How to use Sophocles in a sentence

sophocles
  • He subsequently met Sophocles in his native island at the time of the Samian war.

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  • Danae formed the subject of tragedies by Aeschylus, Sophocles, Euripides, Livius Andronicus and Naevius.

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  • He translated the Alcestis of Euripides and three of the plays of Sophocles; and wrote two original tragedies, Jephte and Christo in Passione.

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  • Or, they symbolize the magic power of beauty, eloquence and song; hence their images are placed over the graves of beautiful women and maidens, of poets and orators (Sophocles, Isocrates).

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  • It was famous in Greek mythology, and is frequently mentioned by the great poets, especially by Sophocles.

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  • Whilst under the first of these tutors, in nine months he read all Thucydides, Sophocles and Sallust, twelve books of Tacitus, the greater part of Horace, Juvenal, Persius, and several plays of Aeschylus and Euripides.

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  • Sophocles, and the Lexicon Graecum suppletorium et dialecticum of Van Herwerden; whilst the new great Latin Lexicon, published by the Berlin Academy, is calculated to meet the needs of students of Latin patristic literature.

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  • Her character and these incidents of her life presented an attractive subject to the Greek tragic poets, especially Sophocles in the Antigone and Oedipus at Colonus, and Euripides, whose Antigone, though now lost, is partly known from extracts incidentally preserved in later writers, and from passages in his Phoenissae.

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  • In the order of the events, at least, Sophocles departed from the original legend, according to which the burial of Polyneices took place while Oedipus was yet in Thebes, not after he had died at Colonus.

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  • Again, in regard to Antigone's tragic end Sophocles differs from Euripides, according to whom the calamity was averted by the intercession of Dionysus and was followed by the marriage of Antigone and Haemon.

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  • Sophocles describes in his Oedipus Tyrannus how Oedipus was resolved to pursue to the end the mystery of the death of Laius, and thus unravelled the dark tale, and in horror put out his own eyes.

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  • An enemy to all controversy and all violence, whether in act or thought, he had a serenity of character comparable only to that of Sophocles or Goethe.

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  • Another enclosure, a little to the south, is proved by an inscription to have been a sanctuary of the hitherto unknown hero Amynos, with whose cult those of Asclepius and the hero Dexion were here associated; under the name Dexion, the poet Sophocles is said to have been worshipped after his death.

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  • The arrangements of the stage and orchestra as we now see them belong to Roman times; the cavea or auditorium dates from the administration of the orator Lycurgus (337-323 B.C.), and nothing is left of the theatre in which the plays of Sophocles were acted save a few small remnants of polygonal masonry.

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  • Others, like Sophocles, described the return voyage as differing from the outward course only in taking the northern instead of the southern shore of the Euxine.

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  • Aeschylus and Sophocles wrote tragedies upon it; Ovid has described it at length in his Metamorphoses.

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  • Near the amphitheatre was found in 1838 the famous statue of Sophocles now in the Lateran museum.

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  • His story formed the subject of the Iobates of Sophocles, and of the Bellerophontes and Stheneboea of Euripides.

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  • In addition to persons of high rank, poets, legendary and others (Linus, Orpheus, Homer, Aeschylus and Sophocles), legislators and physicians (Lycurgus, Hippocrates), the patrons of various trades or handicrafts (artists, cooks, bakers, potters), the heads of philosophical schools (Plato, Democritus, Epicurus) received the honours of a cult.

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  • Teiresias' grave was at the Tilphusian spring; but there was a cenotaph of him at Thebes, and also in later times his "observatory," or place for watching for omens from birds, was pointed out (Pausanias ix 16; Sophocles, Antigone, 999).

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  • The word will well bear this sense in the two passages in which Sophocles (Electra, 162, 859) applies it to Orestes; and it is likely enough that after the disappearance of the old Eupatridae as a political corporation, the name was adopted in a different sense, but not without a claim to the distinction inherent in the older sense, by one of the oldest of the clans.

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  • It is impossible to trace directly the influence exercised upon him by the great men of his time, but one cannot fail to connect his emancipation of medicine from superstition with the widespread power exercised over Greek life and thought by the living work of Socrates, Plato, Aeschylus, Sophocles, Euripides, Herodotus and Thucydides.

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  • Amphitryon was the title of a lost tragedy of Sophocles; the episode of Zeus and Alcmene forms the subject of comedies by Plautus and Moliere.

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  • Philochorus also wrote on oracles, divination and sacrifices; the mythology and religious observances of the tetrapolis of Attica; the myths of Sophocles; the lives of Euripides and Pythagoras; the foundation of Salamis.

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  • Thucydides and Sophocles, he must have been tempted, like many another foreigner, to make Athens his permanent home.

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  • As such he would have soon ceased to be respected in a society where literature was not recognized as a separate profession, where a Socrates served in the infantry, a Sophocles commanded fleets, a Thucydides was general of an army, and an Antiphon was for a time at the head of the state.

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  • In later times Ate is regarded as the avenger of sin (Sophocles, Antigone, 614, 625).

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  • He was the subject of a lost tragedy by Sophocles.

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  • In the time of Photius the poets usually studied at school were Homer, Hesiod, Pindar; certain select plays of Aeschylus (Prometheus, Septem and Persae), Sophocles (Ajax, Electra and Oedipus Tyrannus), and Euripides (Hecuba, Orestes, Phoenissae, and, next to these, Alcestis, Andromache, Hippolytus, Medea, Rhesus, Troades,) also Aristophanes (beginning with the Plutus), Theocritus, Lycophron, and Dionysius Periegetes.

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  • In 1494-1515 Aldus Manutius published at Venice no less than twenty-seven editiones principes of Greek authors and of Greek works of reference, the authors including Aristotle, Theophrastus, Theocritus, Aristophanes, Thucydides, Sophocles, Herodotus, Euripides, Demosthenes (and the minor Attic orators), Pindar, Plato and Athenaeus.

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  • There are many variations in the treatment of the legend, for which, as also for a discussion of the modern plays on the subject by Voltaire and Alfieri, see Jebb's Introduction to his edition of the Electra of Sophocles.

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  • Here again we meet with the legends of Heracles, for this cape, together with the neighbouring coast of Trachis, was the scene of the events connected with the death of that hero, as described by Sophocles in the Trachiniae.

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  • His exposition of the methods of Homer and Sophocles is especially suggestive, and he may be said to have marked an epoch in the appreciation of these writers, and of Greek literature generally.

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  • He also wrote scholia on Aeschylus, Sophocles, Euripides (with life), and three of the comedies of Aristophanes; the scholia on Pindar, attributed to him in two MSS., are now assigned to Demetrius Triclinius.

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  • When he entered upon this office he intended to have prelected upon the tragedies of Sophocles; but he altered his intention and made choice of Aristotle's rhetoric. His lectures on this subject, having been lent to a friend who never returned them, are irrecoverably lost.

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  • Thucydides, Sophocles and Herodotus followed in 1502; Xenophon's Hellenics and Euripides in 1503; Demosthenes in 1504.

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  • His adventures on his world-wide mission formed the subject of a play of the same name by Sophocles.

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  • He would doubtless have admitted that it would be the height of absurdity in a man who was not familiar with the works of Aeschylus and Euripides to publish an edition of Sophocles.

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  • The story formed the subject of lost tragedies by Aeschylus, Sophocles, Euripides and other Greek and Latin dramatists.

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  • It included also a number of forgeries, circulated under the names of famous Greek authors, verses fathered upon Aeschylus or Sophocles, or books like the false Hecataeus, or above all the pretended prophecies of ancient Sibyls in epic verse.

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  • The incident of Odysseus and Nausicaa formed the subject of a lost play by Sophocles and was frequently represented in ancient art.

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  • The death of Pelias was the subject of Sophocles' Rhizotmnoi (Root-cutters), and in the Tyro he treated another portion of the legend.

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  • Plumptre was a man of great versatility and attained high reputation as a translator of the plays of Sophocles (1865) and Aeschylus (1868), and of the Divin g commedia of Dante (1886).

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  • Though essentially a soldier, he took considerable interest in literature, wrote epic poems, tragedies and annals, and translated plays of Sophocles.

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  • The story of Orestes was the subject of the Oresteia of Aeschylus (Agamemnon, Choephori, Eumenides), of the Electra of Sophocles, of the Electra, Iphigeneia in Tauris, and Orestes, of Euripides.

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  • He attempted both comedy and tragedy, and his success in the latter branch is due to the fact that he was not content to seek inspiration from Seneca, as were most of the tragedians of the 16th century, but went straight to the fountain heads, Sophocles and Euripides.

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  • The tragic story is the subject of the Hecuba of Euripides, the Troades of Seneca and the Polyxena of Sophocles, of which only a few fragments remain.

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  • Dionysius, Alcaeus, Anacreon, Pindar, Bacchylides, Aeschylus, Sophocles, Euripides, Aristophanes, Antiphanes, make frequent and familiar allusion to the Ke rraOos; but in the writers of the Roman and Alexandrian period such reference as occurs shows that the fashion had died out.

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  • His death formed the subject of a lost tragedy by Sophocles.

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  • Sophocles and Euripides (and in modern times Corneille) made the story the subject of tragedies, and its incidents were represented in numerous ancient works of art.

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  • Terror and pity had never found on the stage word or expression which so exactly realized the ideal aim of tragic poetry among the countrymen of Aeschylus and Sophocles since the time or since the passing of Shakespeare, of Marlowe and of Webster.

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  • The connexion with Tyrrhenians which began with Hellanicus, Herodotus and Sophocles becomes confusion with them in the 3rd century, when the Lemnian pirates and their Attic kinsmen are plainly styled Tyrrhenians, and early fortress-walls in Italy (like those on the Palatine in Rome) are quoted as "Arcadian" colonies.

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  • When Myrtilus claimed his promised reward, Pelops flung him into the sea near Geraestus in Euboea, and from his dying curse sprang those crimes and sorrows of the house of Pelops which supplied the Greek tragedians with such fruitful themes (Sophocles, Electra, 505, with Jebb's note).

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  • Wherever the noblest expressions of her mind are honoured, wherever the large conceptions of Pericles command the admiration of statesmen, wherever the architect and the sculptor love to dwell on the masterpieces of Ictinus and Pheidias, wherever the spell of ideal beauty or of lofty contemplation is exercised by the creations of Sophocles or of Plato, there it will be remembered that the spirit which wrought in all these would have passed sooner from among men, if it had not been recalled from a trance, which others were content to mistake for the last sleep, by the passionate breath of Demosthenes.

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  • Sophocles also wrote an Alcestis, of which only fragments remain.

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  • Lucy Pitman-Wallace directs the UK premiere of this vigorous and lyrical translation, breathing new immediacy into Sophocles ' timeless parable.

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  • His plays and translations of Moliere, Aristophanes, and Sophocles have been produced off-Broadway.

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  • With Aeschylus and Euripedes, Sophocles is the greatest of Athenian tragedians.

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  • He received his education in the gymnasium of Zittau under teachers who inspired him with an enduring love of the classical authors, as we see from his translation of the Antigone of Sophocles into Latin verse, published when he had reached middle life.

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  • In addition to the two tragedies of Sophocles, the legend formed the subject of a trilogy by Aeschylus, of which only the Seven against Thebes is extant; of the Phoenissae of Euripides; and of the Oedipus and Phoenissae of Seneca.

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  • The list of his works includes hymns and national songs - among others, the famous Chant du depart; odes, Sur la mort de Mirabeau, Sur l'oligarchie de Robespierre, &c.; tragedies which never reached the stage, Brutus et Cassius, Philippe deux, Tibere; translations from Sophocles and Lessing, from Gray and Horace, from Tacitus and Aristotle; with elegies, dithyrambics and Ossianic rhapsodies.

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  • These brief allusions were elaborated by the "cyclic" poets, and the adventures of Philoctetes formed the subject of tragedies by Aeschylus, Sophocles and Euripides.

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  • Of the Aeschylean and Euripidean tragedies only a few fragments remain; of the two by Sophocles, one is extant, the other, dealing with the fortunes of Philoctetes before Troy, is lost.

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  • In 1831 the friends established the Philological Museum, which lived through only six numbers, though among Thirlwall's contributions was his masterly paper on the irony of Sophocles - "the most exquisite criticism I ever read," says Sterling.

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  • From all periods of the world - from medieval piety and stoical pride, Kant and Sophocles, science and art, religion and philosophy - with disdain of mere chronology, Hegel gathers in the vineyards of the human spirit the grapes from which he crushes the wine of thought.

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  • Sophocles represents man's life as woven with a "shuttle of adamant" (Antigone, 622-624).

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  • The story of Electra is the subject of the Choephori of Aeschylus, the Electra of Sophocles and the Electra of Euripides.

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