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The books Sophocles II and The Odyssey provide intriguing stories that various authors have translated to reach diverse readers. Sophocles II contains different plays, while on the other hand, The Odyssey is a great epic of Western literature translated by the acclaimed classicist Robert Fagles. This study compares these two books about influence, allusion and contrast to develop how the two relate.
Sophocles II and The Odyssey relate to each other from different perspectives. For instance, allusion is common within the two books. The allusion is a figure of speech where an item or incident from a different context is subtly or indirectly referenced. In the Battle of Troy, the conflict Odysseus enlists in and his sufferings there are depicted in the Iliad. References often describe specific characters and aspects of them in the play, such as Odysseus’ bow. Penelope’s hand is one of the allusions in The Odyssey that offers the reader a comprehensive picture of who Odysseus was and how powerful he was. This tale follows Odysseus as he prepares his bow and shoots an arrow at 12 axes, an accomplishment only he could do (Homer 333). This aspect highlights his war heroism and archery expertise, a talent Odysseus only possessed in Ithaca. Because Odysseus could string the bow and demonstrate the supremacy and powers that he alone had, exposing his identity, the story of the bow serves as a metaphor for him.
The allusion is also widely used in the book Sophocles II; the Greek writer Sophocles used allusions to power and punishment, captivity, conflict, and death in his play Antigone. Greek mythology is primarily referenced in Antigone because the play’s plot centers on the gods (Sophocles 777-780). Throughout the play, many of the characters in Antigone refer to or solicit assistance from the gods. Creon is where Antigone’s final allusion appears; his persona is reminiscent of the Greek tragedy from the latter half of the sixth century B.C.E. During this period, Athens was a great and powerful nation, subjugated and oppressed neighboring Greek communities everywhere. Because they dispersed their power too thinly, the empire fell; with greatness comes a fall. Creon represented Athens because it was a great force that oppressed its people everywhere. They were oppressive, just as Creon was oppressive and disobeyed the gods’ orders. Creon had the power to avert the tragedy dealt to him, but due to his allegiance and throne-hungry nature, he fell just as Athens did in the past.
Sophocles II and The Odyssey also relate to each other in the sense that both books have a fundamental influence on literature and drama today. Since it was composed in the eighth century BCE, Homer’s The Odyssey has tremendously influenced literature. The drama engages the audience on several levels, shifting it from a straightforward adventure story to one that places a strong focus on cultural values and setting numerous precedents for future Western epic poetry (Homer 33). A ground-breaking work that continues to have an impact on literature today is produced through the use of narration, repetition, and structure. The poem engages its reader through genre, and this engagement gives The Odyssey its enormous influence.
The Odyssey is an epic poem, a well-known tale of a hero’s quest and contact with the gods, told in a formal poetic format. Both The Odyssey and The Iliad set numerous precedents for later Western epic poetry. The writing of the Odyssey is in a dactylic hexameter, a rigid poetry form alternating one long and two short syllables. The coining of the “heroic meter” or “meter of the epic” was after The Odyssey. The Odyssey established the convention for using epithets and prolonged similes in subsequent epics, sometimes known as epic or Homeric similes.
Sophocles II also has had a significant influence on playwriting since its creation. Ancient authorities attribute several significant and minor theatrical developments to Sophocles. His creation of “scene paintings” or other visual elements to construct a setting or mood is among the latter. He might have also expanded the chorus’ number from 12 to 15 people (Tikkanen). The addition of a third actor to the dramatic performance was Sophocles’ most notable innovation. Adding a third actor to the stage allowed the playwright to expand the number of his characters and the range of their interactions. Previously, it was legal for two performers to “double” or take on different roles throughout a play. Thus, the dramatic conflict’s range may be expanded, the plot could be more fluid, and the circumstances could be more complicated.
Contrast is also a common practice within the two books; the basic goal of contrast is to emphasize concepts and clarify their meanings so that readers can easily follow a narrative or argument. Writers strengthen their opinions by using opposing and contrasting ideas, which makes them more memorable for readers, owing to the attention placed on them. In The Odyssey, there is a high use of contrast; Odysseus embodies every essential quality of a Homeric hero. Because of his strength, ingenuity, and confidence, he makes a fantastic leader. Odysseus, however, has several weaknesses, such as his continual quest for glory paired with excessive pride that occasionally causes him to become blind in his travels (Homer 313). The Odyssey’s Book IX organization is a sequence of flashbacks that describe Odysseus and his companions’ travels. As Odysseus recounts his battle with the Cyclops to the Phaeacians, it becomes clear how intelligent and clever Homer’s hero is. He is charming, a strong leader, and has the capacity for deception and meticulous planning. However, Odysseus’ encounter with Polyphemus reveals how arrogant and stupid the hero of The Odyssey can be.
In Sophocle II, Antigone depicts a contrast between two people and the values they represent. The confrontation between secular and religious values, state and individual, the public and the private, is the subject of the drama Antigone. The tragedy of Sophocles depicts a conflict, but it’s not one between the divine and humanity; rather, it’s a fight between two different ways that society interacts with and attempts to embody the divine. Even though it is illegal in Theba, burying Polynices is a virtuous deed in the eyes of the gods. But Antigone’s attitude is not the only one with a religious undertone; in the play, Creon’s attitude seems to be something God has approved. The chorus announces the coming of the new king of Thebes in Sophocles (155–161), right before Creon’s edict is issued. It is very evident from the poem that Creon has full control over all of his legal and political actions because of his position of authority. Antigone and Creon’s different approaches to the gods make them stand in opposition.
To sum up, the books Sophocles II and The Odyssey represent different early writings that have tremendously influenced literature and drama today. Through the introduction of new ways to write drama and characterization, books have been essential in learning early literature. Both books employ allusion to convey their message and use contrast to ensure the readers are entertained and glued to the stories. Early writing is insightful, enhances a learner’s writing ability and sentiment, advances one’s thinking ability, and improves aesthetic taste.
Works Cited
Homer. The Odyssey.Translated by Robert Fagles, HarperCollins eBooks, 2021, Web.
Sophocles, and Richmond Lattimore. Sophocles II: Ajax, Translated by John Moore; The Women of Trachis, translated by Michael Jameson; Electra, translated by David Grene; Philoctetes; Translated by David Grene; the Trackers, Translated by Mark Griffith. 3rd ed., University of Chicago Press, 2013, ISBN: 9780226311555
Tikkanen, Amy. “Chorus.” Encyclopedia Britannica, Encyclopedia Britannica, Inc., 2022, Web.
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