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ePub Aeschylus, 2 : The Persians, Seven Against Thebes, the Suppliants, Prometheus Bound (Penn Greek Drama Series) download

by Gail Holst-Warhaft,William Matthews,Aeschylus,David R Slavitt

ePub Aeschylus, 2 : The Persians, Seven Against Thebes, the Suppliants, Prometheus Bound (Penn Greek Drama Series) download
Author:
Gail Holst-Warhaft,William Matthews,Aeschylus,David R Slavitt
ISBN13:
978-0812216714
ISBN:
0812216717
Language:
Publisher:
University of Pennsylvania Press (January 1, 1998)
Category:
Subcategory:
Dramas & Plays
ePub file:
1914 kb
Fb2 file:
1385 kb
Other formats:
docx mobi rtf lit
Rating:
4.2
Votes:
676

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama .

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander. Translations are by David Slavitt (Persians), Stephen Sandy (Seven Against Thebes), Gail Holst-Warhaft (The Suppliants), and William Matthews (Prometheus Bound).

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama .

Translations are by David Slavitt (Persians), Stephen Sandy (Seven Against Thebes), Gail Holst-Warhaft (The Suppliants), and William Matthews (Prometheus Bound). ISBN13: 9780812216714. Publisher: University of Pennsylvania Press.

As for Seven Against Thebes, the less said the better. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Arist. As for Seven Against Thebes, the less said the better. I was not surprised to read, after I had finished the play and felt that the appearance of Antigone and Ismene was superfluous, that Aeschylus' original ending was replaced by this foreign appendage 50 years after his death. University of Pennsylvania Press. Most plays are historical reflecting events during those times. Excellent plays opening windows to the ancient times. Great source if one wants to know more about Greek Gods and their legends. Zohrab, March 6, 2008.

2: The Persians, Seven against Thebes, The Suppliants, Prometheus Bound. Penn Greek Drama Series). The Oresteia of Aeschylus. Translations from the Greek of Aeschylus on the stories of Orestes and Agamemnon, and the rest of the cursed family. The Poem of Queen Esther by Joao Pinto Delgado.

The Suppliants (Greek: Ικέτιδες, Hiketides; also translated as "The Suppliant Maidens") is a play by Aeschylus. It was probably first performed sometime after 470 BC as the first play in a trilogy which probably included the lost plays The Egyptians and The Daughters of Danaus. It was long thought to be the earliest surviving play by Aeschylus due to the relatively anachronistic function of the chorus as the protagonist of the drama. However, evidence discovered in the mid-20th century places it after The Persians as Aeschylus's second extant play.

Aeschylus I contains The Persians, translated by Seth Benardete; The Seven Against Thebes, translated by David Grene; The Suppliant .

Aeschylus I contains The Persians, translated by Seth Benardete; The Seven Against Thebes, translated by David Grene; The Suppliant Maidens, translated by Seth Benardete; and Prometheus Bound, translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers.

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander.

This final volume of the tragedies of Aeschylus relates the historic defeat and dissolution of the Persian Empire on the heels of Xerxes disastrous campaign to subdue Greece, the struggle between the two sons of Oedipus for the throne of Thebes, the story of fifty daughters who seek asylum from their uncle, the king of Egypt, because of his demand that they marry his sons, and the well-known tale of the proud and unrepentant Prometheus, who is chained to a massive rock for revealing fire and hope to humankind.

Translations are by David Slavitt (Persians), Stephen Sandy (Seven Against Thebes), Gail Holst-Warhaft (The Suppliants), and William Matthews (Prometheus Bound).

  • The anachronisms and cursing weren’t all that. But the herald that could recite the whole telephone book, was. “Persians” takes these positions: history is written by the winners; art is made by the intended audience; the structural conventions of Greek plays are weird. I liked this book.

  • To anyone who enjoys classic Greek drama, I have one small bit of advice: avoid this book. I am generally open to translators taking some latitude and license with translations of classic texts, but in this instance that approach is stretched far beyond what is reasonable. David Slavitt engages in nothing short of raw butchery as he heaps the text with anachronistic references, slang and vulgarity. What could possibly make Slavitt think it is appropriate to include in "The Persians" a reference to a "thousand-year reich"??? Xerxes as Hitler? No thanks! In an effort to "modernize" these stories, Slavitt succeeds only in destroying their dignity. The result is a "translation" that bears little resemblance to the original works. It's pretty tough to screw up badly enough to get a one-star rating from me, but Slavitt managed to do so. Simply awful.

  • I must preface this by saying that my view of this book is colored by the translation of the Persians, which is the only play I will discuss hear. It is hard for anyone who has read Aeschylus' work to fathom how Slavitt could call his interpretation of The Persians a translation. The fact that he inserts a new character, "The Prologue", automatically qualifies it as a far cry from "loyal to the Greek original[s]". Also, in complete contrast to Aeshylus' ability to exhibit human emotion and circumstance through the use of beautiful and powerful language, Slavitt resorts to a heavy heaping of cursing not only to convey anger, but to portray the Persians in the most base manner possible.

    Slavitt's work could be described as a piece based on the ancient play, but nothing more than that. His interpretation is laden with prejudices formed from modern conflicts and political situations. He is clearly making an attempt to draw a modern American audience into what he thinks the message and emotions of the play was in ancient Athens. Unfortunately for those interested in ancient literature, Slavitt sees Aeshylus' "message" through the perspective of a very opinionated 20th and 21st century conservative American. This is a complete failure as a translation, but a good example of how scholars can alter texts and stories to fit their personal agendas. I feel sorry for the poor light that this play sheds on the rest of the book. But if the cover specifically states that these are "loyal" translations, it is a slap in the face when one reads such a loose adherance to the original texts (which even Bovie admits to in his prologue to Seven Against Thebes, although his work does not reach the "non-literal" level that Slavitt's The Persians did...).