By (Greek mythological figure) Electra; Sophocles.; Carson, Anne; (Greek mythological figure) Electra; Shaw, Michael Hearne
According to the conviction that in basic terms translators who write poetry themselves can accurately recreate the prestigious and undying tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations sequence deals new translations that transcend the literal which means of the Greek with the intention to evoke the poetry of the originals. less than the final editorship of Peter Burian and Alan Shapiro, each one quantity encompasses a severe creation, remark at the textual content, complete degree instructions, and a word list of the legendary and geographical references within the play.
Although it's been from time to time overshadowed by means of his extra recognized Oedipus Tyrannus and Antigone, Sophocles' Electra is extraordinary for its severe feelings and taut drama.
Electra recounts the murders of Clytemnestra and Aegisthus by means of Clytemnestra's son Orestes, to avenge their homicide of his father Agamemnon, commander of the Greeks at Troy, upon his go back domestic. Sophocles' model is gifted from the point of view of Electra, Orestes' sister, who laments her father, bears witness to her mother's crime, and for years endures her mother's scorn. regardless of her overwhelming ardour for simply revenge, Electra admits that her personal activities are shameful. while Orestes arrives eventually, her temper shifts from grief to pleasure, as Orestes contains out the bloody vengeance.
Sophocles provides this tale as a savage even though priceless act of vengeance, vividly depicting Electra's grief, anger, and exultation. This translation equals the unique in ferocity of expression, and leaves intact the inarticulate cries of soreness and pleasure that fill the play
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Additional resources for Electra
The Republic of Plato, translated with introduction and notes by Francis MacDonald CornforcL New York: Oxford University Press, 1945. 28. Sophocles . . Part VI. The Electra. edited by Sir Richard C. Jebb, Cambridge: At the University Press, 190% note on line 1177. 29 INTRODUCTION me that we have been aware that she is indeed "famous" since the beginning of the play, when Orestes wanted to wait and see her. After Orestes has revealed himself and they have expressed their joy at being reunited, they shift to song and express the same emotions.
12 above), p. " 20 INTRODUCTION Stranger, you deserve a reward if you really have put a stop on her traveling tongue. (1082-83) And her exit line is also concerned with her: Just leave her out here to go on with her evil litany. (1088-89) An audience steeped in this story might see here that Electra performs a function like that of a Fury, as a "distracter" (parakopa, [Eumenides, 359]). In the similar scene in Aeschylus' Libation Bearers, Clyremnestra sends the messenger (in this version, Orestes himself) to the men's quarters and later sends a message for Aegisthus to come with his bodyguard.
29. Kells, note on 1252 ff. 30. See the notes on 663—69 and 1266-67. 30 INTRODUCTION The singing ends, and Orestes immediately speaks as the cool planner: "We've no time for all that" (1722). Electra agrees to help her brother and to deceive her mother in order to serve "the daimon who is now at hand," their momentary good luck —"the god who stands beside us, now," as Carson puts it (1740). This is a remarkable thing for a person to say who has been so closely identified with justice. Her own explanation is that she is so happy to see Orestes again that she can deny him in nothing.