Philoctetes (Greek Tragedy in New Translations) by Sophocles

By Sophocles

According to the conviction that simply translators who write poetry themselves can appropriately re-create the prestigious and undying tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations sequence bargains new translations that transcend the literal that means of the Greek so as to evoke the poetry of the originals. less than the final editorship of Peter Burian and Alan Shapiro, every one quantity encompasses a severe creation, remark at the textual content, complete level instructions, and a thesaurus of the legendary and geographical references within the play.En path to struggle the Trojan warfare, the Greek military has deserted Philoctetes, after the odor of his festering wound, mysteriously bought from a snakebite at a shrine on a small island off Lemnos, makes it insufferable to maintain him on send. Ten years later, an oracle makes it transparent that the conflict can't be gained with out the help of Philoctetes and his well-known bow, inherited from Hercules himself. Philoctetes specializes in the test of Neoptolemus and the hero Odysseus to cajole the bowman to sail with them to Troy. First, notwithstanding, they need to assuage his bitterness over having been deserted, after which win his belief. yet how should still they do this--through trickery, or with the reality? To what volume do the ends justify the capacity? To what measure should still own integrity be compromised for the sake of public responsibility? those are one of the questions that Sophocles places ahead during this, one in every of his such a lot morally complicated and penetrating performs.

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Extra resources for Philoctetes (Greek Tragedy in New Translations)

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I’d be quicker to act, if I knew. 130 odysseus To be called wise. To be called brave. neoptolemos Fine then. I’ll do it, and put all shame aside. odysseus Then you remember what I told you to do? neoptolemos Yes, I’ve agreed to it, haven’t I? odysseus You stay and wait for him here—I’m off, chorus enters. so he won’t catch sight of me. I’ll send the scout back to the ship, but if you seem to be taking too long, I’ll send the same man back, but disguised, as a captain— that way, he won’t be recognized.

36 70 80 PHILOCTETES [77–101] This is what we must devise, you to be the one to rob him of his invincible arms. — 90 dare to. Let us be honest at another time; for now, for a brief, shameless part of the day, give me yourself— and ever after, be known as the most honorable of men. neoptolemos Son of Laertes, I hate doing things that are painful even to listen to. I wasn’t born to act by deception, nor, so they say, was my father before me. I’m willing to take the man by force, not by trickery—he can hardly take us by force, on a single leg.

My hope is that these shifts might be recognizable, here, in the shifting of line length and in the ways in which the possibilities of line length and line break get deployed on the page. In addition to line length and line break, syntax and the manipulation of it have been essential tools for me in drawing forth the nuances of (to give but one example) the stalling that is sometimes crisis, sometimes wonder, other times a moment of internal resolve on the part of one character or another. I wish to emphasize that I am in no way seeking to imitate the inflected quality of ancient Greek; rather, the intention here is to take fullest advantage of the capacity for syntax to reflect and enact psychology and emotion, and to make the reader (and listener) an active participant in such psychology or emotion.

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