BAKKHAI (GREEK TRAGEDY IN NEW TRANSLATIONS) BY EURIPIDES

BAKKHAI (GREEK TRAGEDY IN NEW

TRANSLATIONS) BY EURIPIDES

BAKKHAI (GREEK TRAGEDY IN NEW TRANSLATIONS) BY

EURIPIDES PDF

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Review

this translation merits serious thought for classroom and even scholarly use. Of particular interest is Segal's extensive reconstruction of the lacunae that mar the end of the Bakkhai, including the so-called compositio membrorum of Pentheus. Thomas E. Jenkins, Trinity University Gibbons ... has crafted a lyrical verse translation that displays an evident understanding of and respect fo the source text. Thomas E. Jenkins, Trinity University This is a lovely, thoughtful edition of the play, and between Gibbon's sturdy verse and Segal's sensitive notes, one can hardly go wrong in assigning the text to an introductory literature class. And even more advanced students of Greek tragedy will wish to examine Segal's valuable appendix on the compositio membrorum, a succinct and insightful bit of scholarship in its own right. Thomas E. Jenkins, Trinity University

Language Notes

Text: English (translation) Original Language: Greek

About the Author

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BAKKHAI (GREEK TRAGEDY IN NEW TRANSLATIONS) BY

EURIPIDES PDF

Regarded by many as Euripides' masterpiece, Bakkhai is a powerful examination of religious ecstasy and the resistance to it. A call for moderation, it rejects the temptation of pure reason as well as pure sensuality, and is a staple of Greek tragedy, representing in structure and thematics an exemplary model of the classic tragic elements.

Disguised as a young holy man, the god Bacchus arrives in Greece from Asia proclaiming his godhood and preaching his orgiastic religion. He expects to be embraced in Thebes, but the Theban king, Pentheus, forbids his people to worship him and tries to have him arrested. Enraged, Bacchus drives Pentheus mad and leads him to the mountains, where Pentheus' own mother, Agave, and the women of Thebes tear him to pieces in a Bacchic frenzy.

Gibbons, a prize-winning poet, and Segal, a renowned classicist, offer a skilled new translation of this central text of Greek tragedy.

Dimensions: 5.00" h x .40" w x 7.60" l, .40 pounds

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this translation merits serious thought for classroom and even scholarly use. Of particular interest is Segal's extensive reconstruction of the lacunae that mar the end of the Bakkhai, including the so-called compositio membrorum of Pentheus. Thomas E. Jenkins, Trinity University Gibbons ... has crafted a lyrical verse translation that displays an evident understanding of and respect fo the source text. Thomas E. Jenkins, Trinity University This is a lovely, thoughtful edition of the play, and between Gibbon's sturdy verse and Segal's sensitive notes, one can hardly go wrong in assigning the text to an introductory literature class. And even more advanced students of Greek tragedy will wish to examine Segal's valuable appendix on the compositio membrorum, a succinct and insightful bit of scholarship in its own right. Thomas E. Jenkins, Trinity University

Language Notes

Text: English (translation) Original Language: Greek

About the Author

For those who don't recognize the title, this ancient Greek theater piece is about the god Dionysus, god of wine. It was first performed in Athens, in 405 BC. And for those who still don't catch the connection to my blog, it's this: Many of the characteristics of Jesus are shared with this frivolous Greek god, and at least one of Jesus' miracles--turning water into wine--also seems closely related. In fact, the late Byzantine play, The Passion of Christ, drew heavily on the Bakkhai.

Greek tragedies are a little hard for us to fully enter into two and a half millennia later, particularly as we struggle to understand on just at what level the Greeks believed in their gods, but the commentary of this book does a great job of making something foreign feel familiar. In the play, you'll see Dionysus' more unpleasant side ... his usual ecstasy and abandon turn into vengeance and bloodlust, aimed toward a young king who seeks to discredit him. True to Greek form, the god wins, with no apparent attempt at a climaxing plot; we understand from the beginning that humans are doomed to subjection before the gods. The punishment for disbelief far exceeds the crime, with no hint of pity or apology, as befits the gods' disdain for lesser beings.

I found the forty page introduction superb, and the notes following the play a bit less so, though still helpful in illuminating the setting.

8 of 11 people found the following review helpful. Foolish Pentheus resists the worship of the god Dionysus By Lawrance Bernabo

"Bakkhai" ("The Bacchae") was written by Euripides when he was living in Macedonia in virtual exile during the last years of his life. The tragedy was performed in Athens after his death as part of a trilogy that included one extant play, "Iphigenia at Aulis," and one which is lost, "Alcaeon in Corinth." These factors are important in appreciating this particular Greek tragedy because such plays were performed at a festival that honored the Dionysus, and in "Bakkhai" he is the god who extracts a horrible vengeance. The tragedy clearly demonstrates the god's power, but it is a terrible power, which suggests less than flattering things about the deity himself.

Pentheus was the son of Echion and Agave, the daughter of Cadmus, the founder of the Royal House of Thebes. After Cadmus stepped down the throne, Pentheus took his place as king of Thebes. When the cult of Dionysus came to Thebes, Pentheus resisted the worship of the god in his kingdom. However, his mother and sisters were devotees of the god and went with women of the city to join in the Dionsysian revels on Mount Cithaeron. Pentheus had Dionysus captured, but the god drove the king insane, who then shackled a bull instead of the god. When Pentheus climbed a tree to witness in secret the reverly of the Bacchic women, he was discovered and torn to pieces by his mother and sisters, who, in their Bacchic frenzy, believed him to be a wild beast. The horrific action is described in gory detail by a messenger, which is followed by the arrival of the frenzied and bloody Agave, the head of her son fixed atop her thytsus.

I see "Bakkhai" as being Euripides' severest indictment of religion and not as the recantation of his earlier rationalism in his old age. The dramatic conflicts of the play stem from religious issues, and without understanding the opposition on Appollonian grounds of Pentheus to the new cult readers miss the ultimate significance of the tragedy. This is not an indictment of Appollonian rationalism, but rather a dramatic argument that, essentially, it is irrational to ignore the irrational. As the fate of Pentheus amply points out, it is not only stupid to do so, it is fatal. Consequently, "Bakkhai" is one of the most important of Greek tragedies.

1 of 1 people found the following review helpful. Good Read

By M.H.

I would recommend this book to anyone who loves literature. It was not disappointing. Read closely and compare this book to all types of ancient literature. Full of surprises.

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Review

this translation merits serious thought for classroom and even scholarly use. Of particular interest is Segal's extensive reconstruction of the lacunae that mar the end of the Bakkhai, including the so-called compositio membrorum of Pentheus. Thomas E. Jenkins, Trinity University Gibbons ... has crafted a lyrical verse translation that displays an evident understanding of and respect fo the source text. Thomas E. Jenkins, Trinity University This is a lovely, thoughtful edition of the play, and between Gibbon's sturdy verse and Segal's sensitive notes, one can hardly go wrong in assigning the text to an introductory literature class. And even more advanced students of Greek tragedy will wish to examine Segal's valuable appendix on the compositio membrorum, a succinct and insightful bit of scholarship in its own right. Thomas E. Jenkins, Trinity University

Language Notes

Text: English (translation) Original Language: Greek

About the Author

Euripides (c. 480-406 BCE) was the last of the three great tragedians of classical Athens. Reginald Gibbons is at Northwestern University. Charles Segal is at Harvard University.