Hecuba

ISBN-10: 0195068742
ISBN-13: 9780195068740
Edition: 1991
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Description: Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, The Greek Tragedy in New Translation series offers new translations that go  More...

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Book details

List price: $14.99
Copyright year: 1991
Publisher: Oxford University Press, Incorporated
Publication date: 4/25/1991
Binding: Paperback
Pages: 112
Size: 7.99" wide x 5.39" long x 0.24" tall
Weight: 0.242
Language: English

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, The Greek Tragedy in New Translation series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. If the line from a lost play, "There is no greater god than necessity," were all that survived of Euripides, we would have his signature. No other artist or thinker has ever dramatized with such relentless concentration the pervasiveness of necessity's power--the terrible force by which it shapes and destroys human character--and in no other play is this theme made more manifest than in Hecuba. In this new edition of Hecuba, a poet and a classical scholar have collaborated to produce a striking version of a play central to Euripides' dramatic vision. The translators have focused their attention on tonal texture, ranging from grief-stricken monodies and duets to lyrical choral verse, as well as on the problems created by political and forensic rhetoric. The result is a subtle and highly evocative translation of the unjustifiable sacrifice of Hecuba's daughter, Poyxena, and the consequent destruction of Hecuba's character.

Janet Lembke is the author of "Shake Them 'Simmons Down", "Skinny Dipping", "Dangerous Birds", "River Time", & "Looking for Eagles", & is a translator of Greek & Latin classics. She divides her time between Staunton, Virginia, & her home in North Carolina on the banks of her beloved Lower Neuse River.

Kenneth J. Reckford is the Kenan Professor Emeritus of Greek and Latin in the Department of Classics at the University of North Carolina, Chapel Hill. His books include "Aristophanes' Old-And-New Comedy".

Euripides, one of the three great Greek tragedians was born in Attica probably in 485 B.C. of well-to-do parents. In his youth he cultivated gymnastic pursuits and studied philosophy and rhetoric. Soon after he received recognition for a play that he had written, Euripides left Athens for the court of Archelaus, king of Macedonia. In his tragedies, Euripides represented individuals not as they ought to be but as they are. His excellence lies in the tenderness and pathos with which he invested many of his characters. Euripides' attitude toward the gods was iconoclastic and rationalistic; toward humans-notably his passionate female characters-his attitude was deeply sympathetic. In his dramas, Euripides separated the chorus from the action, which was the first step toward the complete elimination of the chorus. He used the prologue as an introduction and explanation. Although Euripides has been charged with intemperate use of the deus ex machina, by which artifice a god is dragged in abruptly at the end to resolve a situation beyond human powers, he created some of the most unforgettable psychological portraits. Fragments of about fifty-five plays survive; some were discovered as recently as 1906. Among his best-known plays are Alcestis (438 B.C.), Medea and Philoctetes (431 B.C.), Electra (417 B.C.), Iphigenia in Tauris (.413 B.C.), The Trojan Women (415 B.C.), and Iphigenia in Aulis Iphigenia (c.405 B.C.). Euripides died in Athens in 406. Shortly after his death his reputation rose and has never diminished.

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