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The two volumes of essays and translations of the tragedies of Sophocles and Euripides are the accumulation of some twelve years’ of producing ancient plays for contemporary audiences and actors. The play-texts themselves, therefore, are intended to be accessible and speakable, in the first instance, and to convey as much of the flavour of the original Greek as any translation is able. They are there to be used. The style, though personal to a degree, is an attempt to maintain the tone and the poetry of tragedy, without dropping into the mock-archaic or turning the texts into self-conscious homilies on contemporary ‘issues.’ The introductory essays are occasional pieces written with production in mind. Two general themes have emerged: firstly, a development of ideas about the nature of the dramatic genre (and dramatic writing) and stage rhetoric – how is irony achieved? What kinds of irony are there? How do we understand emotional experience in a theatre? Secondly, the significance of emotions and the concept of tragedy in the Greek context; Sophocles and Euripides share, as one might expect, a milieu and some rigid theatrical conventions, but within this context they reveal significant differences in terms of dramatic style and audience orientation. The translations and essays are not presented in the order that they were written. Volume I follows the narrative order of Sophocles’ ‘Theban Trilogy’, and Volume II the chronological order of Euripides’ composition. The plays were all produced in Dunedin, New Zealand, in the following order: Oedipus the King 1994 (and 2003); Hippolytus 1995; Bacchae 1997; Antigone 1998; Oedipus at Colonus 2000; Medea 2002; Hecuba 2006.
A landmark anthology of the masterpieces of Greek drama, featuring all-new, highly accessible translations of some of the world’s most beloved plays, including Agamemnon, Prometheus Bound, Bacchae, Electra, Medea, Antigone, and Oedipus the King Featuring translations by Emily Wilson, Frank Nisetich, Sarah Ruden, Rachel Kitzinger, Mary Lefkowitz, and James Romm The great plays of Ancient Greece are among the most enduring and important legacies of the Western world. Not only is the influence of Greek drama palpable in everything from Shakespeare to modern television, the insights contained in Greek tragedy have shaped our perceptions of the nature of human life. Poets, philosophers, and politicians have long borrowed and adapted the ideas and language of Greek drama to help them make sense of their own times. This exciting curated anthology features a cross section of the most popular—and most widely taught—plays in the Greek canon. Fresh translations into contemporary English breathe new life into the texts while capturing, as faithfully as possible, their original meaning. This outstanding collection also offers short biographies of the playwrights, enlightening and clarifying introductions to the plays, and helpful annotations at the bottom of each page. Appendices by prominent classicists on such topics as “Greek Drama and Politics,” “The Theater of Dionysus,” and “Plato and Aristotle on Tragedy” give the reader a rich contextual background. A detailed time line of the dramas, as well as a list of adaptations of Greek drama to literature, stage, and film from the time of Seneca to the present, helps chart the history of Greek tragedy and illustrate its influence on our culture from the Roman Empire to the present day. With a veritable who’s who of today’s most renowned and distinguished classical translators, The Greek Plays is certain to be the definitive text for years to come. Praise for The Greek Plays “Mary Lefkowitz and James Romm deftly have gathered strong new translations from Frank Nisetich, Sarah Ruden, Rachel Kitzinger, Emily Wilson, as well as from Mary Lefkowitz and James Romm themselves. There is a freshness and pungency in these new translations that should last a long time. I admire also the introductions to the plays and the biographies and annotations provided. Closing essays by five distinguished classicists—the brilliant Daniel Mendelsohn and the equally skilled David Rosenbloom, Joshua Billings, Mary-Kay Gamel, and Gregory Hays—all enlightened me. This seems to me a helpful light into our gathering darkness.”—Harold Bloom
A brief essay on the characteristics of ancient Greek drama prefaces a collection of plays by Aeschylus, Sophocles, Euripides, and Aristophanes.
Included in this volume are "The Bacchanals," "Alcestis," "Medea," "Hippolytus," "Ion," "The Phoenician Damsels," "The Suppliants," "Hercules Distracted," and "The Children of Hercules." Reprinted from the 1906 Edition.
A modern translation exclusive to signet From perhaps the greatest of the ancient Greek playwrights comes this collection of plays, including Alcestis, Hippolytus, Ion, Electra, Iphigenia at Aulis, Iphigenia Among the Taurians, Medea, The Bacchae, The Trojan Women, and The Cyclops.
Presents recent translations of these four Greek classics together with notes on their significance.
This book offers a comprehensive introduction to medio-translatology, including its historical and literary setting, its core concept, and its practice and theory. Medio-translatology, inspired by scholarship in comparative literature and the “cultural turn” in Western translation studies, has tackled many issues which previously went unnoticed or were ignored in traditional translation studies in China; it falls within the scope of literary studies and cultural studies, extending beyond the confines of language and treating literary translations and translating as historical facts. Emerging from comparative literature, medio-translatology looks at literary translation from a new and broader perspective, and explains, with illustrative and compelling examples, that literary translation is “an act of creative treason.” The originality of this approach is also evident in its distinguishing between the history of translated literature and the history of literary translation, as well as in its addressing the nature and status of translated literature. The Chinese edition of this book, being the first of its kind and well received in China, has been hailed as a milestone in exploring translation studies in the context of comparative literature in Chinese academia, and it introduces to students and researchers alike a wide range of new thoughts and ideas.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. This volume collects Euipides' Alcestis (translated by William Arrowsmith), a subtle drama about Alcestis and her husband Admetos, which is the oldest surviving work by the dramatist; Medea (Michael Collier and Georgia Machemer), a moving vengeance story and an excellent example of the prominence and complexity that Euripides gave to female characters; Helen (Peter Burian), a genre breaking play based on the myth of Helen in Egypt; and Cyclops (Heather McHugh and David Konstan), a highly lyrical drama based on a celebrated episode from the Odyssey. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.