By Euripides, Reginald Gibbons, Charles Segal
Looked through many as Euripides' masterpiece, Bakkhai is a robust exam of spiritual ecstasy and the resistance to it. a choice for moderation, it rejects the temptation of natural cause in addition to natural sensuality, and is a staple of Greek tragedy, representing in constitution and thematics an exemplary version of the vintage tragic elements.Disguised as a tender holy guy, the god Bacchus arrives in Greece from Asia proclaiming his godhood and preaching his orgiastic faith. He expects to be embraced in Thebes, however the Theban king, Pentheus, forbids his humans to worship him and attempts to have him arrested. Enraged, Bacchus drives Pentheus mad and leads him to the mountains, the place Pentheus' personal mom, Agave, and the ladies of Thebes tear him to items in a Bacchic frenzy.Gibbons, a prize-winning poet, and Segal, a well known classicist, provide a talented new translation of this imperative textual content of Greek tragedy.
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Extra info for Bakkhai (Greek Tragedy in New Translations)
In bringing Agaue out of her madness, however, Kadmos again takes on the full weight of his years and the sad wisdom that goes with his age. " The myth of Oedipus, as Sigmund Freud suggested in a celebrated discussion, is at some level about the necessary restraints that Culture 30 I NTRODUCTION imposes on the residues of our animality. 46 Its divinity, Apollo, is a god who enforces limits and insists on the boundaries between mortality and divinity, between bestiality and humanity. The myths surrounding Dionysos, however, explore the liberation of our animality and the freedom from the repressive constraints of Culture.
It has a curiously double significance in suggesting both male and female —aside from its obvious symbolic relationship to the male phallus, it also suggests, in the ivy tendril with which it is crowned, the force of growth in nature; and when the thyrsos is used by women as a weapon, Euripides also contrasts this delicate, light object, completely from nature, with what it can and does defeat— the heavy, forged iron and bronze spears of the settled world and of male warriors. THIASOS: 40 I have translated it variously, often as troupe; it is a band of the women who are celebrants or worshipers of Dionysos, called Bakkhantes or Bakkhai (pronounced backh-eye, with an aspirated kh), after one of the god's other names, Bakkhos.
In addition to Bakkhos, Dionysos (a name that in Greek would have been pronounced something like "dee-oh-nu-soss," with the second syllable uttered at a higher pitch, and the d perhaps pronounced like our voiced th) has several other names, used at different moments by Euripides either to bring the particular significance of one of the names into play where it is relevant or to fit the Greek meter. Bromios (pronounced brome-ee-oss), suggests thundering or roaring. Euios (pronounced e/z-ooh-ih-oss), is related to the cry Euhoi!
Bakkhai (Greek Tragedy in New Translations) by Euripides, Reginald Gibbons, Charles Segal