Grief Lessons: Four Plays: Four Plays By Euripi (New York Review Books (Paperback))

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The issue of such a union can take a reader's breath away because it just seems so right—a work that stands firmly on its own but is somehow contented to be the sum of its parts. I wouldn’t have believed these images would work if I hadn’t seen them interacting with Carson’s swift, bold communication of Euripides’s words and spirit. that the comedy in a tragedy wields considerable influence on the direction and action of the whole play, i mean. Hercules killed his beloved children and wife, but was pulled from committing suicide by his beloved friend Theseus.

Loved this entire collection, though I was a bit bored by Herakles (even though she warned me that I would be in her introduction). The book hit its zenith right in the last three pages, I could read Anne Carson wax poetic as Euripides for days. is nothing less than brilliant--unfalteringly sharp in diction, audacious and judicious in taking liberties.Four of those tragedies are here presented in new translations by the contemporary poet and classicist Anne Carson. As is evident from these two examples, the tone of Carson’s translations of the dialogue alternates between serious and cheeky, the traditional and the colloquial 21st-century idioms. The Vielmetter gallery in Los Angeles is currently hosting a solo exhibition of paintings by Celia Paul, artist and author of the New York Review Books memoirs Self-Portrait and Letters to Gwen John. Euripides' plays rarely won first prize in the great democratic competitions of ancient Athens, but their combustible mixture of realism and extremism fascinated audiences throughout the Greek world.

Laid low the wild mountain centaurs 360 with arrows of blood, arrows like wings-those monsters known to the long barren fields, to the river, to the farms, to the grasslands where they filled their hands with pine branches and rode Thessaly down. By abandoning Euripides’ original words and syntax, and indeed the task of literary translation itself, Carson lays bare the central emotion of the women in the play and forces us to feel in our very nerve endings what it is like to be abandoned. Rosanna] Bruno’s shaggy black-and-white drawings evoke palimpsests, often with visible pencil marks underneath. A facsimile of Carson’s own personal playbook, “H of H” is a performance of thought, one that speaks not only to the heroic past but to the tragic present.Rather than giving us solutions that resolve the plot or wrap things up toward happiness, Euripides gives us advice about how to bear our grief. and i’m in no way suggesting that easier is better – only that in this particular case, i found Anne Carson’s translation not only more readable, but with greater rhythm and fluidity and verve. In the end, Pentheus gets his comeuppance and Dionysos firmly establishes his rites in Thebes: the god’s rage is born of his grief and is manifests itself in the decapitation of the king. we are a populace with our heads up our asses with the vague notion that our government is at war, that our government is quite engaged in torture and thuggery and the indiscriminate raining down of bombs, etc. Again, I was surprised at how modern his voice, which may be attributed more to the translator, Anne Carson, but his humor again was evident.