The Oresteia
Autor Aeschylusen Limba Engleză Paperback – apr 2013
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Specificații
ISBN-13: 9780715616833
ISBN-10: 0715616838
Pagini: 282
Dimensiuni: 135 x 215 x 15 mm
Greutate: 0.32 kg
Editura: Bloomsbury Publishing
Locul publicării:United Kingdom
ISBN-10: 0715616838
Pagini: 282
Dimensiuni: 135 x 215 x 15 mm
Greutate: 0.32 kg
Editura: Bloomsbury Publishing
Locul publicării:United Kingdom
Textul de pe ultima copertă
"By far the best translation. Faithful to the original Greek text and eminently readable. The notes constitute a commentary in their own right."--Albert Henrichs, Harvard University
"Hugh Lloyd-Jones's translation stands out very much from any other. The notes are first class and scholarly."--Jeffrey Rusten, Cornell University
Descriere
Descriere de la o altă ediție sau format:
Aeschylus' famed plays Agamemnon, The Libation Bearers, and The Eumenides comprise the Oresteia, which uses the dark and convoluted story of a family curse, and a long history of murder and revenge, to raise haunting questions about the nature and the price of justice. In Agamemnon , the Argive king reaches home following his victory in the Trojan War, only to meet his death at the hand of his wife, Clytemnestra. Horrible as this deed is shown to be, we also come to understand in the course of the play how justice has been satisfied by Agamemnon's murder. The second play in the trilogy, The Libation Bearers (Choephoroe), portrays the vengeance of Agamemnon's son Orestes, who returns from exile to exact the price of his father's murder. With the aid of his sister Electra, Orestes kills Clytemnestra, and her lover, Aegisthus. By spilling his mother's blood, however, he invites the wrath of the ancient Erinyes, or Furies, and they begin to pursue him. The Eumenides shows the Furies' pursuit of Orestes, who is protected by the younger god Apollo. Orestes is ultimately tried for his crime in Athens, and Athena, goddess of wisdom, casts the deciding vote on his behalf, and releases him from the ancient familial blood-guilt. Athena persuades the Furies to accept the new legal justice and a new role in the polis, as Kindly Ones, who will bless the city of Athens and its land. In this exciting new translation, at once faithful to the original and as fully alive as a poem in English, Alan Shapiro and Peter Burian showcase the complexity and intricate imagery of this great work of Athenian tragic poetry.
Aeschylus' famed plays Agamemnon, The Libation Bearers, and The Eumenides comprise the Oresteia, which uses the dark and convoluted story of a family curse, and a long history of murder and revenge, to raise haunting questions about the nature and the price of justice. In Agamemnon , the Argive king reaches home following his victory in the Trojan War, only to meet his death at the hand of his wife, Clytemnestra. Horrible as this deed is shown to be, we also come to understand in the course of the play how justice has been satisfied by Agamemnon's murder. The second play in the trilogy, The Libation Bearers (Choephoroe), portrays the vengeance of Agamemnon's son Orestes, who returns from exile to exact the price of his father's murder. With the aid of his sister Electra, Orestes kills Clytemnestra, and her lover, Aegisthus. By spilling his mother's blood, however, he invites the wrath of the ancient Erinyes, or Furies, and they begin to pursue him. The Eumenides shows the Furies' pursuit of Orestes, who is protected by the younger god Apollo. Orestes is ultimately tried for his crime in Athens, and Athena, goddess of wisdom, casts the deciding vote on his behalf, and releases him from the ancient familial blood-guilt. Athena persuades the Furies to accept the new legal justice and a new role in the polis, as Kindly Ones, who will bless the city of Athens and its land. In this exciting new translation, at once faithful to the original and as fully alive as a poem in English, Alan Shapiro and Peter Burian showcase the complexity and intricate imagery of this great work of Athenian tragic poetry.
Recenzii
Rory Mullarkey's adaptation of these three Aeschylus plays . . . is undertaken with a spirit it would be hard to trump. . . . Mullarkey has adapted Aeschylus in a way that never fudges, conceals or distances.
Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film.
brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays.
The verse rhythms are fluid and flexible, allowing for passages of lyric song, and the language is pithy and vivid . . . shows how "justice" - the word that resounds through Mullarkey's text like a drumbeat - easily transmutes into blood-soaked revenge.
Rory Mullarkey's new translation can't be accused of lacking scholastic commitment, or ear-enticing poetic carry-on. . . . the phrasing is pungent
Mullarkey's vibrant translation slithers from the poetic to the colloquial
Rory Mullarkey's poetical, darkly funny but never murky adaptation proves stimulating and surprising . . . makes you laugh one moment and shudder the next.
Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film.
brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays.
The verse rhythms are fluid and flexible, allowing for passages of lyric song, and the language is pithy and vivid . . . shows how "justice" - the word that resounds through Mullarkey's text like a drumbeat - easily transmutes into blood-soaked revenge.
Rory Mullarkey's new translation can't be accused of lacking scholastic commitment, or ear-enticing poetic carry-on. . . . the phrasing is pungent
Mullarkey's vibrant translation slithers from the poetic to the colloquial
Rory Mullarkey's poetical, darkly funny but never murky adaptation proves stimulating and surprising . . . makes you laugh one moment and shudder the next.
Notă biografică
Alan Shapiro is Professor of English at the University of North Carolina at Chapel Hill and the author of a number of prize-winning volumes of poetry and prose, including The Dead Alive and Busy, winner of the 2001 Kingsley Tufts Award. Peter Burian is Professor of Classics at Duke University. Together, they act as the general editors for Oxford's Greek Tragedy in New Translations series.
Cuprins
Note
The Oresteia: Introduction
DAVID GRENE
The Oresteia: the Theatrical Perspective
NICHOLAS RUDALL
Translating for the Stage and from the Stage
WENDY DONIGER O'FLAHERTY
Part One: Unabridged Translation
Agamemnon
The Libation Bearers
The Eumenides
Part Two: Acting Version
Agamemnon
The Libation Bearers
The Eumenides
The Oresteia: Introduction
DAVID GRENE
The Oresteia: the Theatrical Perspective
NICHOLAS RUDALL
Translating for the Stage and from the Stage
WENDY DONIGER O'FLAHERTY
Part One: Unabridged Translation
Agamemnon
The Libation Bearers
The Eumenides
Part Two: Acting Version
Agamemnon
The Libation Bearers
The Eumenides