A Bold, Iconoclastic New Look at One of the Great Works of Greek Tragedy In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions—Aischylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes—giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law. Carson's accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson's Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.
Highly acclaimed as translators of Greek and Sanskrit classics, respectively, David Grene and Wendy Doniger O'Flaherty here present a complete modern translation of the three plays comprising Aeschylus' Orestia and, with the assistance of director Nicholas Rudall, an abridged stage adaptation. This blanced and highly successful collaboration of scholars with a theater director solves the contemporary problems of translating and staging the Orestia, which originally was written to be performed in Athens in the first half of the fifth century B.C. While remaning faithful to the original Greek, Grene and O'Flaherty embrace a strong and adventurous English style, vivid and visceral. The language of this extraordinary translation, immediately accessible to a theater audience, speaks across the centuries. Premiered at Chicago's Court Theater in 1986 under Rudall's direction, the stage adaptation of the Orestia proved eminently playable. This new adaptation of the orestia offers a brilliant demonstration of how clearly defined goals (here, the actor's needs) can inspire translators to produce fresh, genuine, accessible dramatic texts. The resulting work provides complete and accurate texts for those who cannot read the original Greek, and it transforms the Orestia into an effective modern stage play. With interpretive introductions written by the translators and director, this new version will be welcomed by teachers of translation courses, by students of Greek and world drama in general, and by theater professionals.
The dramatic trilogy has been flourishing for some time now in new works and revivals of older works by American, British, and European playwrights. This book analyzes recent American works by Caucasian, African American, Asian American, and Hispanic American men and women. There are five chapters beginning with Opposing Families (trilogies of, e.g., Lanford Wilson, Foote, Machado, and McCraney are examined). Carson, Rabe, and McLaughlin are among those in the Classical Reimaginings chapter while Coen, Berc, and Wolfe constitute the Medieval Reimaginings chapter. Van Itallie, Havis, Rapp, and Hwang, among others, create New Forms. LaBute, Fierstein, and Nelson, among others, create New Selves. The concluding chapter is devoted to Ruhl’s Passion Play, which spans 400 years of theatre-creating from Elizabethan England to Hitler’s Germany to the Reagan era in America.
Metapoetry in Euripides is the first detailed study of the self-conscious literary devices applied within Euripidean drama and how these are interwoven with issues of thematic importance, whether social, theological, or political. In the volume, Torrance argues that Euripides employed a complex system of metapoetic strategies in order to draw the audience's attention to the novelty of his compositions. Torrance also looks at and compares metapoetictechniques used in tragedy, satyr-drama, and old comedy to demonstrate that the Greek tragedians commonly exploited metapoetic strategies, and that metapoetry is more pervasive in Euripides than in the other tragedians. While Euripides shares some metapoetic techniques with old comedy, these remain implicit in histragedies (but not in his satyr-dramas).
Myth into Art is a comparative study of mythological narrative in Greek poetry and the visual arts. Thirty of the major myths are surveyed, focusing on Homer, lyric poetry and Attic tragedy. On the artistic side, the emphasis is on Athenian and South Italian vases. The book offers undergraduate students an introduction both to mythology and to the use of visual sources in the study of Greek myth.
A complete collection, in three volumes, of the classical articles and reviews of A. E. Housman. These papers were originally published between 1882 and 1936 in a variety of academic journals, many of which are now difficult to obtain. The editors have checked and, where necessary, supplemented and updated all the references and corrected errors in them, but have otherwise presented each paper, in full, with the minimum of editorial comment. At the end of Volume III there are very elaborate and comprehensive indexes of passages, words and topics discussed by Houston. The Kleine Schriften of great scholars are among the most important and useful tools of the classicist's trade. This edition will be of the first importance among such collections and will provide an essential work of reference. Housman's known virtues as a textual critic are decisively confirmed and emphasized now that his papers can be seen in one complete and connected sequence.
These thirty essays were presented to Alan L Boegehold, a distinguished philologist and an inspirational teacher, on the occasion of his retirement and his seventy-fifth birthday. The contributions fall into two categories, each one reflecting Boegehold's diverse interests in classical studies: the first section includes essays on literary and philosophical topics, several of which pick up on the theme of "gestures"; the second section is representative of Boegehold's more specialised research in Greek epigraphy, history and law. Contents: Biography of Alan L Boeghold; A divine audience for the celebration of Asopichus' victory in Pindar's Fourteenth Olympian Ode (L Athanassaki) ; Poi de kai pothen ; self-motion in Plato's Phaedrus (G W Bakewell) ; Drinking from the sources: John Barton's Tantalus and the epic cycle (D Boedeker) ; Mania and melancholy: Some Stoic texts on insanity (M Graver) ; A gesture in Archilochos 118 (West)? (C Hahnemann) ; When an identity was expected: The slaves in Aristophanes' Knights (J Henderson) ; Nemesis and Phthonos (D Konstan) ; A reading of Ausonius, Professores I (J Pucci) ; Horace epi. 1.13: Compliments to Augustus (M C J Putnam) ; When a gesture was misinterpreted: didonai titthion in Menander's Samia (A C Scafuro) ; Optical illusions in ancient Greece (P Tribodeau) ; Gesture (W F Wyatt, Jr) ; Some observations on the Appianos sarcophagus ( IGUR 1700) (G Bucher) ; The first tragic contest: Revision revised (A P Burnett) ; Notes for a philologist (J McK Camp) ; Two passages in Thucydides (M Chambers) ; Livy's narrative habit (J D Chaplin) ; Athenian prostitution as a liberal profession (E E Cohen) ; Sanides and Sanidia (John E Fischer) ; Thuc. 2.13.3: 600 T. of tribute (C W Fornara) ; Delivering the go(o)ds: Demetrius Poliorcetes and Hellenistic divine kingship (P Green) ; Lysias 14 and 15. A note on the grafes astrateias (M H Hansen) ; Counterproposal at Carthage (Aristotle, Politics II.11.5-6) (G L Huxley) ; Kallias A ( IG I3 52A) and Thucydides 2.13.3 (J Kennelly) ; Slander in ancient Athens: A common law perspective (W T Loomis) ; The bones of Orestes (D D Philips) ; The ostracism of Damon (K A Raaflaub) ; The date of Pnyx III: SEG XII 87, the law of Eukrates on tyranny (337/6 BC) (M B Richardson) ; Archon dates, atthidographers and the sources of Ath. Pol. 22-26 (J P Sickinger) ; A major Athenian letter-cutter ca. 410 to ca. 380: The cutter of IG II2 17 (S V Tracy) .