This quantity of 3 of Euripides' so much celebrated performs deals sleek, competitively priced, metrical translations that exhibit the big variety of results of the playwright's verse, from the idiomatic speech of its discussion to the excessive formality of its choral odes.
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Extra info for Alcestis, Medea, Hippolytus
M. Roisman and C. A. E. Luschnig’s commentary on Alcestis after I had finished my translation. The line numbers in the margins are those of my English versions; the line numbers of the corresponding Greek text appear in brackets at the top of each page. In this Preface, I cite lines by their numbering in my translations. The Language My aim in these translations has been to be faithful to Euripides’ sense and to his poetry, with all that each of these involves, including diction, tone, connotation, context, echo, image, euphony, and meter.
What are you doing here, prowling outside this house, Lord Phoebus Apollo? You’re at it again, poaching, encroaching on honors that rightly belong to the dead, to the gods down below! 5 And now you’ve come after her fretting and meddling, armed and intrusive, for Pelias’ daughter,6 who swore on her honor to die for her husband, let him off the hook. APOLLO: Relax. My words are just, my actions righteous. DEATH: With justice on your side, you need a weapon? 3. In Greek drama the gods flee at the approach of human mortality, no matter how they feel about the dying person; compare the withdrawal of Artemis as her beloved servant Hippolytus passes away (Hippolytus 1609–12).
In Medea 104–204, Medea sings her anapests and the Nurse chants hers; I have used italics to designate the sung parts. Similarly, Euripides raises the expressive pitch when the wounded Hippolytus shifts from chanting to singing (Hippolytus 1537–52). Lyric Meters The lyric meters, which were sung, have the highest emotional coloring and stand at the greatest distance from ordinary speech. Unlike iambs and anapests, most lyric meters do not translate readily into familiar English equivalents. The most formal lyric passages are the choral odes, which were danced as well as sung.
Alcestis, Medea, Hippolytus by Euripides