摘要：Nosotros, lectores contemporáneos de la tragedia ática, percibimos con dificultad la naciente crítica a los ideales individuales que se enajenan de la democracia que allí se expresa, para simpatizar, emocionados más bien, con los héroes cuyas elecciones –y sobre todo cómo las enfrentan, incluso a costa de sus propias vidas– deberían, nos parece, elevarse a paradigmas universales. Los modos como encaran su soledad una Antígona, un Edipo o un Filoctetes llaman profundamente nuestra atención como signos de la capacidad del hombre para descubrir la inmensidad de su mundo interior, sobre todo cuando este se siente abandonado a sus propias fuerzas (Snell, 2007).
其他摘要：We, contemporary readers of the attic tragedy, with difficult, we perceive the nascent critic to the individual ideals that are alienated in the expressed democracy, to sympathize, rather, excited with the heroes whose elections and specially how they confront it -even at the expense of their own lives- should, we think, rise universal paradigms. How they face their loneliness an Antigone, and Oedipus or a Philoctetes, calls deeply our attention as a sign of capacity to discover the immensity of their inner world, especially when they feel abandoned to their own forces (Snell, 2007). But, from another perspective, Sophocles seems to problematize the rupture between the individual and the social group to make evident the excess that takes to the willing of living like Apopolis, disaggregated of the community. It comments a lot about the Sophocles’ strength scenic theater and his evident capacity to exhibit the show of an existence that is debated among this rupture, which express, with the bodily prostration of the man, the socio-political exclusion and even ethic that suffers or will suffer. However, the domain of the scenic technique, this does not seem enough to understand why is it experienced so much closeness with the drama of the Sophoclean heroes.
