Exploring the dialogue between psychoanalytic and literary discourses, the authors examine the models of plot, character, and ways of reading which each of these discourses has developed in interpreting Shakespeare. Since Freud's writings on Oedipus and Hamlet, Shakespearean tragedy has been paradigmatic for psychoanalytic theory and criticism. In this ambitious and highly imaginative book, the authors trace the dialogue between psychoanalytic and literary discourses by examining the models of plot, character, and ways of reading which each tradition has developed through its interpretation of Shakespeare.

Oedipus the King is the first tragic play in Sophocles' classic Oedipus trilogy. The plays tells the story of a man who eventually becomes the King of Thebes while fulfilling an extremely tragic prophecy.

The ancient Greek tragedy about the exiled king’s final days—and the power struggle between his two sons. The second book in the trilogy that begins with Oedipus Rex and concludes with Antigone, Oedipus at Colonus is the story of an aged and blinded Oedipus anticipating his death as foretold by an earlier prophecy. Accompanied by his daughters, Antigone and Ismene, he takes up residence in the village of Colonus near Athens—where the locals fear his very presence will curse them. Nonetheless they allow him to stay, and Ismene informs him his sons are battling each other for the throne of Thebes. An oracle has pronounced that the location of their disgraced father’s final resting place will determine which of them is to prevail. Unfortunately, an old enemy has his own plans for the burial, in this heart-wrenching play about two generations plagued by misfortune from the world’s great ancient Greek tragedian.

Adventures, calamities, and conquests abound in stirring tales about Pandora's box, King Midas and his golden touch, the dreaded Cyclops, Narcissus and Echo, and many other familiar figures.

Sophocles' Oedipus Tyrannus is the most famous of ancient tragedies and a literary masterpiece. It is not, however, the only classical dramatization of Oedipus' quest to discover his identity. Between four and five hundred years after Sophocles' play was first performed, Seneca composed a fine, but neglected and often disparaged Latin tragedy on the same subject, which, in some ways, comes closer to our common understanding of the Oedipus myth. Now, modern readers can compare the two versions, in new translations by Frederick Ahl.Balancing poetry and clarity, yet staying scrupulously close to the original texts, Ahl's English versions are designed to be both read and performed, and are alert to the literary and historical complexities of each. In approaching Sophocles anew, Ahl is careful to preserve the richly allusive nature and rhetorical power of the Greek, including the intricate use of language that gives the original its brilliant force. For Ahl, Seneca's tragedy is vastly and intriguingly different from that of Sophocles, and a poetic masterpiece in its own right. Seneca takes us inside the mind of Oedipus in ways that Sophocles does not, making his inner conflicts a major part of the drama itself in his soliloquies and asides. Two Faces of Oedipus opens with a wide-ranging introduction that examines the conflicting traditions of Oedipus in Greek literature, the different theatrical worlds of Sophocles and Seneca, and how cultural and political differences between Athenian democracy and Roman imperial rule affect the nature and conditions under which the two tragedies were composed. This book brings two dramatic traditions into conversation while providing elegant, accurate, and exciting new versions of Sophocles' and Seneca's tragedies.

For centuries the myth of Oedipus, the man who unwittingly killed his father and married his mother, has exerted a powerful hold on the human imagination; but no retelling of that myth has ever come close, in passion, drama, and menace to the one that we find in Sophocles' Oedipus the King. This new full-scale edition of that classic play - the first in any language since 1883 - offers a freshly constituted text based on consultation of manuscripts ancient and mediaeval. The Introduction explores the play's dating and production, its creative engagement with pre-Sophoclean versions, its major themes, and its reception during antiquity. The Commentary offers a detailed analysis, line by line and scene by scene, of the play's language, staging, and dramatic impact. The translation incorporated into the commentary ensures that the book will be accessible to all readers interested in what is arguably the greatest Greek tragedy of all.