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Carregando... Medea [in Translation]de Euripides
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Registre-se no LibraryThing tpara descobrir se gostará deste livro. Ainda não há conversas na Discussão sobre este livro. A Basic Medea Review of the Dover Thrift Editions paperback (2022) of the Dover Publications original (1993) of the John Lane: The Bodley Head hardcover The Medea of Euripides (1944) translated by Rex Warner from the Ancient Greek language original Μήδεια (431 BC). I read this 1944 translation in parallel with reading Liz Lochhead's adaptation Medea (2023) for the National Theatre of Scotland. I wanted to have a basic comparison in order to see how far Lochhead differed from the original. The Dover Thrift edition was ideal for that purpose, but it provided no background information and only a very few brief footnotes to explain some references in the text. I'm also planning on reading a more recent translation in a more scholarly edition. The Oxford University Press's Medea (2006) with a translation by Michael Collier and Georgia Ann Machemer looks like an ideal candidate for that. Trivia and Links Some of the earlier English language translations of Medea are in the Public Domain. You can read several of the 19th century translations online at Wikisource. De sumo, cito lo dicho por el sirviente en la traducción de Antonio Melero Bellido: No es ésta la primera vez en que constato que la fortuna humana es como una sombra y no temo afirmar que aquellos que parecen sabios y profundos pensadores incurren en las más solemnes tonterías. No hay mortal que sea feliz. La fortuna, en su fluir constante, hace, unas veces, más afortunados a unos y, otras, a otros, pero feliz, nadie lo es. De aquí deducimos la profunda sensibilidad poética de Eurípides, al dejar que el sirviente al volver de haber presenciado la trágica muerte de Corintio y Creúsa, se debata por las penurias de los hombres, al no entender cómo a veces nos debatimos en trivialidades y vivencias llenas de vanidad, que por inútiles, no son capaces (en su opinión) de hacernos describir como seres que alguna vez, pudieron siquiera ser felices. Lo trágico de esta idea, puede ser incluso más potente que el llanto desconsolado de los hijos de Medea al ser asesinados por su madre, mientras el coro impotente, no puede hacer nada. La sororidad quedó rota, pero qué importa. Los niños, inocentes, mueren sin tener culpa de ser hijos de. Sin embargo, la humanidad, los hombres, esta especie de mamíferos alzados en osadía al papel de dioses según el tiempo y las acciones de las que incurrimos, no podemos sino sentirnos avergonzados y desesperanzados aún más por lo que expone el sirviente, dejando claro, que cualquier razón que pueda dar sentido a nuestra existencia es un claro alivio a la estupidez de preguntas que otros seres nunca van a tener que hacerse. Y podemos pensar, ¿ser feliz? ¿para qué preguntarnos por eso?, es preciso vivir, pero la problemática se advierte ante el desconocimiento absoluto ante lo descontrolado del porvenir. Es por ello, que no sería justo cercar esta posibilidad con ideas estúpidas, pues nadie debería ser tan osado de procurarse juez de su destino, que ante la vastedad poética de Eurípides, nos encierra en un anticlímax donde la injusticia se nutre de un acto cruel salvado por la fantasía y la magia, esto es, aquello que no podemos controlar, desdichados por las muchas tragedias que vivimos a lo largo de nuestras conscientes vidas insertos en este mundo. Quizá, por eso, la Medea de Eurípides sea tan actual y tan poderosa en su constante lucha por el control de algo que en vez de convertirnos en dioses, nos convierte, muy a nuestro pesar en monstruos. Por lo que pensar en el superhombre de Nietzsche se pueda hacer tan ridículo como trágico, como en aquella película de Hitchcock, donde una soga convino en hacer muy poco favor a un inocente que fue asesinado por simples ideas creadas por nosotros, una (en Medea) la dignidad y la otra, el creernos mejores que nuestra propia naturaleza. To be frank, I found this play in print to be less than my memory of seeing this on stage. In particular, Pertence à série publicadaEstá contido emThe Great Books of the Western World, Vol. 5: Aeschylus, Sophocles, Euripides, and Aristophanes de Encyclopedia Britannica (indireta) Great Books Of The Western World - 54 Volume Set, Incl. 10 Vols of Great Ideas Program & 10 Volumes Gateway To Great Books de Robert Maynard Hutchins (indireta) GREAT BOOKS OF THE WESTERN WORLD--54 Volumes 27 volumes 1961-1987 GREAT IDEAS TODAY (Yearbooks) 10 volumes GATEWAY TO THE GREAT BOOKS 10 volumes GREAT IDEAS PROGRAM. Total 101 Volumes. de Robert Maynard Hutchins (indireta) 5 Plays: Bacchae / Heracles / Children of Heracles / Phoenician Women / Suppliant Women de Euripides 10 Plays: Alcestis / Andromache / Children of Heracles / Helen / Hippolytus / Ion / Medea / Rhesus / Suppliant Women / Trojan Women de Euripides 11 Plays: Alcestis / Andromache / Children of Heracles / Electra / Hecuba / Helen / Heracles / Hippolytus / Medea / Suppliant Women / Trojan Women de Euripide 9 Plays: Cyclops / Ion / Iphigenia in Aulis / Iphigenia in Tauris / Medea / Orestes / Phoenician Women / Suppliant Women / Trojan Women de Euripides É reescrito emTem a adaptaçãoInspiradoTem um guia de estudo para estudantesPrêmiosNotable Lists
The Medea of Euripides is one of the greatest of all Greek tragedies and arguably the one with the most significance today. A barbarian woman brought to Corinth and there abandoned by her Greek husband, Medea seeks vengeance on Jason and is willing to strike out against his new wife and family-even slaughtering the sons she has born him. At its center is Medea herself, a character who refuses definition: Is she a hero, a witch, a psychopath, a goddess? All that can be said for certain is that she is a woman who has loved, has suffered, and will stop at nothing for vengeance. In this stunning translation, poet Charles Martin captures the rhythms of Euripides' original text through contemporary rhyme and meter that speak directly to modern readers. An introduction by classicist and poet A.E. Stallings examines the complex and multifaceted Medea in patriarchal ancient Greece. Perfect in and out of the classroom as well as for theatrical performance, this faithful translation succeeds like no other. Não foram encontradas descrições de bibliotecas. |
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Google Books — Carregando... GênerosClassificação decimal de Dewey (CDD)882.01Literature Greek and other Classical languages Greek drama and Classical drama Greek drama and Classical drama Philosophy and TheoryClassificação da Biblioteca do Congresso dos E.U.A. (LCC)AvaliaçãoMédia:
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Review of the Oxford University Press (OUP) paperback (August 10, 2006) translated by Georgia Ann Machemer and set in verse by Michael Collier from the Ancient Greek original Μήδεια (431 BC).
I went down the Medea rabbit hole after reading Laura Alcoba's Through the Forest (2024), a recent translation of a French language non-fiction novel which also involves maternal filicide and in which an extended story of the Medea mythology is included. So I then picked up Liz Lochhead's 2023 updated Scots adaptation Medea and a basic version in Dover Thrift Editions' Medea (which uses Rex Warner's 1944 translation). I looked for a scholarly translation and Collier/Machemer's version in OUP's Greek Tragedy in New Translations series looked ideal.
The OUP edition provides a very extensive Introduction (29 pages), Text Notes (26 pages) & Glossary (6 pages) in addition to the play translation. All of these provide for excellent background and context for the play's original performance and reception in Ancient Athens. That included the Medea mythology providing a historical basis for the enmity between Corinth (past of the Spartan confederacy) and Athens in the then Peloponnesian War. The shock of various other elements in the play provides a basis for understanding why Euripides came in 3rd (i.e. last) in that year's theatre competition.
See drawing at https://www.whitman.edu/theatre/theatretour/glossary/glossary%20images/deus.ex.m...
A speculative drawing of the use of a crane in the Deus ex machina scenes of Ancient Greek theatre. Image sourced from the Ancient Theatre Archive Glossary at Whitman.edu.
I also went down a further rabbit hole in the investigation of the Deus ex machina appearance of Medea at the conclusion of the play. Normally it would only be Gods lowered from the crane machine in order to provide a last-minute miraculous solution to what would otherwise be an insolvable plot. Medea's appearance in a chariot loaded with dead bodies and pulled by dragons makes it seem more likely that she was instead simply on the roof of the skene (the building at the back of the stage in Ancient Greek theatre).
See illustration at https://i0.wp.com/artofnarrative.com/wp-content/uploads/2022/02/medea-escaping-1...
An illustrated representation of Medea's appearance at the conclusion of the play. Image sourced from The Art of Narrative.
I'm not done with Medea yet, as Rachel Cusk's adaptation Medea (2015) also looks intriguing, even based on the cover alone.
Trivia and Links
Some of the earlier English language translations of Medea are in the Public Domain. You can read several of the 19th century translations online at Wikisource. ( )