By Kathrin H. Rosenfield, Charles B. Duff
Following Friedrich Hölderlin’s insights, the writer finds an not noted historic element – the epiclerate – that makes Antigone the heiress to the throne of Thebes. Creon’s activities collect new that means, as does Antigone’s resistance, and a virtually Hitchcockian drama emerges from subtleties within the Greek textual content. Hölderlin brings us absolutely rounded characters, and we believe the joys of genuine tragedy. Rosenfield argues that Hölderlin can have come in the direction of the spirit of Sophocles and the Athenian enlightenment than later, extra scholarly, translators and critics, an issue that redeems a misunderstood translation of a massive Romantic writer and demonstrates comparative method of literature – knowing a German poet’s method of a Greek tragedy –can bring up creative excitement and deepen our knowing of the usually unusual Greek mentality. Rosenfield's Antigone is now to be had to an English talking viewers for the 1st time. It incorporates a particular preface for the English version and some stylistic adjustments making the essay more straightforward to learn for a public now not widespread with the tips of German Idealism.
The paintings of Sophocles has parallels with sleek outlooks, even if fifth-century Athens was once very diverse from our global. Rosenfield's element of departure is a detailed analyzing of Friederich Hölderlin's translation that makes those parallels believable. She exhibits that poetic intelligence may be as helpful a serious device as ancient or philological wisdom. Following Hölderlin, she finds a ancient element thus far neglected, the epiclerate, some degree of Greek legislation that offers Antigone political significance and provides the play a fully-rounded tragic plot, ambiguous and paradoxical. Antigone isn't really an blameless virgin sacrificed through a power-thirsty villain. She is a fierce and unsettling heroine in a virtually hitchcockian drama. construction on Hölderlin, Rosenfield brings out what's 'modern' in classical Greek drama: the moral sense of everlasting unsettling shifts in human activities, intentions and emotions, the gripping, unstated secrets and techniques hidden within the ironies of the Greek textual content. Her scholarly argument exhibits that Hölderlin can have come in the direction of the spirit of Sophocles, Themistocles and Pericles than later, extra scholarly, translators and critics.
Kathrin H. Rosenfield is a professor within the school of Literatura and Philosophy on the Federal college of Rio Grande do Sul in Brazil. trained in Salzburg, Vienna, and Paris, she has lengthy mixed literary feedback with a convention in psychotherapy and an energetic profession within the theatre. Her publication Desenveredando Rosa gained Brazil’s ideal literary award in 2007. diversified models of her publication on Sophocles´ Antigone were released in Brazil (L&PM, Porto Alegre, 2000, Zahar, Rio de Janeiro, 2002, Topbooks, Rio de Janeiro, 2006) and France (Galilee, 2001).
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Extra resources for Antigone: Sophocles' Art, Hölderlin's Insight
Hölderlin avoids a literal translation of Antigone’s phrase, substituting a network of suggestions, part sisterly love for a brother, part carnal passion: I will lie down with/by you as a lover with a lover When I have done the holy deed. ) Antigone reacts violently to her sister’s insinuation. The world of the living is no longer for her; she is now entirely on the side of the dead. She claims to value the good opinion of the dead more highly than that of the living, and she pushes her sister to explain her worries with respect to a mixture of representations, feelings, and decisions that are plainly inadequate.
Literal translation, then, was impossible. ) Because literalness was not available, he tried to understand the differences between ancient and modern outlooks and to embody that understanding in his translation. Hence the anachronisms that abound in his work. These are quite deliberate, and he uses them to translate one world to another. Consider, for instance, the next to last choral song. Antigone has just left the stage for the last time. The Chorus reflects on her destiny with a cool objectivity, recalling the myths of Danae, Lycurgus, and the sons of Phineus: Fourth Stasimon (hymn to Danae, Lycurgus, and the sons of Phineus) Danae suffered too She went from the light to the brass-built room, chamber and tomb together.
He was a young and soulful poet, and he took on the task of translating Sophocles, in part because he had been overwhelmed by the beauty of Voss’s translations of Homer. Holderlin put everything he had into the work—poetic sensibility, historical knowledge, theoretical insight—and he was crushed by the public’s response. Worst of all was the ridicule heaped on him by Voss’s son, a friend of Goethe and Schiller whom Hölderlin had wanted for a long time to meet. Voss’s cruel words may have pushed Hölderlin into the madness that subsequently engulfed him.