WOMEN of TRACHIS (For HOMEFRONT) TUTORIAL
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Women of Trachis [PDF]
SOPHOCLES TRACHINIAE [Women of Trachis] Translated by Ian Johnston Vancouver Island University Nanaimo, British Columbia Canada 2018 TRANSLATOR’S NOTE The following translation may be downloaded and distributed in print or electronic form (in whole or in part) without permission and without charge by students, teachers, artists, and members of the general public. Those who wish to edit or adapt the translation for their own purposes may do so. However, no commercial publication of this text is allowed without the permission of the translator, Ian Johnston ([email protected]). In the following text, the line number without brackets refer to the English translation; those in square brackets refer to the Greek text. In the English text, short indented lines have been included with short lines above them in computing the appropriate line number. The stage directions and footnotes have been provided by the translator. In this translation, possessives of words ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hercules and Hercules’ are both three-syllable words; whereas, Hercules’s has four syllables). The translator would like to acknowledge the valuable assistance of Richard Jebb’s commentary and translation (available online at Perseus). A NOTE ON THE MYTHOLOGICAL BACKGROUND Like almost all Greek legends, the Herakles (Hercules) story has many versions (especially since Herakles was a very popular figure in Greek drama and poetry). -
Royal Palace and Its Critics
David Drew Royal Palace and its Critics Notes on the reception, despoliation, and reconstruction of Kurt Weill's and Yvan Goll's opera-ballet, 1927-2001 The critic cannot hold up the course of things, this world being ruled by the inevitable; but let him point again and again to man, to life in art, to music that is divine because it is in its essence human. Adolf Weissmann ( 1930/ The prevalence of the package over the product has become one of the key markers of contemporaneity, an emblem of our faded faith in essence and built-in values. Ralph Rug off on Andreas Gursky ( 1999J2 Until January 2000 and the BBC's 'Weill Weekend' at the Barbican Cen tre, London, the nature, the outlines and even the approximate location of Kurt Weill's and Yvan Gall's one-act opera-ballet Royal Palace were familiar to no more than a handful of specialists in Europe and America.3 Publicists required at short notice to produce suitable soundbites from a Weill literature that has become voluminous since Kim Kowalke pub lished his pioneering study in 1979 could be forgiven for overlooking as most of them did-an aspect of the BBC's enterprise that was of purely archeological significance: the fact that some 75 years after its completion, Royal Palace was about to be exhibited, for the very first time, in its intended juxtaposition with Weill's frrst opera, Der Protagonist. 1 Weissmann, tr. BJorn, 1930, 148. Apart from a brief envoi, these are Weissmann's closing words. 2 Ralph Rugoff, World Perfect, London, 1999,7-12. -
Deianeira Deliberates: Precipitate Decision-Making and Trachiniae
Deianeira deliberates: precipitate decision-making and Trachiniae Good counsel is the most potent of assets (Tiresias at Antigone 1050) Deianeira Decides Trachiniae is a tragedy about sex, and a tragedy about destiny.1 But it also constitutes a sophisticated lesson in the activity entailed by practical deliberation – what the Greeks termed to bouleuesthai.2 It is through its stress on the importance of deliberation that it reveals its intimate relationship with the workings of the Athenian democracy, where the citizen-audience of drama was also the community’s executive body. The officials charged with deliberating its policies at length – the members of the Council (boulē) – sat together in privileged seats at the front of the theatre. And in Trachiniae the training in decision-making that they received takes the form of a series of examples, enacted as scenes of impulsive action, of how not to deliberate. These scenes are typically Sophoclean in the intellectual and affective way in which ‘they activate the process of engagement’ in the audience, as Pat Easterling has recently put it.3 Trachiniae, like all Sophoclean tragedy, develops just as Stanley Kubrick recommends drama should, by letting ‘an idea come over people without its being plainly stated. When you say something directly, it is simply not as potent as 1 when you allow people to discover it for themselves’.4 But indirect statements in classical drama are not always discovered by all its modern critics. It is rarely stressed, for example, that Deianeira does initiate a discussion about the wisdom of the most consequential action in the entire play – whether she should send a robe smeared with Nessus’ blood to her errant husband. -
Illinoisclassica611981easterli
5 THE END OF THE TRACHINIAE P. E. EASTERLING The Exodos of Tvaohiniae (971-1278) is generally agreed to be the most problematic part of a problematic play. Of the many questions that could be asked about it this paper proposes three: I. What sense can we make of the presentation of Hera- cles? II. What are the implications of the two new motifs in- troduced in the Exodos — the pyre on Mt. Oeta and the marriage of Hyllus and lole? III. Who speaks the last lines and to whom? These are not novel questions, or ones which admit of conclusive answers, but they are worth reconsidering in the light of continuing critical discussion of the play. I. THE PRESENTATION OF HERACLES I should like to begin by eliminating one much-debated question: Who is the 'real hero' of this play? Is it Deianira, or Heracles, or both of them, or even Hyllus? I suggest that to Sophocles, the author of Ajax, Antigone , VhiZoctetes , this would not have been an important or even a particularly mean- ingful question. (Conceivably, of course, he was much influ- enced in the writing of a play by considerations of the avail- able talent; it is just possible that he shaped Tvaohiniae as he did, with the protagonist taking the parts of both Deianira and Heracles, because he had one outstanding star actor. But we have no means of telling.) More significant for our pur- poses is the sequence of events in the Exodos and the relation of these events to the rest of the play. -
The Function of the Deus Ex Machina in Euripidean Drama
The Function of the Deus ex Machina in Euripidean Drama Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Christine Rose Elizabeth Hamilton, B.A. Graduate Program in Greek and Latin The Ohio State University 2017 Dissertation Committee: Dana L. Munteanu, Advisor Sarah Iles Johnston Thomas Richard Hawkins 1 Copyright by Christine Rose Elizabeth Hamilton 2017 2 Abstract This dissertation explores Euripides’ use of the deus ex machina device in his extant plays. While many scholars have discussed aspects of the deus ex machina my project explores the overall function not only of the deus ex machina within its play but also the function of two other aspects common to deus ex machina speeches: aitia and prophecy. I argue that deus ex machina interventions are not motivated by a problem in the plot that they must solve but instead they are used to connect the world of the play to the world of the audience through use of cult aitia and prophecy. In Chapter 1, I provide an analysis of Euripides’ deus ex machina scenes in the Hippolytus, Andromache, Suppliants, Electra, Ion, Iphigenia in Tauris, Helen, Orestes, Bacchae, and Medea. I argue that in all but the Orestes the intervention does not have a major effect on the plot or characters and I identify certain trends in the function of deus ex machina scenes such as consolation, enhancing Athenian pride, and increasing experimentation in the deus ex machina’s role in respect to the plot of the play and the wider world of myth. -
An Amazon in Athens.Pdf
An Amazon in Athens Gendered Correlation and Political Association in Sophocles’ Trachiniae by Gesthimani Seferiadi A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philology (Classical Studies) in the University of Patras 2019 Doctoral Committee: Associate Professor Efimia D. Karakantza, Chair Professor Vayos Liapis Professor Barbara Goff 1 2 ABSTRACT This thesis seeks to explore the gendered politics in Sophocles’ Trachiniae. In particular, in the first chapter, I suggest that Deianeira’s Amazonian prehistory introduces from the outset a paradoxical and unstable symbol of similarity and difference that creates tension between masculinity and femininity. Following that, in the second chapter, I discuss the remote and monstrous un-political setting that is defined by disclaimers of marriage and illicit sexualities, namely Herakles and his monstrous competitors (Acheloos, Nessos), in order to argue that this world is juxtaposed to the social sustainability that is ensured through the well-being of the oikos. With an Amazon being placed within the civilized arrangement of an oikos, Trachiniae negotiates the locus of the female and advocates the need to expel the monstrous sexualities from the polis. Within the blurred boundaries of gender distinctions, however, it is striking that the sustainability of the oikos and the polis is projected onto the female pole while the male is deployed to project their destruction. Next, in the third chapter, through a discussion of the marital narratives of the drama, I follow the way this irregular mythical material is civilized to be included within a structure that repeatedly refers to marriage. It will appear that the structure of the play is formed on the basis of repeated distortions of the wedding ritual, and consequently of nuptial gender categories, so that the entire synthesis can be read as the dramatization of three potential marriages, two ‘death as marriage’ ceremonies and a funeral. -
THE TRACHINIAE Sophocles
420 BC THE TRACHINIAE Sophocles transalated by R. C. Jebb Sophocles (496-406 BC) - Ranked with Aeschylus and Euripides as one of the greatest Greek dramatists, he is the most distinguished of the three. His works remain the finest examples of the art of Greek drama. Comparatively conserva- tive, he searched for truth in the existing moral order. Trachiniae or The Trachinian Women (430-420 BC) - A dramatization of Heracles’ (Hercules) mar- riage to Queen Deianeira. The Trachiniae tells the story of Heracles’ death. CHARACTERS IN THE PLAY DEIANEIRA NURSE HYLLUS, son of HERACLES and DEIANEIRA MESSENGER LICHAS, the herald of HERACLES HERACLES AN OLD MAN CHORUS OF TRACHINIAN MAIDENS THE TRACHINIAE (SCENE:- At Trachis, before the house of HERACLES. Enter DEIANEIRA from the house, accompanied by the NURSE.) DEIANEIRA THERE is a saying among men, put forth of old, that thou canst not rightly judge whether a mortal’s lot is good or evil, ere he die. But I, even before I have passed to the world of death, know well that my life is sorrowful and bitter; I, who in the house of my fa- ther Oeneus, while yet I dwelt at Pleuron, had such fear of bridals as never vexed any maiden of Aetolia. For my wooer was a river- god, Achelous, who in three shapes was ever asking me from my sire,- coming now as a bull in bodily form, now as serpent with sheeny coils, now with trunk of man and front of ox, while from a shaggy beard the streams of fountain-water flowed abroad. -
Trachiniae and Its Dramatic Reception: Identities and Ideologies in Transition, Crisis and Transformation. Sofia Alagkiozidou Ro
Trachiniae and Its Dramatic Reception: Identities and Ideologies in Transition, Crisis and Transformation. Sofia Alagkiozidou Royal Holloway, University of London Thesis submitted for the degree of Doctor in Philosophy (Ph.D.) 1 Declaration of Authorship I Sofia Alagkiozidou hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 2 Abstract Sophocles’ Trachiniae has suffered from a long tradition of negative criticism. Although recent scholarship has rejected the view that the play is not equal to the other plays written by Sophocles, the impression that the Trachiniae is the most problematic play of the Sophoclean corpus is still dominant. Previous interpretative attempts have offered new insights into problems of form and meaning, but not a coherent interpretation, which could encompass the play as a whole. What makes the case of Trachiniae even more interesting is that, despite the neglect and the negative criticism the play has been creatively translated and adapted by a number of preeminent poets and playwrights. Their versions open a dialogue with Trachiniae as a means of expression of their own ideological output, always in relation to the ideological framework of Sophocles’ original. So far there has been no comprehensive study of this complex ideological discourse between the Trachiniae and its significant versions. The purpose of the thesis is the revision of the conception of Trachiniae as a ‘problematic play’ through the exploration of this ideological discourse. Sophocles’ Trachiniae are compared with two significant versions of it, Ezra Pound’s Women of Trachis and Timberlake Wertenbaker’s Dianeira. -
New Women on the Tragic Stage: Sophoclean Innovation on Archaic Themes by (Under the Direction of Charles Platter) As Early As H
New Women on the Tragic Stage: Sophoclean Innovation on Archaic Themes by AMANDA G. SEAMANS-MATHIS (Under the direction of Charles Platter) ABSTRACT As early as Homer’s Iliad and Odyssey, women were either recognized as “completed” by the experience of marriage and motherhood or were perceived as “incomplete” if they failed to serve in either of these capacities. Thus women in literature were often one portrayed as one of two types, the parthenos (“unmarried woman,” “virgin”) or the gynē (“married woman”). In the plays of Sophokles, however, women are often amalgams of the two types, with the traditional characteristics of the virgin and the mother combining with and informing one another. It is my intention to examine Sophokles’ transformative technique by analyzing the central female characters of the Antigone and Trakhiniai—a virgin and a mother—to explore the changing representation of women in fifth-century Athenian literature. INDEX WORDS: Sophokles, Sophocles, Women, Motherhood, Telos, Antigone, Antigone, Trakhiniai, Trachiniae, Deianeira New Women on the Tragic Stage: Sophoclean Innovation on Archaic Themes by AMANDA G. SEAMANS-MATHIS A.B., Baylor University, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 © 2004 Amanda G. Seamans-Mathis All Rights Reserved New Women on the Tragic Stage: Sophoclean Innovation on Archaic Themes by AMANDA G. SEAMANS-MATHIS Major Professor: Charles Platter Committee: Nancy Felson Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2004 ACKNOWLEDGMENTS Many people deserve special thanks for helping and supporting me during the writing of this thesis. -
Heracles: Super Hero
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1984 Volume II: Greek Civilization Heracles: Super Hero Curriculum Unit 84.02.04 by Linda McGuire I an presently teaching Drama in the New Haven public school system. I do not have a regular classroom, but rather come into a classroom for a certain amount of time for a certain number of sessions. Sometimes a teacher will ask for Drama to be tied into a subject she is working on, such as map skills, language arts, social studies, storytelling or metaphors. More often than not, it is left up to me to decide what to do and in what way to tie into the curriculum. Since I am working with children from kindergarten through high school, I’m interested in developing a unit that can be adapted to different ages and abilities. This unit uses Heracles—The Super Hero as an overall theme, concentrating on his Twelve Labors. These stories or myths reveal a great deal about the world of Ancient Greece, its geography, values, religion, and customs. They are also adventure stories and are a good hook to connect students to a different time and place as well as being dramatic. Drama in the classroom is used to bring some children out and to channel others’ energy into useful forms. I hope to develop children’s ability to express themselves verbally and physically, to connect their thoughts and actions to others and to see larger connections to the culture and world around them. Discussing yourself, your thoughts and fears is difficult and too revealing for most of us, including children. -
Read Ebook {PDF EPUB} Tragedies Volume II Oedipus. Agamemnon. Thyestes. Hercules on Oeta. Octavia by Seneca Seneca , Tragedies, Volume II : Oedipus
Read Ebook {PDF EPUB} Tragedies Volume II Oedipus. Agamemnon. Thyestes. Hercules on Oeta. Octavia by Seneca Seneca , Tragedies, Volume II : Oedipus. Agamemnon. Thyestes. Hercules on Oeta. Octavia. Seneca is a figure of first importance in both Roman politics and literature: a leading adviser to Nero who attempted to restrain the emperor’s megalomania; a prolific moral philosopher; and the author of verse tragedies that strongly influenced Shakespeare and other Renaissance dramatists. Seneca’s plays depict intense passions and interactions in rhetoric that is equally strong. Their perspective is much bleaker than that adopted in his prose writings. His plots are based on mythical episodes, in keeping with classical tradition. But the political realities of imperial Rome are also reflected in an obsessive concern with power and dominion over others. The Octavia is our sole surviving example of a Roman historical play; set at Nero’s court, it was probably written by an admirer of Seneca as statesman and dramatist. John G. Fitch has thoroughly revised his two-volume edition of Seneca’s Tragedies to take account of the textual and interpretive scholarship that has appeared since its initial publication. His translation conveys the force of Seneca’s dramatic language and the lyric quality of his choral odes. Thyestes (Seneca) Thyestes is a first century AD fabula crepidata (Roman tragedy with Greek subject) of approximately 1112 lines of verse by Lucius Annaeus Seneca, which tells the story of Thyestes, who unwittingly ate his own children who were slaughtered and served at a banquet by his brother Atreus. [1] As with most of Seneca's plays, Thyestes is based upon an older Greek version with the same name by Euripides. -
Who's Who in Classical Mythology
Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt