The Oresteia: Agamemnon, The Libation Bearers and The Eumenides: Bloomsbury Revelations
Autor Aeschylus Traducere de Sir Hugh Lloyd-Jonesen Limba Engleză Paperback – 23 apr 2014
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Specificații
ISBN-13: 9781472526793
ISBN-10: 1472526791
Pagini: 248
Dimensiuni: 138 x 216 x 14 mm
Greutate: 0.3 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Revelations
Locul publicării:London, United Kingdom
ISBN-10: 1472526791
Pagini: 248
Dimensiuni: 138 x 216 x 14 mm
Greutate: 0.3 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Revelations
Locul publicării:London, United Kingdom
Caracteristici
Includes a new introduction exploring the performance history of the trilogy, exclusive to the Bloomsbury Revelations edition
Notă biografică
Aeschylus (525-456 BC), the father of Greek tragic drama, is considered to be the first great writer in the Western theatrical tradition. Only seven plays, of over 70 known titles, are extant. These are The Persians (472 BC), Seven Against Thebes (469 BC), Prometheus Bound (c. 460 BC), The Suppliant Women (c. 460 BC), and the Oresteia trilogy (458 BC), comprising Agamemnon, Choephoroi, and Eumenides. Sir Hugh Lloyd-Jones (1922-2009) was Regius Professor of Greek at the University of Oxford, UK. Described by the Telegraph as 'one of the foremost classical scholars of his generation,' his translations included the plays of Sophocles and the fragments of Aeschylus.
Cuprins
Introduction 1. Agamemnon Bibliography 2. The Choephoroe ('The Libation Bearer') Bibliography 3. Eumenides ('The Kindly Ones') Bibliography Appendix
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.
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