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selenak: (Claudius by Pixelbee)
[personal profile] cahn asked me: What Classics works (to be read in English translation) would you recommend to hook someone who doesn't know anything about it? (Aside from the Illiad/Odyssey/Aeneid -- but would also be open to interesting translations of those!) (And especially for someone who preferred the Aeneid to the Illiad and Odyssey?)

With the caveat that different things work for different people, and also my knowledge of good English translation is limited because I read most of those works in German (and/or had to translate them in school, like Cicero's speeches against Catilina and Sallust's work about the conspiracy), here are some recs I would go with. Note that they aren't literal translations but poetic ones, much like the Faust translation by Howart Brenton I recced to [personal profile] cahn where he had someone do the literal prose translation for him first so he could be sure about the literal meaning and then put it into verse. They're also by terrific poets, which means when you read these works in English, you get something of the visceral excitement and beauty of the originals, not a sense of dutiful bland dictionary (or worse, bowlderized) rendition.

1.) Ted Hughes: Tales from Ovid (i.e. a selection from Ovid's Metamorphoses). Praise, quotes and explanations why I think that's an awesome book to read here.

2.) Ted Hughes: Alkestis by Euripides. The last thing he ever published, shortly before his death, with a theme of personal relevance. Hughes and Euripides were as good a match as Hughes & Ovid. More praise and quotes here.

3.) Roz Kaveney: Catullus. Lots of well deserved praise and buying link here.

Now as I said elsewhere, I've been hearing good things about Emily Wilson's translation of the Odyssey, so it's definitely on my to read list, but I haven't gotten the chance to yet. And with Cicero's letters and speeches, Suetonius, Plutarch, Herodotus etc. I don't know any English translations, since, see above, I read them in German (or in Cicero's case translated some of the speeches in school and read the rest in German).

The other days
selenak: (Call the Midwife by Meganbmoore)
..in reverse order.

Call the Midwife: don't have much to say other than it was lovely as usual. I'm a bit torn on Avril doing something spoilery ) This was the first episode where we see old Jenny, whose voiceover was the narrative voice throughout and apparantly is here to stay, but I'm not sure whether the framing scenes with Vanessa Redgrave had any other point than to ressure us of this, given that young Jenny has left the show and it is now later seasons Blake's 7. :) Not that it wasn't nice to see her, of course. As to the rest of the gang, everyone was as endearing as always. Cynthia doing something spoilery ) This is still my comfort show, and the way it treats not just one but a myriad of choices women make as valid is a great part of why.

Now, as to Yuletide. I'm trying not to let the usual Yuletide angst get to me (i.e. repeating the "self, the recipient and a few others liked your stories on the first day, you can't expect more with small-even-for-Yuletide fandoms and no one having recced them elsewhere so far" mantra). Here are a few more stories I loved reading:

Euripides: Bacchae

Agave in Illyria: Half poetry, half prose, gorgeously creepy and cruel in its take on two sisters who went through some of the most gruesome fates Greek myths have in store.


Benjamin January Mysteries:

Escargots: casefic! With Rose as the leading detective, co-starring Olympe and Augustus Mayerling. Set while Ben is off in Washington, and immensely enjoyable to read.

Where there's a will: lovely missing scene about Chloe and Dominique making the transition to the friends we see them be in the last few novels.


The Musketeers:

Knife to a musket fight: in which Porthos gives Constance more self defense lessons. Fantastic friendship story, and the last line packs a punch.


Hilary Mantel: A place of greater safety:

Our wars will be our own: because if Camille, Lucille and Danton didn't have a threesome, they ought to have had.

Pride:

Step into Christmas (the admission is free): Steph spends Christmas with Gethin and Jonathan mid movie; the story has the great characterisation and warmth the film did, and is lovely to read.

Terminator: The Sarah Connor Chronicles:

Start with the first ten: in which John Henry becomes. John Henry, Savannah, Catherine Weaver and James Ellison were the other family in SCC, and I'm always thrilled to discover fic dealing with that. This one manages to come up with a John Henry perspective which feels plausibly A.I., and specifically an A.I. which developes as radically as John Henry does. I loved it.

Watership Down:

The Mercy of Frith: The story of Blackavar, one of the most intriguing minor characters in the novel. Intense and marvellously written.

The Wire:

Whereever you go, there you are: Randy and Carver, years post show. Heartbreaking, yet also hopeful.
selenak: (Dragon by Roxicons)
It probably won't come as a staggering bit of news to anyone that Shakespeare's Histories get creative with, err, history. This is why I couldn't get quite share the indignation when a couple of historical novelists, several of whom I enjoy, some weeks pack did "Don't slander the dead" posts. I mean, yes, theoretically I'm down with that, and I have my favourites and get indignant when I read something that I believe deals with them unfairly and/or downright falsifies actual events as much as anyone. But in practice, it has a grand old tradition through the ages. What do I say? Through the millennia. If you believe Robert Graves that Euripides had Medea murder her children in Medea because the citizens of Corinth bribed him to change the story, which until that point had the kids being murdered by a Corinth mob in retaliation for Medea killing their princess. I'm quite willing to believe that, but Medea killing her children subsequently became such a core part of the myth of Medea, and is very much what makes the character and makes her immortal, that when a modern novelist like Christa Wolf writes a novella in which Medea doesn't kill her children and is unfairly accused, it might be a good feminist parable but the character is very one dimensional and dull by comparison. Basically what I'm getting at is what I have the more pragmatic and cynical view that anything goes as long as it makes for a well-told story. With the obvious disclaimer that if it's cruel slander against My Darlings, I'll hate you for the rest of eternity for writing it, so there.

(Kidding.)

(Mostly.)

(No, really.)

Anyway, if you are curious about the historical background for the currently transmitted histories that make up The Hollow Crown , here are some amusing and entertaining blog entries about the various kings that gave Will his plot.

The reign of Richard II as told by LOL cats

Why Richard stopped that duel at the start of the play

What was your PROBLEM anyway, Richard? (Well, some of them)


Good summary of Henry IV (the king, not the play)

What was Henry Bolingbroke's official claim to the throne?

Yuletide I

Dec. 25th, 2010 07:21 pm
selenak: (Catherine Weaver by Miss Mandy)
Yuuuuuuuuletide! And what an abundance of treasure it brings.

The story I got was my Wuthering Heights prompt (an examination of the relationship between Heathcliff and Hareton): Fathers and Sons. It's a Heathcliff pov, and the author pulls it off well, which I've always imagined to be extremely tricky.

On to a measly selection of the abundance of great stories in other fandoms:


Rome:

Kohl: which is the Antony/Vorenus story I always hoped someone would write, set in Egypt, fantastic take on both characters, with terrific dialogue. Extra bonus for letting Antony use the Caesar-in-Bithynia anecdote.

Gens Julia in aeternum: Wonderful portrait of Atia in her complexity and strength, and also of her relationship with Antony.

History

This Yuletide is definitely the time of the Borgias. Five stories featuring the most famous - or infamous Spanish expats to make it big time in the Italian Renaissance. Two that especially impressed me:

Mine Eyes Dazzle: Lucrezia-centric, secondary emphasis on Cesare, doing justice to the convoluted relationships within and without the family. A gem of a historical novella.

De casibus vivorum illustrium: this one focuses on Machiavelli and Cesare. And the fickleness of fortune. Good stuff.


Doctor Who Audio /History

Whatever You Want To Call It: Not for nothing does The Kingmaker regularly end up on the "best Doctor Who audios of all time" list. Among its many virtues: it's absolutely hysterical if you're even vaguely familiar with all the Richard III related historians' debates. This story, a sequel to the audio (I'm trying to keep the summary as unspoilery as possible), does a similar great job with the Shakespeare authorship debates. Clearly the answer to "who wrote Shakespeare's works" questions. :) :) :)

Arthurian Mythology

Camelot to Camlann: shared povs between Gawain and Guinevere in a compelling, vivid take on the story of Guinevere, Arthur and Mordred.

Euripides - Bacchae

Bakcheios: this one so far is hands down the masterpiece of all the stories I've read so far. I really hope the author will publish it. Using not only Euripides' drama (which tells the story of Pentheus and his clash with Dionysos/Bacchos) but also the myths of Semele and Acteon, this is a poetic, incredibly disturbing (in just the right way) tale doing justice the cruelty and power of the myths. If you read no other Yuletide story this year, read this one.

Sarah Connor Chronicles:

My Father's House Has Many Rooms: James Ellison, Sarah, Savannah and John Henry. Ellison pov's are still rare; rarer still are stories that deal with what I thought were among the most fascinating scenes of season 2, his relationship with John Henry, complete with the struggle about the theological implications of John Henry's existence. Nor does this story forget the s2 finale leaves Ellison with the responsibility for Savannah, and lets Ellison respond to this. Loved it.

Benjamin January Mysteries - Barbara Hambly:

Rescue: in which January's younger sister Dominique (aka Minou) is kidnapped, and it's January and Abisag Shaw to the rescue. Barbara Hambly's novels, which are set in a pre-Civil War New Orleans among the gens du coleur libre, as the non-enslaved black population was referred to, manage to create memorable characters and compelling relationships that feel true to the period, and come with a keen awareness of how everyone's status would inform every second of their lives. Same for this fanfic - January is the freed son of two slaves who was able to practice as a physician in Paris but not at home in New Orleans, while Minou is the daughter of their mother by one of her white lovers and basically trained to be a (rich) white man's mistress from birth, while Shaw is poor, but white and free in a very different sense than that of having to carry your papers all the time to prove you're no one's property. While the adventure plot unfolds, all those differences - and the affection that is there between the characters nonetheless - are done full justice.

Ladyhawke:

A woman's whole heart: set after the film. How do you adjust after having been a hawk, after having been a wolf? Treading a delicate balance between fantasy and history, this take on Isabeau (and Navarre) manages to be both romantic and challenging, and, incidentally, a proof that "established relationship" (and a woman in same) does not equal lack of tension or the end of personal goals. Beautiful to read, just the kind of sweeping, satisfying tale to end your day with.

Unconnected thoughts about fandoms I haven't read yet: yay, five DS9 stories, mmmm, lots of of Fringe stories, err, isn't "Social Network RPF" kind of a doubling of terms?
selenak: (Claudius by Pixelbee)
International Translation Day is celebrated every year on 30 September on the feast of St. Jerome, the Bible translator who is considered as the patron saint of translators.

Ah, translations, the not bablefish type. I wouldn't be familiar with a third of the novels, plays, movies I am without them, not to mention the non-fiction books essential for researching anything of interest. Last year several book awards were handed out at the Corine in Munich, to ten books, eight of which were translated, but did anyone mention the translator(s) in their praise? No. And they're getting paid lousy wages in general, too. So, let's hear it for translators once in a while.

Now, while matter-of-fact scientific translations are important, the absolutely best thing which can happen if we're talking about poetry or fictional prose is that the translator has poetic gifts of his/her own, and sometimes even manages to achieve a work of art of its own. (Classic famous examples: Catullus' version of Sappho's most famous poem. The Schlegel-Tieck-Translation of Shakespeare. Also Rilke translating Elizabeth Barrett Browning, as quoted here.

All of these examples are, however, either translations from English into German or from Greek into Latin, not into English, the language I'm currently using, which is not my own. I am, however, familiar enough with it to appreciate the beauty of a great translation/version, and have previously written about two of my favourites:

Ovid as rendered by Ted Hughes

and

Seneca's Oedipus as rendered by Ted Hughes

Hughes' has a way of recreating the ancients in his own fierce poetry that enchants me every time I read one of his versions, which is why I do so more often than reading more accurate German translations of the same writers. Here are some quotes of the very last one he wrote, his version of Euripides' Alcestis. As Keith Sagar pointed out in an essay, Hughes never translated one of the most famous Ovidian tales, the one of Orpheus, the poet who tries to retrieve his dead wife from the underworld, but fails to. However, the story haunted him for obvious biographical reasons, and in his version of Alcestis - not the most popular of Euripides' plays, an odd choice to work at - or not, if you're dying, and the play is about a wife lost through your own fault but also returned again to life -, he inserts a sudden speech of Admetos about Orpheus which isn't there in the original (A glance. Think of it. Only a backward glance,/ And he had done what he should never have done/ At the crucial moment./ He lost her). Alcestis as rendered by Hughes is one long passionate argument with death (also with Death, who shows up as a character early on), loss, love and selfishness, and in it he comes up with lines like these:

A dead woman, a falling star
With a long train
Of burning and burned-out love.
Falling into non-life.
Into endless time, endlessly falling.


or:

You live now
Only because you let Death take her.
You killed her. Point-blank
She met the death that you dodged.(...)
You are the cannibal. Only you.
Thrive on that feast. Nobody else.
Think of it.
Every day you live she nourishes you
With her dead body.


Or:

We should never have married.
Men who have never married
Keep their nerves inside their own skin.
The nerves of the married man,
His very entrails, all his arteries
Are woven into the body of his wife -
And into the bodies of his children.


And then again:

Necessity could not frighten Alcestis,
We pray to Necessity to spare us,
But we pray to Alcestis
To give us courage to live - as if death
Were no more than the outline of life,
The outline of a shadow on a wall,
Maybe the shadow of a dancer, a reveller.


And in conclusion: read translations. Sometimes, they're absolutely magnificent.

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