ایفیژنیا در تائوریس: درامی در شعر

'Few works can have such purchase on our contemporary concerns as Goethe's Iphigenia . The endless bloodletting of the play's prehistory, the desperate cycle of outrage followed by acts of retribution that fuel the flames; the play's understanding of the notion of sacrifice that conjoins the sacred and the violent into a poisonous brew – all these preoccupations speak with incomparable urgency to us today . . . Roy Pascal's translation, twice produced on BBC radio but never published until now, is a matchless example of German poetry rendered into English by a master.' – MARTIN SWALES in his Introduction and Preface Goethe's Iphigenia in Tauris stands the Iphigenia-Orestes story as treated by Euripides, Aeschylus and Racine on its head. The serene rhythms and harmony of his blank verse make it the ideal vehicle for this finely wrought spiritual drama. Iphigenia, daughter of Agamemnon, leader of the Greek forces in the Trojan War, in exile as a priestess in the barbaric land of the Tauri (Crimea), breaks the Tantalid family curse. By her own unaided human efforts she saves the life of her brother Orestes who has murdered his mother because she has murdered his father; at the same time she enables him to expiate his crime. The female identity of the central character is all-important. It is uniquely her voice, against all the other voices which are male, that brings resolution – not by preaching values but by the visceral force of belief in the rightness of the language of the heart. Corneille's Horace (1640), Together With Its Author's Le Cid, Launched French Classical Tragedy. It Is A Darkly Gripping Play Which Speaks Directly To Our Own Time. Corneille Takes His Plot From Pre-republican Roman History - The Legendary Episode Of The Triple Combat Between Two Sets Of Brothers To Decide A War Between Rome And Alba. Horatius's Sister, Camilla, Is Betrothed To His Opponent Curiatius, And His Wife Sabina Is Curiatius's Sister. The Scene Is Set For A Clash Between Heroic Male Commitment To State Interests And Female Values Which Give Prime Place To Individual Feeling. Horace, Containing Pointed Allusion To Contemporary French Military Ambitions, Has The Power To Challenge And Disturb Modern Audiences With Its Unflinching Reckoning Of The Personal Cost Of National Glory. Pierre Corneille ; Translated By Alan Brownjohn ; Introduction And Notes By David Clarke. Distributor From Label On T.p. Includes Bibliographical References (p. [91]-92). "Marina Tsvetaeva (1892-1941) is acknowledged as one of the greatest of Russian poets." "Tsvetaeva wrote this extraordinary work, which she subtitled 'a lyrical satire', in Prague and Paris in the mid-1920s. Using the story known to us as 'The Pied Piper of Hamelin', she pits Art against Philistinism in a critique of all social search for material prosperity (including that of the Bolsheviks). Even for the innovative Tsvetaeva, this is quite a new kind of writing - an explosion of clashing sounds, voices and rhythms, fuelled by anger and bitter sarcasm. At the end the Piper, who stands for the magical power of Art, takes a terrible toll on the children of the town of Hamelin - neat, comfort-loving, hypocritical and reluctant to pay its debts."--Jacket This drama in blank verse, the first important work of Goethe's Classical period, stands the Iphigenia-Orestes story as treated by Aeschylus, Euripides, and Racine on its head. In Goethe's drama Iphigenia, daughter of Agamemnon, leader of the Greek forces in the Trojan War, in exile as a priestess in the barbaric land of the Tauri (Crimea), breaks the Tantalid family curse. She saves the life of her brother Orestes who has murdered his mother because she murdered his father. The female identity of the central character is all-important. It is uniquely her voice that brings resolution - not by preaching values but by the visceral force of belief in the rightness of the language of the heart. Translated from the German by Roy Pascal This drama in blank verse, the first important work of Goethe's Classical period, stands the Iphigenia-Orestes story as treated by Aeschylus, Euripides, and Racine on its head. In Goethe's drama Iphigenia, daughter of Agamemnon, leader of the Greek forces in the Trojan War, in exile as a priestess in the barbaric land of the Tauri (Crimea), breaks the Tantalid family curse. She saves the life of her brother Orestes who has murdered his mother because she murdered his father. The female identity of the central character is all-important. It is uniquely her voice that brings resolution - not by preaching values but by the visceral force of belief in the rightness of the language of the heart.--Amazon.com Marina Tsvetaeva's verse drama Phaedra, completed in 1927, is the most extraordinary of all literary treatments of the Phaedra legend. Angela Livingstone has translated this little-known great work for the first time into English. Three long poems written at the same time as Phaedra connect, in their depth of thought and feeling, with Tsvetaeva's intense epistolary relationships with Pasternak and Rilke, and fascinatingly fill out the themes and preoccupations of the drama. "Livingstone has created a valuable resource for readers and scholars of poetry. . . An invitation to climb higher in approaching and appreciating Tsvetaeva's work."--Canadian Slavonic Papers Phaedra -- The Halt -- The Questioning -- The Confession -- The Little Tree -- Long Poems -- New Year{u2019}s Letter -- Poem Of The Air -- Attempt At A Room -- Notes And Synopses -- Further Reading -- Appendices: Translating Phaedra -- Climbing The Air -- An Earlier Treatment Of Phaedra The Poem Message. Marina Tsvetaeva ; Translated With An Introduction And Notes By Angela Livingstone. Includes Bibliographical References (p. [139]-141). Iphigenia In Tauris -- Act I -- Act Ii -- Act Iii -- Act Iv -- Act V. Johann Wolfgang Von Goethe ; Translated By Roy Pascal ; Edited With An Introduction By Martin Swales.