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|Author||: Euripides,Former Regius Professor of Greek E R Dodds|
|Editor||: Oxford University Press|
"Using to the full the last half century's great accessions to the comparative study of religion, [Dodds] has given a coherent and convincing reconstruction of the Dionysiac background--and, indeed, foreground--of the play, illustrating it with many instructive non-Greek and modern parallels.... Equally instructive and stimulating is the acute analysis of the play's dramatic elements, its characters, scenes, conflicts, actions, speeches.... This edition far surpasses its predecessors in vitality, sympathy, and scope."--W.B. Stanford, Hermathena LXV. Including a comprehensive discussion of the play's background and an incisive assessment of its dramatic structure, this edition makes an outstanding contribution to Euripides scholarship.
|Author||: Colin Teevan|
|Editor||: Oberon Books|
Dionysos, the God of wine and theatre has returned to his native land to take revenge on the puritanical Pentheus who refuses to recognise him of his rites. Remorselessly, savagely and with black humour, the God drives Pentheus and all the city to their shocking fate. Limelight after decades of anonymity. This version was specially commissioned by the National Theatre for a production in May 2002, directed by Sir Peter Hall and scored by Sir Harrison Birtwhistle.
|Author||: Sirish Rao|
|Editor||: Getty Publications|
This contemporary retelling of Euripides' The Bacchae-the last extant Greek tragedy-relates the classic myth of the god Dionysus wrecking vengeance on Thebes, the city of his birth and site of his mortal mother Semele's horrible death. Dionysus brings an army of women into the mountains surrounding the city and casts a spell over the city's own female population, leading them to abandon their husbands, sons, and fathers and to follow the god into the countryside and engage in his forbidden revels. Pentheus, king of Thebes, leads an army against the god, only to be defeated in battle and, as he secretly watches the revels, to be torn limb from limb by the frenzied Bacchae. Original illustrations silk-screened on handmade paper accompany the story. This unique handcrafted book will be a treasured addition to the libraries of those who love the arts of ancient Greece and the art of fine, contemporary bookmaking.
|Author||: Simon Perris|
|Editor||: Bloomsbury Publishing|
Euripides' Bacchae is the magnum opus of the ancient world's most popular dramatist and the most modern, perhaps postmodern, of Greek tragedies. Twentieth-century poets and playwrights have often turned their hand to Bacchae, leaving the play with an especially rich and varied translation history. It has also been subjected to several fashions of criticism and interpretation over the years, all reflected in, influencing, and influenced by translation. The Gentle, Jealous God introduces the play and surveys its wider reception; examines a selection of English translations from the early 20th century to the early 21st, setting them in their social, intellectual, and cultural context; and argues, finally, that Dionysus and Bacchae remain potent cultural symbols even now. Simon Perris presents a fascinating cultural history of one of world theatre's landmark classics. He explores the reception of Dionysus, Bacchae, and the classical ideal in a violent and turmoil-ridden era. And he demonstrates by example that translation matters, or should matter, to readers, writers, actors, directors, students, and scholars of ancient drama.
|Author||: Euripides,Stephen Joseph Esposito|
English translation of Euripides' tragedy based on the mythological story of King Pentheus of Thebes and his fateful encounter with the god Dionysus. Includes helpful notes, an introductory essay on Euripides and the history and production of the play; glossary, bibliography, and other helpful tools.
|Author||: Charles Segal|
|Editor||: Princeton University Press|
In his play Bacchae, Euripides chooses as his central figure the god who crosses the boundaries among god, man, and beast, between reality and imagination, and between art and madness. In so doing, he explores what in tragedy is able to reach beyond the social, ritual, and historical context from which tragedy itself rises. Charles Segal's reading of Euripides' Bacchae builds gradually from concrete details of cult, setting, and imagery to the work's implications for the nature of myth, language, and theater. This volume presents the argument that the Dionysiac poetics of the play characterize a world view and an art form that can admit logical contradictions and hold them in suspension.
|Editor||: U of Nebraska Press|
This new translation of The Bacchae—that strange blend of Aeschylean grandeur and Euripidean finesse—is an attempt to reproduce for the American stage the play as it most probably was when new and unmutilated in 406 B.C. The achievement of this aim involves a restoration of the "great lacuna" at the climax and the discovery of several primary stage effects very likely intended by Euripides. These effects and controversial questions of the composition and stylistics are discussed in the notes and the accompanying essay.
|Author||: C. K. Williams|
|Editor||: Farrar, Straus and Giroux|
From the renowned contemporary American poet C. K. Williams comes this fluent and accessible version of The Bacchae, the great tragedy by Euripides. This book includes an introduction by Martha Nussbaum.
|Editor||: Harvard University Press|
Euripides (c. 485–406 BCE) has been prized in every age for his emotional and intellectual drama. Eighteen of his ninety or so plays survive complete, including Medea, Hippolytus, and Bacchae, one of the great masterpieces of the tragic genre. Fragments of his lost plays also survive.
|Author||: Derek Mahon|
|Editor||: Gallery Books|
Like Euripides' play, this moves speedily through a dazzling and bewildering display of tone, rhythm, and feeling. Mahon's great achievement in this transformation emerges most strikingly in the beauty of his choral odes whose clarity and grace linger hauntingly over the scenes of human folly and divine anger.
|Editor||: Penguin UK|
Through their sheer range, daring innovation, flawed but eloquent characters and intriguing plots, the plays of Euripides have shocked and stimulated audiences since the fifth century BC. Phoenician Women portrays the rival sons of King Oedipus and their mother's doomed attempts at reconciliation, while Orestes shows a son ravaged with guilt after the vengeful murder of his mother. In the Bacchae, a king mistreats a newcomer to his land, little knowing that he is the god Dionysus disguised as a mortal, while in Iphigenia at Aulis, the Greek leaders take the horrific decision to sacrifice a princess to gain favour from the gods in their mission to Troy. Finally, the Rhesus depicts a world of espionage between the warring Greek and Trojan camps.
|Author||: Katrina Leigh Darden,Felicia Hardison Londré|
This thesis analyzes Euripides' play The Bacchae, using a translation/adaptation by Nicholas Rudall. The analysis explores the themes of moderation, failing government, and the necessity of accepting new ideas. It focuses on the warnings of excess in ruling parties, society, and religion that appear throughout the translation/adaptation. Although this analysis examines each character in the play, it primarily focuses on Dionysus and Pentheus. After studying both Pentheus and Dionysus as individuals, the analysis compares these two characters and finds them to be polar opposites. It also observes the shifts in their polar attitudes. Pentheus moves from a position of masculine strength and power to that of a weak individual who, under Dionysus' control, dresses as a woman. Dionysus appears as an effeminate, weak priest who claims he will not harm Thebes unless Pentheus attempts to fight his followers. When Pentheus chooses war, Dionysus becomes the dominant figure and seeks revenge.
|Author||: Chiara Thumiger|
Hidden paths analyses the representation of character in Greek tragedy, focusing on one of the most important and controversial theatre plays of all times the Bacchae. Euripides' last play has always been a favourite, enjoying an enormous su