By Euripides, Reginald Gibbons, Charles Segal
Appeared through many as Euripides' masterpiece, Bakkhai is a strong exam of non secular ecstasy and the resistance to it. a choice for moderation, it rejects the temptation of natural cause in addition to natural sensuality, and is a staple of Greek tragedy, representing in constitution and thematics an exemplary version of the vintage tragic elements.Disguised as a tender holy guy, the god Bacchus arrives in Greece from Asia proclaiming his godhood and preaching his orgiastic faith. He expects to be embraced in Thebes, however the Theban king, Pentheus, forbids his humans to worship him and attempts to have him arrested. Enraged, Bacchus drives Pentheus mad and leads him to the mountains, the place Pentheus' personal mom, Agave, and the ladies of Thebes tear him to items in a Bacchic frenzy.Gibbons, a prize-winning poet, and Segal, a popular classicist, provide a talented new translation of this principal textual content of Greek tragedy.
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Extra resources for Bakkhai (Greek Tragedy in New Translations)
I have used blank verse (unrhymed iambic pentameter) for the narrative and discursive speeches; but in this case —and again, because English needs more words than Greek to say the same thing — I have used not more feet but rather more lines than there are in the original in order to keep the rhythm of the speeches steady and authoritative. ) In the odes, I have used a fairly free, but somewhat accentual measure, so as to try to catch the energy of the very beautiful original by composing a rhythmically syncopated sort of line, of varying length, which quickens or slows with the syntax.
All of this linguistic and literary richness is found in a text that is not only incomplete and corrupted in many places by those who copied it over the centuries, but that also stands — as we see it—in uncertain relation to earlier lost literary works, to mythology, and to the actual practices of worship of Dionysos. (See Charles Segal's Introduction, pp. ) Furthermore, later Christian 35 ON THE T R A N S L A T I O N attitudes — toward a god of death and rebirth, a god who is a son of god, and human history in which a father-god intervenes —are inextricably already a part of many present-day readers' thinking, and these attitudes of ours color our understanding of the play in ways foreign to it because they so thoroughly color our language; after all, the everyday English that we speak is very Christianized in its figures of speech, its traditional symbols, and in the connotations of certain words.
25 INTRODUCTION victim's mother and aunts. Euripides spares us none of the horror. Pentheus begs in vain for mercy as he stares up into Agaue's rolling eyes and foaming mouth; the maenads play ball with the torn flesh; and Agaue finally carries the head impaled on the top of her thyrsos and parades it over the mountain as a triumphant huntress (1263-1301). The Messenger ends with a few lines of cautious generalization about moderation, good sense, and piety toward the gods (1302-7). In the studied symmetries of this play, these lines correspond to the First Messenger's closing generalizations about the blessings of Dionysos (882-88).
Bakkhai (Greek Tragedy in New Translations) by Euripides, Reginald Gibbons, Charles Segal