乞援人
THE SUPPLIANTS

  • 作   者:

    埃斯库罗斯
    Aeschylus

  • 出版社:

    外语教学与研究出版社
    Foreign Language Teaching and Research Press

  • 语   言:

    英文

  • 支   持:

  • 电子书:

    ¥3.90

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antistrophe 2

She, from her happy home and fair streams scared away,

Wails wild and sad for haunts beloved erewhile.

Yea, and for Itylus-ah, well-a-day!

Slain by her own, his mother's hand,

Maddened by lustful wrong, the deed by Tereus planned!

《乞援人》写于公元前470年以后,是三连剧的第一部,其他两部已经佚失,可能是《埃古普托斯的儿子们》(或《埃及人》)和《达奈俄斯的女儿们》,配套的山羊剧是《阿慕莫奈》。该剧充满了民主精神,神话传说里阿耳戈斯军事首长珀拉斯戈斯被塑造成一个作风民主的理想的国王。

The Suppliants was probably first performed sometime after 470 BC as the first play in a tetralogy, sometimes referred to as the Danaid Tetralogy which probably included the lost plays The Egyptians and The Daughters of Danaus and the satyr play Amymone.

埃斯库罗斯(前525年-前456年):古希腊悲剧诗人,与索福克勒斯和欧里庇得斯一起被称为是古希腊最伟大的悲剧作家,有“悲剧之父”的美誉。他是第一个在希腊话剧中引入第二个演员的剧作家,通过对话的形式他革命了希腊话剧。据说埃斯库罗斯一共留下了90部剧作,其中79部的名称流传下来了。其中最著名的20部都遗失了。他的悲剧有七部完整地流传到今天,另外三部部分保留下来了。他早年的作品叙述相当简单,他晚年的悲剧的戏剧性非常浓厚。

Asechylus(525/524 BC–456/455 BC): the first of classical Athens' great dramatists, who raised the emerging art of tragedy to great heights of poetry and theatrical power. Aeschylus wrote approximately 90 plays, including satyr plays as well as tragedies; of these, only seven survived. According to the philosopher Flavius Philostratus, Aeschylus was known as the “Father of Tragedy.”Aeschylus' influence on the development of tragedy was fundamental. Previous to him, Greek drama was limited to one actor and a chorus engaged in a largely static recitation. By adding a second actor with whom the first could converse, Aeschylus vastly increased the drama's possibilities for dialogue and dramatic tension and allowed more variety and freedom in plot construction.

CHORUS

Zeus! Lord and guard of suppliant hands

Look down benign on us who crave

Thine aid-whom winds and waters drave

From where, through drifting shifting sands,

Pours Nilus to the wave.

From where the green land, god-possest,

Closes and fronts the Syrian waste,

We flee as exiles, yet unbanned

  • CHARACTERS IN THE PLAY

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