Alfred Edward Housman (1859–1936), ki je kasneje postal angleški pesnik in eden največjih filologov svojega časa, je svoj zafrkantski »fragment« objavil pri triindvajsetih, leta 1883, v reviji ...Bromsgrovian. Revijo je izdajala Bromsgrove School, kjer se je šolal kot najstnik (1870–77); na šolo, ki je prva prepoznala njegov jezikovni in pesniški talent, se je za kratek čas (1881–82) vrnil kot pomožni učitelj po nepričakovanem študijskem porazu na Oxfordu. Kot ugotavlja Ralph Marcellino, ni naključje, da besedilo parodira predvsem Ajshila, ki je bil Housmanov najljubši pesnik. V njem odzvanja Oresteja, zlasti drami Agamemnon in Prinašalke pitnih darov, verjetno zato, ker so ju dijaki na šoli, kjer je poučeval, pri pouku največ brali. Prav ta ciljna publika je znala ceniti norčevanje iz retoričnih figur ter sintaktičnih konstrukcij, ki jim jih je njihov pomožni učitelj vbijal v glavo.
ADMET Meščani, ki ste se prijazno zbrali, pozdravite, kot je navada, mrtvo na njeni zadnji poti! Vse je že pripravljeno, služabniki jo bodo odnesli in jo položili v grob.
ZBOR Oj, blagor mu, kdor v božjo skrivnost posvečen pobožno srečen živi! Obredno je čist, srce v svetem zboru časti po gorah Bakha pa moli k veliki Kibeli v skladu z božjim redom. Gor, dol opleta s ...tirsom, z vencem iz bršljana je v službi Dioniza. Oj, Bakhantke, le naprej! Oj, Bakhantke, le naprej! Vodíte dol s frigijskih gora na širokoplesne grške ceste Dioníza – Bromija, boga in božje dete!
Prva različica prevoda v ritmizirani prozi je nastala leta 2006 za uprizoritev v SNG Drama Maribor (režiser Hansguenther Heyme), verzna različica, ki je še v obdelavi, bo izšla leta 2012 pri ...Mohorjevi založbi.
Iz Evripidovega Resosa (1–223) Jelena Isak Kres
Keria: Studia Latina et Graeca,
12/2010, Letnik:
12, Številka:
2-3
Journal Article
Recenzirano
Odprti dostop
Prizorišče: Hektorjev šotor v trojanskem taboru. Prvi izhod vodi proti morju, kjer je grški tabor in tudi glavno trojansko oporišče, drugi pa proti notranjosti dežele, kjer je tračanski tabor, ...pašniki ob gori Idi in mesto Troja. Trojanci z zavezniki so dosegli pomembno zmago, tako v grškem kot v trojanskem taboru gorijo stražni ognji.
Hecuba (Hekabe), once considered one of Euripides’ most successful tragedies - iure principem locum tenet, ‘it deservedly holds the pride of place’, according to its Renaissance editor - was ...relegated to the margins of literary attention by the scathing judgments of Romantic critics, who found fault with - among other things - its bipartite structure. It did not make its comeback until the 20th century, when it was identified as an ‘absolute tragedy’, possibly the darkest of the preserved Euripidean plays. Contemporary scholarship notes that the action of Hecuba is subtly welded together by the heroine’s search for justice, while the world around her neglects the basic postulates of Greek ethics, ordered by the reciprocity principle - concepts such as ξενία, ‘hospitality shown to a guest’, αἰδώς, a difficult term to translate, denoting ‘shame’, ‘reverence’, or ‘awe’, χάρις, ‘gratitude’ or ‘favour’, and ἱκετεία, ‘supplication’. Realising that nobody will help her obtain justice, Hecuba decides to find it on her own, taking brutal revenge on the ‘head-for-an-eye’ principle. While still acceptable by Athenian standards, this revenge finally makes the former Trojan queen more callous even than her tormentors having lost all she had, she loses herself as well.
Aeschylus’ Persians has caused many quandaries and divergences in interpretation, both in terms of its exceptional (historical) subject-matter and of the author’s true purpose, that is, the function ...of the play. While reading works of antiquity through the cultural lens of our own age is unavoidable and may prove fruitful, it can only carry weight if it takes into account a basic hermeneutic principle, that is, if it includes a reflection on the interpreter’s own starting-points, shedding light on their relativity. The oldest preserved work of European drama is generally interpreted within cultural and political horizons as defined by modern epistemic concepts, while its religious dimension passes unnoticed, although it should not be neglected – not only because of the general cultic framework which determined the original “hermeneutics” of tragedies, but also because of the text itself. This conceptually conditioned neglect of the “non-negligible” is described by the author horizon. Moreover, springing from a shift in self-understanding, and consequently in understanding history and culture, rather than from an inherent logic of science, these changes are largely perceived as an expression of the prevailing zeitgeist. A different reading is suggested – one based on a religious interpretive horizon, where clarifications and interpretive shifts, sprung from a different understanding of the social and cultural context, may significantly affect the perception of the work as a whole, without reducing it to what is meaningful solely within a delimited culturological and sociological horizon. After surveying the traditional dilemmas of literary history (the framework of tetralogy, dramaturgical structure, critical opinions on the effectiveness and artistic merit of the play), the paper addresses the Persians’ association with, or even dependence on, factual history: the events portrayed (at times with obvious historical inaccuracy) and the cultural mentality of the original audience. In this context, the dream of Queen Atossa (176–199) is addressed as well, with an emphasis on the non-nationalist message at the core of the dream vision. Particular attention is paid to the symbolic dimension of clothing: as symbols, garments mark a secondary, non-basic feature, which is not the same as the (unnamed) primary, physical feature. In the symbolic economy of the Persians, the very garments and gear are connected to the central idea – the destructiveness of man’s hybris –, graphically illustrating the transience of all things human.
Grško gledališče izhaja iz rituala, ki je na prikrit način ohranjen v nekaterih herojskih tragedijah, uveljavi pa tudi institut katarze, ki nas vrne v območje prvotno ritualnega in s tem ...predtragičnega.
Jokastina fatalistična etika Brane Senegačnik
Keria: Studia Latina et Graeca,
12/2002, Letnik:
4, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Čeprav predstavlja Jokasta v Kralju Ojdipu stranski lik, ima njen etični credo, ki je v ostrem nasprotju z Ojdipovo odločenostjo, da bo sam odrešil Tebe kuge, velik pomen za idejni svet te igre. V ...njem se odkriva osupljiva podobnost s fatalistično etiko nekaterih najpomembnejših antičnih in sodobnih filozofskih tokov: epikurejstva, stoištva in Heideggrove misli. Njene besede podobno kakor ti nauki izražajo nezmožnost prenesti resnico o samem sebi in se zato zatekajo k reduciranju človekove samopodobe. Različna izhodišča vodijo k podobnim praktičnim posledicam.
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