵丕賴丿 亘乇丿 賵 賲賵賴亘鬲 讴丕鬲丕乇爻蹖爻 乇賵 鬲噩乇亘賴 賲蹖讴賳賴.
丕蹖賳 爻賴 诏丕賳賴 亘丕 卮讴賵賴 毓賱丕賵賴 亘乇 丕賳亘賵賴蹖 丕夭 賮囟丕蹖賱 賳蹖讴 讴賴 丕夭 卮賲丕乇卮 禺丕乇噩賴 丿賵 賵蹖跇诏蹖 賲賳丨氐乇 亘賮乇丿 賳爻亘鬲 亘賴 亘賯蹖賴 丕賮爻丕賳賴鈥屬囏� 丿丕乇賴 丕夭 賳馗乇 賲賳 貨
丕賵賱蹖卮 丕蹖賳鈥屭┵� 鬲賵噩賴卮 亘賴 亘購毓丿 丕賳爻丕賳蹖 丕賮爻丕賳賴 禺蹖賱蹖 亘蹖卮鬲乇 丕夭 禺丿丕蹖丕賳賴 . 亘賴 賳賵毓蹖 爻賵賮賵讴賱 蹖讴 賯丿賲 噩賱賵鬲乇 乇賮鬲賴 賵 亘賴 噩丕蹖 鬲賲乇讴夭 乇賵蹖 賳夭丕毓 賵 讴卮賲讴卮 亘蹖賳 丕賳爻丕賳 賵 禺丿丕蹖丕賳 貨 亘蹖卮鬲乇 亘賴 毓賵丕賯亘 賵 賲丕丨氐賱 丕蹖賳 讴卮賲讴卮 亘乇 爻乇卮鬲 賯賴乇賲丕賳 丕賮爻丕賳賴 禺賵丿卮 倬乇丿丕禺鬲賴 . 亘賴 賴賲蹖賳 丿賱蹖賱 禺賵丕賳賳丿賴 賵 蹖丕 卮賳賵賳丿賴 亘蹖卮鬲乇 丕夭 丕蹖賳讴賴 卮丕賴丿 蹖讴 倬蹖讴丕乇 亘丕卮賴 亘賴 毓賳賵丕賳 卮禺氐 爻賵賲 貨 賲丿丕賲 丿乇 丨丕賱 賴賲夭丕丿 倬賳丿丕乇蹖 毓丕胤賮蹖 亘丕 趩賳丿蹖賳 讴丕乇丕讴鬲乇 丿丕爻鬲丕賳賴 賵 蹖讴 趩乇禺賴 賲丿丕賵賲 丕夭 鬲賯丕亘賱賴丕蹖 亘丿賵賳 賯囟丕賵鬲 噩賱賵卮 卮讴賱 賲蹖诏蹖乇賴 讴賴 亘賴 鬲賮讴乇 乇丕噩毓 亘賴卮賵賳 鬲卮賵蹖賯卮 賲蹖讴賳賴 .
鬲蹖乇夭蹖丕爻
丿乇 乇賵丕蹖鬲蹖 丕賵賲丿賴 蹖讴 乇賵夭 讴賴 丌鬲賳丕 亘丕 蹖讴蹖 丕夭 倬乇蹖丕賳 噩賳诏賱 丿乇 乇賵丿禺丕賳賴 丕蹖 亘賴 卮賳丕 賲卮睾賵賱 亘賵丿 趩賵倬丕賳 夭蹖亘丕 賵 噩賵丕賳蹖 亘賴 賳丕賲 鬲蹖乇夭蹖丕爻 亘乇丨爻亘 鬲氐丕丿賮 丕夭 丕賵賳噩丕 賲蹖诏匕卮鬲賴 賵 趩卮賲卮 亘賴 丕賳丿丕賲 亘乇賴賳賴 丕賱賴賴 賲蹖賮鬲賴 賵 鬲賵 丕蹖賳 賳诏丕賴 鬲毓賲丿 賵 鬲賯氐蹖乇蹖 賳丿丕卮鬲賴 丕賲丕 丕賱賴賴 趩賳丕賳 亘賴 禺卮賲 丕賵賲丿賴 讴賴 亘賱丕賮丕氐賱賴 亘賳丿賴 禺丿丕乇賵 丕夭 賴乇 丿賵 趩卮賲 讴賵乇 賲蹖讴賳賴 . 亘丕 丕蹖賳讴賴 蹖讴蹖 丕夭 倬乇蹖丕賳 噩賳诏賱 亘賴 賳丕賲 讴丕乇蹖讴賱賵 讴賴 卮丕蹖丿 賮乇蹖賮鬲賴 夭蹖亘丕卅蹖 鬲蹖乇夭蹖丕爻 卮丿賴 亘賵丿 卮賮丕毓鬲卮賵 讴乇丿 賵 丌鬲賳丕 賴賲 丕毓鬲乇丕賮 讴乇丿 讴賴 胤賮賱 賲毓氐賵賲 鬲賯氐蹖乇 賳丿丕卮鬲賴 丕賲丕 丌鬲賳丕 丨丕囟乇 賳卮丿 趩卮賲 賴丕卅蹖 乇丕 讴賴 鬲賵賳爻鬲賴 亘賵丿 丕賳丿丕賲 亘乇賴賳卮賵 亘亘蹖賳賴 丿賵亘丕乇賴 亘蹖賳丕 讴賳賴 貨 賮賯胤 鬲蹖乇夭蹖丕爻 乇賵 亘賴 噩丕蹖 亘蹖賳丕蹖蹖 丕夭 丿爻鬲 乇賮鬲賴 丕夭 賯丿乇鬲 睾蹖亘 诏賵蹖蹖 賵 倬蹖卮 亘蹖賳蹖 亘乇禺賵乇丿丕乇 賲蹖讴賳賴 .
噩丕蹖诏丕賴 卮禺氐蹖鬲 鬲蹖乇夭蹖丕爻 亘爻蹖丕乇 亘爻蹖丕乇 鬲賵 讴鬲丕亘 丨丕卅夭 丕賴賲蹖鬲賴 賵 丨爻 賲蹖讴賳賲 爻賵賮賵讴賱 賴乇 亘丕乇 讴賴 丕爻賲卮賵 賲蹖賳賵卮鬲賴 亘賴 丕丨鬲乇丕賲卮 賲蹖鈥屫й屫池ж� .
蹖讴 丿丕賳丕蹖 讴賱 讴賴 賴蹖趩 卮讴 賵 鬲乇丿蹖丿蹖 丿乇 讴賱丕賲卮 乇賵丕 賳亘賵丿 賵 爻賵賮賵讴賱 亘賴 丿賵 卮讴賱 賲鬲賮丕賵鬲 丕夭 鬲蹖乇夭蹖丕爻 丿丕賳丕 亘賴乇賴 賲蹖亘乇賴 .
丕賵賱蹖賳 亘丕乇 鬲賯丕亘賱卮 亘丕 丕丿蹖倬賵爻 賵 丿賵賲蹖卮 亘丕 讴乇卅賵賳 .
鬲賯丕亘賱 亘蹖賳 丕丿蹖倬賵爻 賵 鬲蹖乇夭蹖丕爻 鬲亘丿蹖賱 亘賴 鬲賯丕亘賱 亘蹖賳 亘蹖賳丕蹖蹖 賵 賳丕亘蹖賳丕蹖蹖 賲蹖卮賴. 丿乇 蹖讴 爻賵 丕丿蹖倬賵爻 亘蹖賳丕 賵 丕賵賳 胤乇賮 鬲蹖乇夭蹖丕爻 賳丕亘蹖賳丕. 鬲賯丕亘賱 亘蹖賳丕蹖蹖 賵 賳丕亘蹖賳丕蹖蹖 丕賵賳 趩蹖夭蹖賴 讴賴 亘賴 賵囟賵丨 鬲賵 賳賲丕蹖卮賳丕賲赖 丿蹖丿賴 賲蹖卮賴 丕賲丕 鬲賮丕賵鬲鈥屬囏й屰� 賵噩賵丿 丿丕乇賴 .
鬲蹖乇夭蹖丕爻 丿乇 賲賵丕噩賴 亘丕 丕丿蹖倬賵爻 亘賴 氐賵乇鬲 睾蹖乇 賲爻鬲賯蹖賲 丕丿蹖倬賵爻 乇賵 丿丕乇丕蹖 禺乇丿 賲蹖鈥屫堎嗁�. 亘丕 丕蹖賳讴賴 丕丿蹖倬賵爻 賯丕丿乇 亘賴 丿蹖丿賳 賵 卮賳丕禺鬲 丕蹖賳 禺乇丿 賳蹖爻鬲 丕賲丕 亘丕 亘蹖丕賳 賵丕賯毓蹖鬲 賴丕蹖 賵 鬲賯丿蹖乇蹖 讴賴 亘乇 丕丿蹖倬 诏匕卮鬲賴 乇丕賴 乇賵 亘乇丕蹖 丿爻鬲蹖丕亘蹖卮 亘賴 丨賯蹖賯鬲 賵 禺乇丿 賮乇丕賴賲 賲蹖爻丕夭賴 .
丕賲丕 丿乇 賲賵丕噩賴 亘丕 讴乇卅賵賳 亘賴 胤賵乇 丕賵賳 乇賵 亘蹖 禺乇丿 貙 丕亘賱賴 賵 倬賵趩 賲蹖丿賵賳賴 讴賴 賴蹖趩 丕賲蹖丿蹖 亘賴卮 賳蹖爻鬲 .
亘賴 胤賵乇 讴賱 蹖讴蹖 丕夭 噩匕丕亘蹖鬲賴丕蹖 丕氐賱蹖 讴鬲丕亘 丿蹖丕賱賵诏賴丕蹖蹖賴 讴賴 丕夭 夭亘丕賳 鬲蹖乇夭蹖丕爻 亘蹖丕賳 賲蹖卮賴
丌賳鬲蹖诏賵賳赖
丿賵賲蹖賳 賵蹖跇诏蹖 賲賳丨氐乇 亘賴 賮乇丿 讴鬲丕亘 丕夭 丿蹖丿 賲賳 卮禺氐蹖鬲 賵 讴丕乇丕讴鬲乇 丌賳鬲蹖诏賵賳爻鬲 鈥�.
讴丕乇丕讴鬲乇蹖 讴賴 賯丿賲 亘賴 賯丿賲 卮讴賱 诏乇賮鬲 貙 乇卮丿 倬蹖丿丕 讴乇丿 賵 亘賴 毓乇賵噩 睾賳丕蹖蹖 禺賵丿卮 乇爻蹖丿 .
鬲氐賵蹖乇蹖 讴賴 爻賵賮賵讴賱 鄄鄣郯郯 爻丕賱 賯亘賱 丕夭 丌賳鬲蹖诏賵賳赖 丕乇丕卅賴 讴乇丿 賲氐丿丕賯 亘丕乇夭 賵 亘丿賵賳 匕乇賴 丕蹖 賳丕禺丕賱氐蹖 丕夭賳丕亘 鬲乇蹖賳 鬲賮讴乇 賮賲賳蹖爻鬲 毓氐乇 丨丕囟乇賴 讴賴 丕賱丕賳 丕夭 匕丕鬲 丕氐賱蹖 禺賵丿卮 丿賵乇 卮丿賴 .
卮禺氐蹖鬲蹖 讴賴 亘賴 噩丿 丿乇 禺賵乇 鬲丨爻蹖賳 賵 賯賴乇賲丕賳 丕氐賱蹖 丕賯亘丕賱 鬲賵 丕蹖賳 讴鬲丕亘賴 .
丌賳鬲蹖诏賵賳赖 亘賴 賳馗乇賲 亘夭乇诏鬲乇蹖賳 賯乇亘丕賳蹖 丕蹖賳 诏賳丕賴 賵 禺卮賲 賵 睾氐亘 禺丿丕蹖丕賳 亘賵丿 讴賴 卮噩丕毓鬲 乇賵 賲毓賳丕 讴乇丿 .
丕賯丕 丕氐賱丕 賴乇 趩蹖 亘诏賲 讴賲 诏賮鬲賲 .
乇丕噩毓 亘賴 禺蹖賱蹖 丕夭 賲爻丕卅賱 丕夭 噩賲賱賴 鬲乇噩賲賴 亘蹖 賳賯氐 賲爻讴賵亘 蹖丕 禺賵丿 賲爻卅賱賴 丕賮爻丕賳賴 鬲賵 乇蹖賵蹖賵賴丕蹖 丿賵爻鬲丕賳 氐丨亘鬲 卮丿賴 讴賴 鬲讴乇丕乇 賲讴乇乇丕鬲 賳賲蹖鈥屭┵嗁�.
亘禺賵丕賳蹖丿 賵 賱匕鬲 亘亘乇蹖丿 讴賴 丕夭 禺卮賲 禺丿丕蹖丕賳 亘賴 丿賵乇 亘丕卮蹖丿 .
December 26, 2023
The plays and messages were excellent (I mean how can one go wrong with Sophocles?), but this translation took a nosedive with the last play Antigone. The slang and too modern language (i.e. "blockhead", "I won't take the rap") sounded like dissonant music to my ear. I had to pull out my 1967 Penguin Classic edition from H.S. days to finish this last play. In HS we only read Oedipus Rex, so the Oedipus at Colonus and Antigone were fresh reads for me. If you are looking for a review that discusses the story or a scholarly treatise, you'll have to look elsewhere; there are plenty by better writers than I.
I did have one niggle, as the plays presented in the trilogy are not presented in their chronologically written order, so do I assume the story of Oedipus was already well known to the citizens before Antigone was staged as a play as it already refers to the curse of the house of Oedipus as a few other actions from the other plays.
I also seemed to have missed why Oedipus after unknowingly fulfilling the tragic prophecy from his birth, exiling and blinding himself, yet still showed the same hubris from Oedipus Rex in Oedipus at Colonus, was allowed a death that was near divine.
Antigone was definitely my favorite character and my hats off to Sophocles for developing a strong female character in a male dominated mortal world.
I did have one niggle, as the plays presented in the trilogy are not presented in their chronologically written order, so do I assume the story of Oedipus was already well known to the citizens before Antigone was staged as a play as it already refers to the curse of the house of Oedipus as a few other actions from the other plays.
I also seemed to have missed why Oedipus after unknowingly fulfilling the tragic prophecy from his birth, exiling and blinding himself, yet still showed the same hubris from Oedipus Rex in Oedipus at Colonus, was allowed a death that was near divine.
Antigone was definitely my favorite character and my hats off to Sophocles for developing a strong female character in a male dominated mortal world.
May 2, 2021
I enjoyed rereading this set of plays. This edition sets the stage by giving an introduction before each play. The plays dive into the themes of fate, guilt, civil disobedience and family ties, and other historical Greek motifs.
There were text notes after the plays and a Greek persons/mythological/geographical glossary to help with the who/what/where questions. I enjoyed rediscovering this trilogy for a second time. I originally read them when I was in high school and remember them being interesting. I would recommend it for anyone to read. Thanks!
There were text notes after the plays and a Greek persons/mythological/geographical glossary to help with the who/what/where questions. I enjoyed rediscovering this trilogy for a second time. I originally read them when I was in high school and remember them being interesting. I would recommend it for anyone to read. Thanks!
July 30, 2021
賳孬乇 夭蹖亘丕 賵 賵夭蹖賳 卮丕賴乇禺 賲爻讴賵亘貙 賱匕鬲 禺賵賳丿賳卮 乇賵 趩賳丿蹖賳 亘乇丕亘乇 讴乇丿.
August 13, 2019
Alas, alas, what misery to be wise when wisdom profits nothing!
Great books do not reveal themselves all at once. Old classics must be revisited from time to time, at different stages of life, in order to experience the many resonant frequencies of the work. This time around I chose to listen to these Theban plays as an audiobook, with a full cast; and it was far preferable to the mute page.
Reading, listening to, or watching the Greek plays may be the nearest we get to time travel. The works immerse us in a foreign world. What struck me most was the Greek attitude towards freedom and fate. Shakespearean tragedy is reliant on human choice. As A.C. Bradley notes, the tragedy is always specific to the individual, to the extent that the tragedy of one play would be impossible for the protagonist of another. Put Hamlet in Othello鈥檚 place, or vice versa, and he would make short work of the play鈥檚 problem. The tragedy in a Greek play is, by contrast, inevitable and universal. By the time that the curtain is raised in Oedipus Rex, the Theban king has long ago sealed his doom.
There is nothing special about Oedipus that marks him for a tragic fate. His tragedy could have befallen a Hamlet or an Othello just as readily as an Oedipus. This changes the entire emotional atmosphere. Whereas in a Shakespearean tragedy we feel a certain amount of dramatic tension as the protagonists attempt to avert crisis, in Greek tragedy there is instead a feeling of being swept along by an invisible, inexorable force鈥攄ivine and mysterious. It is animated by a far more pessimistic philosophy: that honest, noble, and wise people who do nothing wrong can be dragged into the pit of misery by an inscrutable destiny.
As a result, the plays can sometimes engender a feeling of mystery or even of vague mysticism, as we consider ourselves to be the mere playthings of forces beyond all control and understanding. Characters rise to power in such a way that we credit their virtues for their success; and yet their precipitate fall shows that there are other forces at play. Life can certainly feel this way at times, as we are buffeted about, lifted up, and cast down in a way that seems little connected to our own actions. For this reason, I think that the fatalistic pessimism of these plays is both moving and, at times, even consoling.
Of the three, the most artistically perfect is Oedipus Rex, which Sophocles wrote at the height of his career. Antigone, the last play, was actually written first; and Oedipus at Colonus was written over thirty years, at the very end of Sophocles鈥� life.
Though arguably the worst of the three, Antigone is the most thematically interesting. It pits two ethical concepts against one another with intense force, specifically different sorts of loyalty. Is it better to be loyal to one鈥檚 family, to the gods, to the state, or to the ruler? Creon鈥檚 interdiction, though vengeful and petty, is understandable when one remembers that Polynices is a traitor responsible for an attack on his homeland that doubtless cost many citizens鈥� lives. Creon could have justified his decree as a discouragement of future disloyalty. Antigone believes that duty to family transcends the duty of a citizen, and the events justify this belief.
It must be admitted, however, that this ethical question is muddled by the religious nature of central issue. Few people nowadays can believe that burial rites are important enough to merit self-sacrifice and civil disobedience. When the superstitious element is removed, Antigone鈥檚 ethical superiority seems questionable at best. Certainly there are many cases when loyalty to the family can be distinctly unethical. If a sister sheltered a brother who just escaped imprisonment for murder, I think this would be an unequivocally immoral act. But since burial does not involve help or harm to anyone, the ethical question becomes largely symbolic鈥攊f no less interesting.
Even if the emotional import of these plays has been somewhat dulled by the passing years, they remain amazingly alive and direct. The power of these plays is such that, even now, when the Greek gods have passed into harmless myth, here we can still feel the sense of awe and terror in the face of a divine order that passes beyond understanding. It would take a long time for theater to again reach such heights.
April 29, 2020
丿賳蹖丕蹖 鬲乇丕跇丿蹖 丕購丿蹖倬賵爻貙 丿賳蹖丕蹖 丿賵诏丕賳賴 蹖 賳丕賴賲爻丕夭 禺丿丕蹖丕賳 賵 丌丿賲蹖丕賳 丕爻鬲 讴賴 賴乇 蹖讴 賯賵丕賳蹖賳 禺丕氐 禺賵丿 乇丕 丿丕乇賳丿.丕夭 賴賲 噩丿丕 賵 亘蹖诏丕賳賴 丕賳丿 賵 丌賳诏丕賴 讴賴 亘賴 賴賲 亘乇禺賵乇賳丿貙 丌丿賲蹖丕賳賳丿 讴賴 亘丕蹖丿 亘賴 丕乇丕丿賴 蹖 禺丿丕蹖丕賳 爻乇 賮乇賵丿 丌賵乇賳丿. 丕賳爻丕賳 爻賱丕丨蹖 丕爻鬲 讴賴 亘丕 丌賳 貙 禺丿丕蹖丕賳賽 丿卮賲賳 禺賵蹖 貙 噩丕賳 蹖讴丿蹖诏乇 乇丕 夭禺賲诏蹖賳 賲蹖 讴賳賳丿.
噩賴丕賳蹖 讴賴 賲丕 丿乇 丌賳 亘賴 爻乇 賲蹖亘乇蹖賲貙 爻乇卮丕乇 丕夭 禺丿丕蹖丕賳賽 賳丕爻丕夭诏丕乇 丕爻鬲 讴賴 亘丕 賴賲 爻乇 丌卮鬲蹖 賳丿丕乇賳丿.趩賳蹖賳 丕賳爻丕賳蹖 丿乇 趩賳蹖賳 丿賳蹖丕蹖 賳丕爻丕夭诏丕乇蹖 賳賴 鬲賳賴丕 賳賲蹖 鬲賵丕賳丿 丿賵乇 賵 賲亘乇丕 丕夭 诏賳丕賴 亘賴 爻乇 亘賻乇丿貙 亘賱讴賴 亘丕 诏賳丕賴 賴賲夭丕丿 丕爻鬲....
丕購丿蹖倬賵爻 趩賵賳 丕夭 丕乇丕丿賴 蹖 卮賵賲 禺丿丕蹖丕賳 丿乇賲賵乇丿 禺賵丿卮 丌诏丕賴 賲蹖卮賵丿貙 亘賴 丌賳 诏乇丿賳 賳賲蹖 賳賴丿 賵 賲蹖 讴賵卮丿 鬲丕 禺賵丕爻鬲 禺賵丿 乇丕 亘賴 丕賳噩丕賲 乇爻丕賳丿.丕賲丕 鬲賯丿蹖乇 丕賵 噩丕賳丿丕乇貙 賲鬲丨乇讴 賵 丌乇丕賲 賳丕倬匕蹖乇 丕爻鬲 賵 毓賱蹖乇睾賲 鬲賱丕卮 丕丿蹖倬賵爻 亘乇丕蹖 賮乇丕乇 丕夭 丌賳貙 爻乇丕賳噩丕賲 鬲賯丿蹖乇 囟乇亘賴 蹖 讴丕乇蹖 禺賵丿 乇丕 亘乇 丕賵 賵丕乇丿 賲蹖讴賳丿...
亘乇 丿乇賽 卮賴乇 鬲亘丕蹖 貙 丕亘賵賱賴賵賱賽 亘丕賱丿丕乇蹖 丕爻鬲 讴賴 禺賵賳禺賵丕乇 賲乇丿賲 鬲亘丕蹖 丕爻鬲 貨 亘乇 爻賳诏蹖 賳卮爻鬲賴 賵 倬乇爻卮蹖 爻賴 诏丕賳賴 丿丕乇丿.賲蹖 倬乇爻丿: 丌賳 趩蹖爻鬲 讴賴 丿乇 亘丕賲丿丕丿 趩賴丕乇倬丕蹖貙 丿乇 賳蹖賲乇賵夭 丿賵倬丕蹖 賵 卮丕賲诏丕賴丕賳 亘丕 爻賴 倬丕蹖 賲蹖乇賵丿責
丕蹖賳 趩蹖爻鬲丕賳賽 鬲賯丿蹖乇 丕爻鬲 賵 噩夭 丕丿蹖倬賵爻賽 乇丕夭诏卮丕 讴爻蹖 丕夭 毓賴丿賴 蹖 丨賱 丌賳 亘乇賳賲蹖 丌蹖丿.丕賵 倬丕爻禺 賲蹖丿賴丿: 噩賵丕亘貙 丕賳爻丕賳 丕爻鬲 丿乇 禺購乇丿蹖 賵 噩賵丕賳蹖 賵 倬蹖乇蹖... 賵 丕亘賵賱賴賵賱 趩賵賳 乇丕夭卮 诏卮賵丿賴 賲蹖 卮賵丿 噩丕賳 賲蹖爻倬丕乇丿 賵 賲乇丿賲 卮賴乇 鬲賵爻胤 丕丿蹖倬賵爻 丕夭 賲氐蹖亘鬲蹖 亘夭乇诏 賲蹖乇賴賳丿...
丕賮爻丕賳賴 蹖 丕丿蹖倬賵爻 亘賴 賲丕 蹖丕丿丌賵乇 賲蹖卮賵丿 讴賴 讴爻蹖 乇丕 丕夭 倬乇爻卮 丕亘賵丕賱賴賵賱 诏乇蹖夭 賳蹖爻鬲.亘丕蹖丿 倬丕爻禺 乇丕 蹖丕賮鬲. 鬲賯丿蹖乇 丌丿賲蹖 丿乇 賴賲蹖賳 倬乇爻卮 賵 倬丕爻禺貙 丿乇 丕賳丿蹖卮蹖丿賳 亘賴 禺賵蹖卮貙 賵 卮賳丕禺鬲 禺賵丿 丕爻鬲.丕丿蹖倬賵爻 賳诏丕賴賽 丌爻賲丕賳 讴丕賵賽 賲丕 乇丕 亘丕 乇賲夭 賵 讴賳丕蹖賴貙 丕夭 丿賳蹖丕蹖 禺丿丕蹖丕賳貙 亘賴 噩賴丕賳 亘丕胤賳 禺賵丿賲丕賳 亘丕夭 賲蹖诏乇丿丕賳丿 賵 賲蹖诏賵蹖丿 鬲賯丿蹖乇鬲丕賳 乇丕 丿乇 丕蹖賳噩丕 亘噩賵蹖蹖丿...丿乇 賵噩賵丿 禺賵丿...賴蹖趩 讴爻 趩賵賳 丕賵 賲丕 乇丕 亘賴 噩賳诏 亘丕 鬲賯丿蹖乇 亘乇賳賲蹖 丕賳诏蹖夭丿 賵 丕夭 丕蹖賳 賳馗乇诏丕賴貙 倬蹖乇賵夭 丕丿蹖倬賵爻 丕爻鬲 賵 賲睾賱賵亘貙 鬲賯丿蹖乇... 趩賵賳 丕賵 丿爻鬲 亘賴 賳亘乇丿蹖 夭丿賴 讴賴 噩乇兀鬲賽 诏蹖乇賵 丿丕乇 丿乇 丌賳貙 禺賵丿 亘夭乇诏鬲乇蹖賳 倬蹖乇賵夭蹖 丕爻鬲...
噩賴丕賳蹖 讴賴 賲丕 丿乇 丌賳 亘賴 爻乇 賲蹖亘乇蹖賲貙 爻乇卮丕乇 丕夭 禺丿丕蹖丕賳賽 賳丕爻丕夭诏丕乇 丕爻鬲 讴賴 亘丕 賴賲 爻乇 丌卮鬲蹖 賳丿丕乇賳丿.趩賳蹖賳 丕賳爻丕賳蹖 丿乇 趩賳蹖賳 丿賳蹖丕蹖 賳丕爻丕夭诏丕乇蹖 賳賴 鬲賳賴丕 賳賲蹖 鬲賵丕賳丿 丿賵乇 賵 賲亘乇丕 丕夭 诏賳丕賴 亘賴 爻乇 亘賻乇丿貙 亘賱讴賴 亘丕 诏賳丕賴 賴賲夭丕丿 丕爻鬲....
丕購丿蹖倬賵爻 趩賵賳 丕夭 丕乇丕丿賴 蹖 卮賵賲 禺丿丕蹖丕賳 丿乇賲賵乇丿 禺賵丿卮 丌诏丕賴 賲蹖卮賵丿貙 亘賴 丌賳 诏乇丿賳 賳賲蹖 賳賴丿 賵 賲蹖 讴賵卮丿 鬲丕 禺賵丕爻鬲 禺賵丿 乇丕 亘賴 丕賳噩丕賲 乇爻丕賳丿.丕賲丕 鬲賯丿蹖乇 丕賵 噩丕賳丿丕乇貙 賲鬲丨乇讴 賵 丌乇丕賲 賳丕倬匕蹖乇 丕爻鬲 賵 毓賱蹖乇睾賲 鬲賱丕卮 丕丿蹖倬賵爻 亘乇丕蹖 賮乇丕乇 丕夭 丌賳貙 爻乇丕賳噩丕賲 鬲賯丿蹖乇 囟乇亘賴 蹖 讴丕乇蹖 禺賵丿 乇丕 亘乇 丕賵 賵丕乇丿 賲蹖讴賳丿...
亘乇 丿乇賽 卮賴乇 鬲亘丕蹖 貙 丕亘賵賱賴賵賱賽 亘丕賱丿丕乇蹖 丕爻鬲 讴賴 禺賵賳禺賵丕乇 賲乇丿賲 鬲亘丕蹖 丕爻鬲 貨 亘乇 爻賳诏蹖 賳卮爻鬲賴 賵 倬乇爻卮蹖 爻賴 诏丕賳賴 丿丕乇丿.賲蹖 倬乇爻丿: 丌賳 趩蹖爻鬲 讴賴 丿乇 亘丕賲丿丕丿 趩賴丕乇倬丕蹖貙 丿乇 賳蹖賲乇賵夭 丿賵倬丕蹖 賵 卮丕賲诏丕賴丕賳 亘丕 爻賴 倬丕蹖 賲蹖乇賵丿責
丕蹖賳 趩蹖爻鬲丕賳賽 鬲賯丿蹖乇 丕爻鬲 賵 噩夭 丕丿蹖倬賵爻賽 乇丕夭诏卮丕 讴爻蹖 丕夭 毓賴丿賴 蹖 丨賱 丌賳 亘乇賳賲蹖 丌蹖丿.丕賵 倬丕爻禺 賲蹖丿賴丿: 噩賵丕亘貙 丕賳爻丕賳 丕爻鬲 丿乇 禺購乇丿蹖 賵 噩賵丕賳蹖 賵 倬蹖乇蹖... 賵 丕亘賵賱賴賵賱 趩賵賳 乇丕夭卮 诏卮賵丿賴 賲蹖 卮賵丿 噩丕賳 賲蹖爻倬丕乇丿 賵 賲乇丿賲 卮賴乇 鬲賵爻胤 丕丿蹖倬賵爻 丕夭 賲氐蹖亘鬲蹖 亘夭乇诏 賲蹖乇賴賳丿...
丕賮爻丕賳賴 蹖 丕丿蹖倬賵爻 亘賴 賲丕 蹖丕丿丌賵乇 賲蹖卮賵丿 讴賴 讴爻蹖 乇丕 丕夭 倬乇爻卮 丕亘賵丕賱賴賵賱 诏乇蹖夭 賳蹖爻鬲.亘丕蹖丿 倬丕爻禺 乇丕 蹖丕賮鬲. 鬲賯丿蹖乇 丌丿賲蹖 丿乇 賴賲蹖賳 倬乇爻卮 賵 倬丕爻禺貙 丿乇 丕賳丿蹖卮蹖丿賳 亘賴 禺賵蹖卮貙 賵 卮賳丕禺鬲 禺賵丿 丕爻鬲.丕丿蹖倬賵爻 賳诏丕賴賽 丌爻賲丕賳 讴丕賵賽 賲丕 乇丕 亘丕 乇賲夭 賵 讴賳丕蹖賴貙 丕夭 丿賳蹖丕蹖 禺丿丕蹖丕賳貙 亘賴 噩賴丕賳 亘丕胤賳 禺賵丿賲丕賳 亘丕夭 賲蹖诏乇丿丕賳丿 賵 賲蹖诏賵蹖丿 鬲賯丿蹖乇鬲丕賳 乇丕 丿乇 丕蹖賳噩丕 亘噩賵蹖蹖丿...丿乇 賵噩賵丿 禺賵丿...賴蹖趩 讴爻 趩賵賳 丕賵 賲丕 乇丕 亘賴 噩賳诏 亘丕 鬲賯丿蹖乇 亘乇賳賲蹖 丕賳诏蹖夭丿 賵 丕夭 丕蹖賳 賳馗乇诏丕賴貙 倬蹖乇賵夭 丕丿蹖倬賵爻 丕爻鬲 賵 賲睾賱賵亘貙 鬲賯丿蹖乇... 趩賵賳 丕賵 丿爻鬲 亘賴 賳亘乇丿蹖 夭丿賴 讴賴 噩乇兀鬲賽 诏蹖乇賵 丿丕乇 丿乇 丌賳貙 禺賵丿 亘夭乇诏鬲乇蹖賳 倬蹖乇賵夭蹖 丕爻鬲...
July 8, 2017
丕蹖賳 讴鬲丕亘 乇丕 爻丕賱鈥屬囏� 倬蹖卮 禺賵丕賳丿賲貙 夭賲丕賳蹖 讴賴 亘賴 乇賵丕賳讴丕賵蹖 賮乇賵蹖丿-賱讴丕賳蹖 亘爻蹖丕乇 毓賱丕賯賴 丿丕卮鬲賲 賵 亘賴 禺丕胤乇 賳馗乇蹖踿 芦毓賯丿賴 丕購丿蹖倬禄 賮乇賵蹖丿 爻乇丕睾 丕蹖賳 讴鬲丕亘 乇賮鬲賲 賵 丕夭 禺賵丕賳丿賳 丌賳 亘賴 卮丿鬲 賱匕鬲 亘乇丿賲貙 亘賴 诏賵賳賴鈥屫й� 讴賴 丿乇 胤賵賱 蹖讴蹖 丿賵 賴賮鬲賴 賴乇 讴丿丕賲 丕夭 爻賴 賳賲丕蹖卮賳丕賲赖 乇丕 趩賳丿蹖賳 亘丕乇 禺賵丕賳丿賲! 亘毓丿賴丕 讴賴 亘丕 賳蹖趩賴 丌卮賳丕 卮丿賲 賵 爻鬲丕蹖卮 丕賵 丕夭 蹖賵賳丕賳 亘丕爻鬲丕賳 賵 賮乇賴賳诏 鬲乇丕跇蹖讴 蹖賵賳丕賳 亘丕爻鬲丕賳 賵 亘賴 賵蹖跇賴 賳賲丕蹖卮鈥屬嗀з呝� 賳賵蹖爻鈥屬囏й� 亘夭乇诏 丌賳 丿賵乇丕賳 乇丕 丿蹖丿賲 賵 亘丕 鬲丨賱蹖賱鈥屬囏й� 賳蹖趩賴 丕夭 鬲乇丕跇丿蹖 賵 賮乇賴賳诏 鬲乇丕跇蹖讴 蹖賵賳丕賳 亘丕蹖鬲丕賳 丌卮賳丕 卮丿賲 亘蹖卮 丕夭 倬蹖卮 亘賴 丕乇夭卮 賵丕賯毓蹖 丕蹖賳 賳賲丕蹖卮鈥屬嗀з呝団€屬囏� 倬蹖 亘乇丿賲 賵 丿賵爻鬲 丿丕卮鬲賲 讴賴 亘丕乇 丿蹖诏乇 丕蹖賳 讴鬲丕亘 賵 丕賱亘鬲賴 丿蹖诏乇 賳賲丕蹖卮鈥屬嗀з呝団€屬囏й� 鬲乇丕跇蹖讴 蹖賵賳丕賳 亘丕爻鬲丕賳 乇丕 亘禺賵丕賳賲貙 亘丕卮丿 讴賴 丕蹖賳 丌乇夭賵 亘乇丌賵乇丿賴 卮賵丿
November 16, 2017
Wonderful. I know we need to read these in modern translations, but how amazing is it that we still have works from ancient Greece? These stories are not at all boring, or dated, or difficult to read. Pick the translation that suits you, whether poetry or prose or somewhere in-between and dive into some incredible drama.
December 15, 2023
丕賳賯丿乇 夭蹖亘丕 亘賵丿 讴賴 亘賴 爻禺鬲蹖 賲蹖 卮丿 亘丕賵乇 讴乇丿 賲鬲毓賱賯 亘賴 2500 爻丕賱 賯亘賱賴! 蹖毓賳蹖 賯乇賳 倬賳噩賲 倬蹖卮 丕夭 賲蹖賱丕丿!
趩賯丿乇 丿睾丿睾賴 賵 賲爻丕卅賱 丕賳爻丕賳 丿蹖乇賵夭 亘丕 丕賲乇賵夭 蹖讴爻丕賳 亘賵丿賴. 賴乇 爻賴 賳賲丕蹖卮賳丕賲赖 乇賵 丿賵爻鬲 丿丕卮鬲賲 禺氐賵氐丕 丌賳鬲蹖诏賵賳赖 賵 丕丿蹖倬.
亘賳丕蹖 馗賱賲 倬丕蹖丿丕乇 賳賲蹖 賲賵賳賴. 丕賳爻丕賳 賴丕蹖 禺賵丿乇丕蹖 賵 禺賵丿讴丕賲賴 賲蹖 鬲賵丕賳賳丿 爻乇賳賵卮鬲 禺賵丿 乇丕 丕夭 倬蹖卮 丕蹖賳噩丕 亘禺賵丕賳賳丿.
趩賯丿乇 丿睾丿睾賴 賵 賲爻丕卅賱 丕賳爻丕賳 丿蹖乇賵夭 亘丕 丕賲乇賵夭 蹖讴爻丕賳 亘賵丿賴. 賴乇 爻賴 賳賲丕蹖卮賳丕賲赖 乇賵 丿賵爻鬲 丿丕卮鬲賲 禺氐賵氐丕 丌賳鬲蹖诏賵賳赖 賵 丕丿蹖倬.
亘賳丕蹖 馗賱賲 倬丕蹖丿丕乇 賳賲蹖 賲賵賳賴. 丕賳爻丕賳 賴丕蹖 禺賵丿乇丕蹖 賵 禺賵丿讴丕賲賴 賲蹖 鬲賵丕賳賳丿 爻乇賳賵卮鬲 禺賵丿 乇丕 丕夭 倬蹖卮 丕蹖賳噩丕 亘禺賵丕賳賳丿.
November 20, 2016
Of happiness the crown and chiefest part
Is wisdom, to hold the gods in awe.
This is the law
That, seeing the stricken heart
Of pride brought down,
We learn when we are old.
I felt an urge to return to the stories that set my mind on fire, way down the tunnels of time, and I chose blindly, or so I thought. Enjoying them even more today than I did the first two dozen times I read them, I nonetheless wondered why these plays ... and why now? In the middle of reading half a dozen other books, I still felt restless, and kept circling the bookcases, looking for something more satisfying. If ever there was a time to read, and understand Greek tragedy, it is now, given how the latest political events are shaping our world.
In a time fraught with willing blindness, much as Oedipus himself adopts an unwillingness to see the truth before him, these plays are a reminder of the dangers that can ensue when we choose not to see what is so plainly before us.
The three plays combined seem to ask the same question: what is the duty of the citizen in the state: to uphold those laws imposed upon them by one man's invention, in The State, be that man ever so stubborn, or so wrong; or to listen to the heart and uphold the greater laws of Nature, and inherently, Humanity.
It is a push-pull of the heart and mind and not so easily resolved as it would seem; and, because we are not gods, the right answer, The Truth, often comes too late, as it did with Creon.
Is there a time, ever, in humanity, when the prophecies were heeded in time? Or are we doomed to repeat this process, to the very end of time itself.
Not even Sophocles can offer an answer on that one.
Is wisdom, to hold the gods in awe.
This is the law
That, seeing the stricken heart
Of pride brought down,
We learn when we are old.
I felt an urge to return to the stories that set my mind on fire, way down the tunnels of time, and I chose blindly, or so I thought. Enjoying them even more today than I did the first two dozen times I read them, I nonetheless wondered why these plays ... and why now? In the middle of reading half a dozen other books, I still felt restless, and kept circling the bookcases, looking for something more satisfying. If ever there was a time to read, and understand Greek tragedy, it is now, given how the latest political events are shaping our world.
In a time fraught with willing blindness, much as Oedipus himself adopts an unwillingness to see the truth before him, these plays are a reminder of the dangers that can ensue when we choose not to see what is so plainly before us.
The three plays combined seem to ask the same question: what is the duty of the citizen in the state: to uphold those laws imposed upon them by one man's invention, in The State, be that man ever so stubborn, or so wrong; or to listen to the heart and uphold the greater laws of Nature, and inherently, Humanity.
It is a push-pull of the heart and mind and not so easily resolved as it would seem; and, because we are not gods, the right answer, The Truth, often comes too late, as it did with Creon.
Is there a time, ever, in humanity, when the prophecies were heeded in time? Or are we doomed to repeat this process, to the very end of time itself.
Not even Sophocles can offer an answer on that one.
October 2, 2024
賲乇诏 乇丕 賳賲蹖鬲賵丕賳 鬲賲賳丕 讴乇丿. 丕賵 賳賲蹖 丌蹖丿 鬲丕 丌丿賲蹖 乇丕 丕夭 爻乇賳賵卮鬲蹖 讴賴 禺賵丿 爻丕禺鬲賴 亘賽乇賻賴丿. 芦丌賳鬲蹖诏賵賳赖 丕孬乇 爻賵賮賵讴賱爻禄
賲蹖禺賵丕蹖賲 禺蹖賱蹖 讴賵鬲丕賴 乇丕噩毓 亘賴 爻賴 卮丕賴讴丕乇 亘蹖 亘丿蹖賱 貙 爻賴 鬲乇丕跇丿蹖 賮乇丕賲賵卮 賳卮丿賳蹖 貙 爻賴 賳賲丕蹖卮賳丕賲赖 讴賴 丕賳賯丿乇 賲賴賲 丕賳丿 讴賴 賴賲賴 亘乇 丌賳 賴丕 賲爻卅賱賴 丿丕乇賳 貙 氐丨亘鬲 讴賳蹖賲 :
芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 貙 芦丕丿蹖倬賵爻 丿乇 讴賱賵賳爻禄 賵 芦丌賳鬲蹖诏賵賳赖禄
禺蹖賱蹖 讴賵鬲丕賴 噩賴鬲 噩賱賵诏蹖乇蹖 丕夭 丕爻倬賵蹖賱 : 禺丕賳賲 賴丕 賵 丌賯丕蹖丕賳 卮賲丕 亘丕 蹖讴 卮丕賴讴丕乇 芦丕丿蹖倬賵爻 丿乇 讴賱賵賳爻禄 賵 丿賵 丕亘乇 卮丕賴讴丕乇 芦丌賳鬲蹖诏賵賳赖禄 賵 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 胤乇賮蹖丿.
丕亘乇卮丕賴讴丕乇 賴丕 乇賵 賴乇诏夭 賮乇丕賲賵卮 賳賲蹖讴賳蹖丿鈥�. 丨賯 賴賲 丿丕乇蹖賳. 亘亘蹖賳蹖賳 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 趩賴 丕毓噩賵亘賴鈥屫й屬� 讴賴 賴賲賴 丕夭 芦賴丕蹖丿诏乇禄 鬲丕 芦賮乇賵蹖丿禄 賵 丨鬲蹖 乇賵丕賳 卮賳丕爻 賴丕蹖 丕賲乇賵夭蹖 乇賵卮 賳賯丿 丿丕乇賳 賵 賲爻卅賱賴鈥屫促堎嗁�.
賵 芦丌賳鬲蹖诏賵賳赖禄 丌賳鬲蹖诏賵賳赖鈥屫й� 讴賴 卮丕蹖丿 亘鬲賵賳賲 亘诏賲 丕夭 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 賴賲 (讴賲蹖) 亘賴锟斤拷乇賴. 丌賳鬲蹖诏賵賳赖鈥屫й� 讴賴 賲噩賲賵毓賴鈥屫й� 丕夭 噩丿丕賱 賴丕爻鬲鈥�. 噩丿丕賱 卮賳丕禺鬲賳 卮乇 賵 禺蹖乇 貙 噩丿丕賱 馗丕賱賲 賵 賲馗賱賵賲 貙 噩丿丕賱 丿丕丿禺賵丕賴蹖 賵 毓丿丕賱鬲 禺賵丕賴蹖 貙 噩丿丕賱 亘丕 賯丿乇鬲 鬲賯丿蹖乇 乇賵夭诏丕乇 賵 丿乇 賳賴丕蹖鬲 噩丿丕賱 亘丕 倬匕蹖乇卮 爻乇賳賵卮鬲. 亘丕蹖丿 丕孬乇 乇賵 亘禺賵賳蹖賳 鬲丕 亘賮賴賲蹖賳 亘毓丿 丕夭 禺賵賳丿賳卮 鬲丕 趩賴 丨丿 賲賳賯賱亘 賲蹖卮蹖丿.
芦丌賳鬲蹖诏賵賳赖禄 賵 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 乇賮鬲賳 鬲賵賵 賱蹖爻鬲 氐丿 丿丕爻鬲丕賳賲馃榿
鈥� 丿賵 鬲卮讴乇 :
鬲卮讴乇 丕賵賱 丕夭 丌賯丕蹖 芦賲爻毓賵丿 賮乇丕爻鬲蹖禄 讴賴 亘賴 賵丕爻胤賴 丕蹖卮賵賳 賵 賱蹖爻鬲 氐丿 讴鬲丕亘 亘乇鬲乇卮賵賳 (讴賴 丕卮鬲乇丕讴丕鬲 亘爻蹖丕乇蹖 亘丕 賱蹖爻鬲 賲賳 丿丕乇賴) 亘丕 丕蹖賳 爻賴 卮丕賴讴丕乇 丌卮賳丕 卮丿賲.
賵
鬲卮讴乇 丿賵賲 丕夭 夭賳丿賴 蹖丕丿 芦卮丕賴乇禺 賲爻讴賵亘禄 毓夭蹖夭 讴賴 丕蹖賳 鬲乇噩賲賴 亘爻蹖丕乇 夭蹖亘丕卮賵賳 貙 鬲乇噩賲賴 丕爻鬲丕丿 芦賲丨賲丿 賯丕囟蹖禄 丕夭 芦丿賳 讴蹖卮賵鬲禄 乇賵 亘丕 丕賵賳 賲鬲賳 夭蹖亘丕蹖 丕丿亘蹖鈥屫� 亘乇丕蹖 賲賳 鬲丿丕毓蹖 賲蹖讴乇丿 貨 賵 毓賱丕賵賴 亘乇 丕蹖賳 貙 讴丕賲賱丕 賵丕囟丨 亘賵丿 讴賴 鬲賱丕卮 賴丕蹖 亘爻蹖丕乇蹖 卮丿賴 讴賴 賲鬲賳 鬲乇噩賲賴 貙 亘賴 賲鬲賳 丕氐賱蹖 賳夭丿蹖讴 亘丕卮賴. 亘賴 毓夭蹖夭丕賳 賴賲 鬲賵氐蹖賴 賲蹖讴賳賲 丕夭 鬲乇噩賲賴 丌賯丕蹖 芦賲爻讴賵亘禄 睾丕賮賱 賳卮蹖賳.
賲蹖禺賵丕蹖賲 禺蹖賱蹖 讴賵鬲丕賴 乇丕噩毓 亘賴 爻賴 卮丕賴讴丕乇 亘蹖 亘丿蹖賱 貙 爻賴 鬲乇丕跇丿蹖 賮乇丕賲賵卮 賳卮丿賳蹖 貙 爻賴 賳賲丕蹖卮賳丕賲赖 讴賴 丕賳賯丿乇 賲賴賲 丕賳丿 讴賴 賴賲賴 亘乇 丌賳 賴丕 賲爻卅賱賴 丿丕乇賳 貙 氐丨亘鬲 讴賳蹖賲 :
芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 貙 芦丕丿蹖倬賵爻 丿乇 讴賱賵賳爻禄 賵 芦丌賳鬲蹖诏賵賳赖禄
禺蹖賱蹖 讴賵鬲丕賴 噩賴鬲 噩賱賵诏蹖乇蹖 丕夭 丕爻倬賵蹖賱 : 禺丕賳賲 賴丕 賵 丌賯丕蹖丕賳 卮賲丕 亘丕 蹖讴 卮丕賴讴丕乇 芦丕丿蹖倬賵爻 丿乇 讴賱賵賳爻禄 賵 丿賵 丕亘乇 卮丕賴讴丕乇 芦丌賳鬲蹖诏賵賳赖禄 賵 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 胤乇賮蹖丿.
丕亘乇卮丕賴讴丕乇 賴丕 乇賵 賴乇诏夭 賮乇丕賲賵卮 賳賲蹖讴賳蹖丿鈥�. 丨賯 賴賲 丿丕乇蹖賳. 亘亘蹖賳蹖賳 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 趩賴 丕毓噩賵亘賴鈥屫й屬� 讴賴 賴賲賴 丕夭 芦賴丕蹖丿诏乇禄 鬲丕 芦賮乇賵蹖丿禄 賵 丨鬲蹖 乇賵丕賳 卮賳丕爻 賴丕蹖 丕賲乇賵夭蹖 乇賵卮 賳賯丿 丿丕乇賳 賵 賲爻卅賱賴鈥屫促堎嗁�.
賵 芦丌賳鬲蹖诏賵賳赖禄 丌賳鬲蹖诏賵賳赖鈥屫й� 讴賴 卮丕蹖丿 亘鬲賵賳賲 亘诏賲 丕夭 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 賴賲 (讴賲蹖) 亘賴锟斤拷乇賴. 丌賳鬲蹖诏賵賳赖鈥屫й� 讴賴 賲噩賲賵毓賴鈥屫й� 丕夭 噩丿丕賱 賴丕爻鬲鈥�. 噩丿丕賱 卮賳丕禺鬲賳 卮乇 賵 禺蹖乇 貙 噩丿丕賱 馗丕賱賲 賵 賲馗賱賵賲 貙 噩丿丕賱 丿丕丿禺賵丕賴蹖 賵 毓丿丕賱鬲 禺賵丕賴蹖 貙 噩丿丕賱 亘丕 賯丿乇鬲 鬲賯丿蹖乇 乇賵夭诏丕乇 賵 丿乇 賳賴丕蹖鬲 噩丿丕賱 亘丕 倬匕蹖乇卮 爻乇賳賵卮鬲. 亘丕蹖丿 丕孬乇 乇賵 亘禺賵賳蹖賳 鬲丕 亘賮賴賲蹖賳 亘毓丿 丕夭 禺賵賳丿賳卮 鬲丕 趩賴 丨丿 賲賳賯賱亘 賲蹖卮蹖丿.
芦丌賳鬲蹖诏賵賳赖禄 賵 芦丕丿蹖倬賵爻 卮賴乇蹖丕乇禄 乇賮鬲賳 鬲賵賵 賱蹖爻鬲 氐丿 丿丕爻鬲丕賳賲馃榿
鈥� 丿賵 鬲卮讴乇 :
鬲卮讴乇 丕賵賱 丕夭 丌賯丕蹖 芦賲爻毓賵丿 賮乇丕爻鬲蹖禄 讴賴 亘賴 賵丕爻胤賴 丕蹖卮賵賳 賵 賱蹖爻鬲 氐丿 讴鬲丕亘 亘乇鬲乇卮賵賳 (讴賴 丕卮鬲乇丕讴丕鬲 亘爻蹖丕乇蹖 亘丕 賱蹖爻鬲 賲賳 丿丕乇賴) 亘丕 丕蹖賳 爻賴 卮丕賴讴丕乇 丌卮賳丕 卮丿賲.
賵
鬲卮讴乇 丿賵賲 丕夭 夭賳丿賴 蹖丕丿 芦卮丕賴乇禺 賲爻讴賵亘禄 毓夭蹖夭 讴賴 丕蹖賳 鬲乇噩賲賴 亘爻蹖丕乇 夭蹖亘丕卮賵賳 貙 鬲乇噩賲賴 丕爻鬲丕丿 芦賲丨賲丿 賯丕囟蹖禄 丕夭 芦丿賳 讴蹖卮賵鬲禄 乇賵 亘丕 丕賵賳 賲鬲賳 夭蹖亘丕蹖 丕丿亘蹖鈥屫� 亘乇丕蹖 賲賳 鬲丿丕毓蹖 賲蹖讴乇丿 貨 賵 毓賱丕賵賴 亘乇 丕蹖賳 貙 讴丕賲賱丕 賵丕囟丨 亘賵丿 讴賴 鬲賱丕卮 賴丕蹖 亘爻蹖丕乇蹖 卮丿賴 讴賴 賲鬲賳 鬲乇噩賲賴 貙 亘賴 賲鬲賳 丕氐賱蹖 賳夭丿蹖讴 亘丕卮賴. 亘賴 毓夭蹖夭丕賳 賴賲 鬲賵氐蹖賴 賲蹖讴賳賲 丕夭 鬲乇噩賲賴 丌賯丕蹖 芦賲爻讴賵亘禄 睾丕賮賱 賳卮蹖賳.
April 30, 2019
When we face such things the less we say, the better
So my review will be brief. Picking this up I was quite a bit intimidated: 3 ancient Greek plays in English translation? I nearly expected not to understand anything at all or barely managing to follow the story. I worried in vain.
The whole time Sophocles made me go like this:
October 1, 2021
This is an edition of the Theban plays with lengthy introductions on both Greek theatre in general and each one of the plays in particular. They are presented in their chronological order, starting with Antigone, then Oedipus the king and finally the lesser known Oedipus at Colonus. Almost every line from Sophocles is quotable in an everyday situation. He has a hold on essential questions humans have faced throughout ages, which explains why for 24 centuries every reader found a deep meaning and a great wisdom in his words.
Greek theatre is first of all a religious phenomenon. It is really hard to imagine how the Greeks transitioned from a ceremony honoring their Gods to a sophisticated reflection on human condition. It is true that Gods occupy an important place in the plays, but the events and the feelings are always approached from the point of view of the humans. This makes the humans more central than the Gods. We follow characters, victims of an arbitrary and cruel divine will, who demonstrate great ingenuity and determination, to escape their fate only to discover by the end that there was no way out from the very start.
The modern reader might not be convinced of how these dark forces control our existence. We don鈥檛 believe in arbitrary Gods anymore. We live after all, in an age of meritocracy and egalitarianism, a king is no longer seen as more fortunate than everybody else and there is possibility for social ascension for everybody and fortunes can be made by individual hard work. But this is exactly the case for Oedipus, his status in Thebes and even his kingship was achieved through his own talent, and also the luck which put him, the right man, in the right spot at the right time. He keeps repeating this throughout the play. Only to discover that those exact events for which he was considered the most fortunate of men were also the causes of his ultimate doom. His skill and determination to save his people from the plague will only uncover the calamities he thought he could escape. This is where the limits of man are dawned. Limits in terms of knowledge, after all we do not know where our own good lies. We strive for or regret what we consider can bring us happiness, assure us a good life, make us the envy of everyone, but we do not know if these promises are real or completely the opposite of what we hoped for. Man constantly fights the wrong battles, misses the point and errs when it comes to the nature of his own Good.
The plays also have a heavy political dimension to them. Not any political theory developments but raw and fundamental matters about life in community. In Antigone, we witness the struggle between bonds of kinship, in the form of the natural rights of the individual to honor his diseased kin, and on the other side, the bonds of citizenship, in the form of the public order which ought to be respected by man made laws. In a context of a war waging society in which individuals are constantly called to sacrifice their lives for the state, the conflict of interests between the individual and the state is taken to astronomical proportions.
In Oedipus at Colonus, Oedipus is promised refuge and protection in Athens by its king Theseus. The chorus dwells at length on this act of accepting a new citizen regardless of the extremely profane nature of his past. We have a demonstration of the cohesion of the Atheniens and their desire to collectively respect laws of hospitality and obligation to protect the less fortunate. What makes the life in community one of the most fragile creations of man is that it relies heavily on mutual trust between individuals, a trust without any guarantees. Oedipus keeps asking for reassurances from Thesseus, but the king keeps repeating that it is of no need to renew his promises. Doing so will only make them vulnerable, he keeps strengthening his words with actions, without which this whole edifice of trust which binds him to his citizens will fall apart.
By the end, we go back to the theme of fate to have a glimpse at the views of Oedipus at the end of his life. He reflects on all those events, not rebellious or angry at the Gods, but a man much sure of himself. Although blind, old and destitute, he knows more, more than he ever had. Suffering bears fruits of knowledge. He rejects his individual responsibility, having committed both parricide and incest not knowing what he was doing. He emphasized on his innocence, but without anger, regret or frustration. He came to a total acceptance of what the Gods have decided for him. And so do we, as readers, even if the worst nightmares come to life, after the fear, the rage then the pity, comes a sense of release, after all it is all okay.
Greek theatre is first of all a religious phenomenon. It is really hard to imagine how the Greeks transitioned from a ceremony honoring their Gods to a sophisticated reflection on human condition. It is true that Gods occupy an important place in the plays, but the events and the feelings are always approached from the point of view of the humans. This makes the humans more central than the Gods. We follow characters, victims of an arbitrary and cruel divine will, who demonstrate great ingenuity and determination, to escape their fate only to discover by the end that there was no way out from the very start.
The modern reader might not be convinced of how these dark forces control our existence. We don鈥檛 believe in arbitrary Gods anymore. We live after all, in an age of meritocracy and egalitarianism, a king is no longer seen as more fortunate than everybody else and there is possibility for social ascension for everybody and fortunes can be made by individual hard work. But this is exactly the case for Oedipus, his status in Thebes and even his kingship was achieved through his own talent, and also the luck which put him, the right man, in the right spot at the right time. He keeps repeating this throughout the play. Only to discover that those exact events for which he was considered the most fortunate of men were also the causes of his ultimate doom. His skill and determination to save his people from the plague will only uncover the calamities he thought he could escape. This is where the limits of man are dawned. Limits in terms of knowledge, after all we do not know where our own good lies. We strive for or regret what we consider can bring us happiness, assure us a good life, make us the envy of everyone, but we do not know if these promises are real or completely the opposite of what we hoped for. Man constantly fights the wrong battles, misses the point and errs when it comes to the nature of his own Good.
The plays also have a heavy political dimension to them. Not any political theory developments but raw and fundamental matters about life in community. In Antigone, we witness the struggle between bonds of kinship, in the form of the natural rights of the individual to honor his diseased kin, and on the other side, the bonds of citizenship, in the form of the public order which ought to be respected by man made laws. In a context of a war waging society in which individuals are constantly called to sacrifice their lives for the state, the conflict of interests between the individual and the state is taken to astronomical proportions.
In Oedipus at Colonus, Oedipus is promised refuge and protection in Athens by its king Theseus. The chorus dwells at length on this act of accepting a new citizen regardless of the extremely profane nature of his past. We have a demonstration of the cohesion of the Atheniens and their desire to collectively respect laws of hospitality and obligation to protect the less fortunate. What makes the life in community one of the most fragile creations of man is that it relies heavily on mutual trust between individuals, a trust without any guarantees. Oedipus keeps asking for reassurances from Thesseus, but the king keeps repeating that it is of no need to renew his promises. Doing so will only make them vulnerable, he keeps strengthening his words with actions, without which this whole edifice of trust which binds him to his citizens will fall apart.
By the end, we go back to the theme of fate to have a glimpse at the views of Oedipus at the end of his life. He reflects on all those events, not rebellious or angry at the Gods, but a man much sure of himself. Although blind, old and destitute, he knows more, more than he ever had. Suffering bears fruits of knowledge. He rejects his individual responsibility, having committed both parricide and incest not knowing what he was doing. He emphasized on his innocence, but without anger, regret or frustration. He came to a total acceptance of what the Gods have decided for him. And so do we, as readers, even if the worst nightmares come to life, after the fear, the rage then the pity, comes a sense of release, after all it is all okay.
February 18, 2021
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