By Rebecca Bushnell
A spouse to Tragedy is a necessary source for someone attracted to exploring the function of tragedy in Western historical past and tradition.
- Tells the tale of the old improvement of tragedy from classical Greece to modernity
- Features 28 essays by means of popular students from a number of disciplines, together with classics, English, drama, anthropology and philosophy
- Broad in its scope and ambition, it considers interpretations of tragedy via faith, philosophy and historical past
- Offers a clean evaluation of historic Greek tragedy and demonstrates how the perform of examining tragedy has replaced considerably some time past decades
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Euripides IV includes the performs “Helen,” translated through Richmond Lattimore; “The Phoenician Women,” translated by way of Elizabeth Wyckoff; and “Orestes,” translated by means of William Arrowsmith.
Sixty years in the past, the college of Chicago Press undertook a momentous undertaking: a brand new translation of the Greek tragedies that may be the last word source for lecturers, scholars, and readers. They succeeded. below the professional administration of eminent classicists David Grene and Richmond Lattimore, these translations mixed accuracy, poetic immediacy, and readability of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so vigorous and compelling that they continue to be the traditional translations. this present day, Chicago is taking pains to make sure that our Greek tragedies stay the best English-language models during the twenty-first century.
In this hugely expected 3rd version, Mark Griffith and Glenn W. such a lot have conscientiously up-to-date the translations to convey them even toward the traditional Greek whereas maintaining the vibrancy for which our English types are well-known. This version additionally comprises brand-new translations of Euripides’ Medea, the youngsters of Heracles, Andromache, and Iphigenia one of the Taurians, fragments of misplaced performs through Aeschylus, and the surviving element of Sophocles’s satyr-drama The Trackers. New introductions for every play provide crucial information regarding its first construction, plot, and reception in antiquity and past. moreover, each one quantity comprises an creation to the lifestyles and paintings of its tragedian, in addition to notes addressing textual uncertainties and a word list of names and areas pointed out within the plays.
In addition to the hot content material, the volumes were reorganized either inside and among volumes to mirror the main up to date scholarship at the order within which the performs have been initially written. the result's a collection of good-looking paperbacks destined to introduce new generations of readers to those foundational works of Western drama, paintings, and existence.
This quantity comprises Harold Pinter's first six performs, together with The Birthday Party.
The Birthday Party
Stanley Webber is visited in his boarding condo by way of strangers, Goldberg and McCann. An innocent-seeming party for Stanley becomes a nightmare.
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The Room and The Dumb Waiter
In those early one-act performs, Harold Pinter finds himself as already in complete keep an eye on of his designated skill to make dramatic poetry of the banalities of daily speech and the precision with which it defines character.
'Harold Pinter is the main unique author to have emerged from the "new wave" of dramatists who gave clean lifestyles to the British theatre within the fifties and early sixties. ' The Times
The Hothouse used to be first produced in 1980, although Harold Pinter wrote the play in 1958, prior to starting paintings at the Caretaker. during this compelling examine of bureaucratic strength, we will see the complete emergence of a superb and unique dramatic talent.
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Contributor observe: R. Scott Smith (Annotations)
Living in Rome less than Caligula and later a instruct to Nero, Seneca witnessed the extremes of human behaviour. His stunning and bloodthirsty performs not just replicate a brutal interval of historical past but additionally convey how guilt, sorrow, anger and hope lead participants to violence.
The hero of Hercules Insane saves his family from slaughter, purely to devote additional atrocities whilst he is going mad. The scary dying of Astyanax is stated in Trojan girls, and Phaedra offers with forbidden love. In Oedipus a frightened guy discovers himself, whereas Thyestes recounts the sour kin fight for a crown. Of doubtful authorship, Octavia dramatizes Nero's divorce from his spouse and her deportation.
The basically Latin tragedies to have survived entire, those performs are masterpieces of vivid, muscular language and mental perception.
Within the related spirit as his novels, O'Brien's performs are speculative, creative, wickedly humorous, and a pleasant addition to his amassed works—now on hand eventually: this quantity collects Flann O'Brien's dramatic paintings right into a unmarried quantity, together with Thirst, Faustus Kelly, and The Insect Play: A Rhapsody on Saint Stephen's eco-friendly.
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Extra resources for A Companion to Tragedy
Stockholm: Svenska Institut i Athen, 35–57. Lefkowitz, M. R. (1987). ’’ Studi italiani di filologia classica 5, 149–66. Lefkowitz, M. R. (1989). ’’ Classical Quarterly 39, 70–82. MacDowell, D. M. (1989). ’’ In Symposion 1982. Vortra¨ge zur griechischen und hellenistischen Rechtsgeschichte [1982 symposium. Lectures on Greek and Hellenistic historical jurisprudence], ed. F. J. Fernandez Nieto. Cologne: Po¨hlau, 65–77. Mastronarde, D. J. ) 1994. Euripides, Phoenissai. Cambridge: Cambridge University Press.
We should also note the existence of lost plays in which, whether or not Dionysus himself appeared, there may have been much mention of him or of his maenads, for instance, plays entitled Actaeon, Sophocles’ Tereus, and Euripides’ Ino and Antiope. Tragedy and the Dionysiac Certain features of extant tragedy may be said to derive from its origin in Dionysiac ritual: the centrality of the chorus, the tendency of the chorus to associate its own dancing with Dionysus (Henrichs 1995), the use of masks (used in the predramatic cult of Dionysus), the ubiquity (in contrast to Homer, for example) of the evocation of ritual, perhaps the thematic importance of a suffering individual.
It was a myth closely associated with (and indeed probably experienced in) a ritual – initiation into the Dionysiac mysteries – and hence was a common theme of the dithyramb. It plays a prominent part in Euripides’ Bacchae: it is mentioned by Dionysus in line 3, and in 6–12 he mentions Semele’s tomb converted into a shrine, together with the royal 30 Richard Seaford house destroyed (along with Semele) by the ‘‘still-living flame’’ of Zeus; the same myth is then narrated in the dithyrambic entry-song of the maenads (88–95); and when Dionysus later makes his epiphany with the destruction of the royal house by earthquake, thunder, and lightning, in a passage full of evocations of mystic initiation, Semele’s tomb flares up again with ‘‘the flame that once Zeus’s hurled thunder left’’ (598–9, 623–4).
A Companion to Tragedy by Rebecca Bushnell