Tell me, unless you don’t want to. . ( Log Out /  Her essays, poems, and novel, too. The idiom is contemporary without yielding to the siren song of gimmicky updating; it manages to be clear without betraying Aeschylus’ complexity or sacrificing his intricate imagery. But for Agamemnon, in retrospect, the Trojan War (still, after all these millenniums, the most potent symbol we have for a seemingly endless conflict) was a cakewalk. . . Any attempt, like Lattimore’s, at steadily elevated diction runs the risk of windy bombast. and there is none alive more worthy to be glorified, KLYTAIMÉSTRA ( Log Out /  It’s not a sexual thing. . or “by” Carson. And we note bitterly, See, nothing has changed. I’ve watched the stars. Traditionalists beware. Just occasionally I thought the translation into modern idiom went too far: the slave talking of “real bad shit happening” (though Carson qualifies this as “another quaint barbarian idiom”). Aeschylus II contains “The Oresteia,” translated by Richmond Lattimore, and fragments of “Proteus,” translated by Mark Griffith. Introduction and translation together provide an exciting text, one that should be widely read, widely used.” —Karelisa Hartigan, University of Florida, in The Classical Outlook. You must have JavaScript enabled in your browser to utilize the functionality of this website. The Introduction is quite useful, and the translation offers a nicely modernized version of the trilogy.” —Karen C. Blansfield, University of North Carolina at Chapel Hill “This is the most teachable translation in print. It worked very well, especially for my General Studies class—the language is more direct and clear. Stöbere im größten eBookstore der Welt und lies noch heute im Web, auf deinem Tablet, Telefon oder E-Reader. Simultaneously very contemporary in language, yet at the same time not shying away from the ways in which ancient Greek culture is strange and foreign to a contemporary reader/audience. In doing so, she offers a very different reading of the trilogy that begins with Agamemnon’s return from the Trojan war and ends, surprisingly happily, with Apollo’s intervention to prevent a continuation of the tragic cycle of events. Her Agamemnon is brash and slangy. in the ritual of man It was all images. . I like him as a translator. Enter your email address to subscribe to this blog and receive notifications of new posts by email. It is a shiver that begins in the pit of my elbows and continues up, over my shoulders, and sometimes terminates somewhere in the messy vicinity of the heart. . . Those of us who have seen Peter Meineck's performances have long marveled at his ability to turn Greek into clear English, how he does not do ‘versions’ of the plays, how he does not rewrite the ancients into modern jargon (even his comedies maintain more Aristophanic text than is usual). I should be glad to hear, but must not blame your silence. Carson calls her book “An Oresteia” — as opposed to the “Oresteia.” This isn’t the trilogy of Aeschylus. Carson’s adaptation takes Aeschylus’s Agamemnon, and matches it with Sophocle’s Elektra and Euripedes’s Orestes. . It was too tragic. Here, in a typical passage, the Chorus asks Clytemnestra about her husband’s possible return: Is it some grace — or otherwise — that you have heard to make you sacrifice at messages of good hope? Hughes's "acting version" of the trilogy is faithful to its nature as a dramatic work, and his translation is itself a great performance; while artfully inflected with the contemporary, it has a classical beauty and authority. An Oresteia is not a fusty, complex translation of Aiskhylos’s (Aeschylus to most of us, but I’ll run with Carson’s version for consistency) trilogy. a translation for the stage by an experienced man of the theater. seized in cloth I’ll definitely have to check it out. “The Oresteia“ (comprising “Agamemnon” , “The Libation Bearers” and “The Eumenides” ) is the only surviving example of a complete trilogy of ancient Greek plays (a fourth play, which would have been performed as a comic finale, a satyr play called “Proteus” , has not survived). I live the life of a slave myself. If this seems a somewhat flippant account of Agamemnon’s tragedy, as immortalized by Aeschylus in his “Oresteia” trilogy (458 B.C. if I am nothing but to be the dead with him. wine . When I’m shelving them or entering them into my reading spreadsheets I always hesitate as to whether the work in question is “by” Sappho/Aeschylus/etc. Here is Carson, where impatience emerges like a jab in the ribs: Gods! When Carson has Clytemnestra declare, “Make his path crimsoncovered! Oh, Ted Hughes’ translation of the Oresteia was very good. I did not like it as much as I liked Euripides. He was Poet Laureate to Queen Elizabeth II and lived in Devon, England until he died in 1998. Introduction and translation together provide an exciting text, one that should be widely read, widely used.”      —Karelisa Hartigan, University of Florida, in The Classical Outlook, “. Hughes's Oresteia is quickly becoming the standard edition for English-language readers and for the stage, too. . The Introduction is quite useful, and the translation offers a nicely modernized version of the trilogy.”      —Karen C. Blansfield, University of North Carolina at Chapel Hill, “This is the most teachable translation in print. the house shivers It occurs to me that in my post on Euripides, I used the word “electrifying”. I was going to mention the Inferno earlier but held back. . Agamemnon is a principal in the larger tale of the House of Atreus, which encompasses adultery, boastful murder, madness, cannibalized children, matricide — mere grisly grist for the tabloids, if it isn’t the stuff of immortal literature. AeschylusTranslated, with Notes, by Peter MeineckIntroduction by Helene P. Foley. His real problems began only after he returned home to his wife, Clytemnestra, who dispatched him almost before he’d had time to change his sandals. © 2018 ORESTEIA.ORG All rights I recommend Emily’s detailed review of this translation. Her language mutations are almost Joycean (“blackmouthing bitch”). The progression she lays out in the introduction (the passage you quoted) definitely seemed apparent to me as I read through these plays, but since I haven’t read the whole of Aeshylus’s cycle I don’t feel I can fully compare. eBook available for $11.45. John W. Howard, S.J. ( Log Out /  Plainly it’s some combination of the two. The play opens with a night watchman, lamenting the unchanging dreariness of his task. is the ritual I’ll have to check out the Hughes, though. You’re optimistic? After reading several translations of Spring Awakening (the fin de siecle play by Wedekind that the recent musical is based on) I settled on his as far and away the best available in English.

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