A masterly translation of one of the greatest of Greek dramas.
Their lives are the briefest concession,
My concession, a nod of permission.
As if I dozed off and dreamed a little.
I take a dream-and Admetos calls it his life.
-Death in Alcestis
In the years before his death at age sixty-eight in 1998, Ted Hughes translated several classical works with great energy and ingenuity. His Tales from Ovid was called "one of the great works of our century" (Michael Hofmann, The Times, London), and his Phèdre was acclaimed on stage in New York as well as in London. Hughes's version of Euripides' Alcestis, the last of his translations, has the great brio of those works, and it is a powerful and moving addition to the body of work from the final phase of Hughes's career.
Euripides was, with Aeschylus and Sophocles, one of the greatest of Greek dramatists. Alcestis tells the story of the grief of King Admetos for his wife, Alcestis, who has given her young life so that he may live. As translated by Hughes, the story has a distinctly modern sensibility while retaining the spirit of antiquity. It is a profound meditation on human mortality.
Hughes and his lover were so in love. There are so much original source indicating how deep they look each other in the eyes. My professor said"they are gods. gods among us." After he cheated on her, she put her head in an oven. She died for him. Now Hughe...
评分Hughes and his lover were so in love. There are so much original source indicating how deep they look each other in the eyes. My professor said"they are gods. gods among us." After he cheated on her, she put her head in an oven. She died for him. Now Hughe...
评分Hughes and his lover were so in love. There are so much original source indicating how deep they look each other in the eyes. My professor said"they are gods. gods among us." After he cheated on her, she put her head in an oven. She died for him. Now Hughe...
评分Hughes and his lover were so in love. There are so much original source indicating how deep they look each other in the eyes. My professor said"they are gods. gods among us." After he cheated on her, she put her head in an oven. She died for him. Now Hughe...
评分Hughes and his lover were so in love. There are so much original source indicating how deep they look each other in the eyes. My professor said"they are gods. gods among us." After he cheated on her, she put her head in an oven. She died for him. Now Hughe...
初接触这类文本时,我总担心会因为年代久远而感到隔阂,但这部作品的语言魅力和情感穿透力,完全打破了时间的界限。它的文本本身就具有一种近乎音乐般的韵律感,即使通过译本阅读,那种强烈的节奏感和对特定词汇的反复强调,依旧能构建出一种强烈的仪式氛围。每一次情感的高潮,都伴随着语言上的精确打击,让人在精神上瞬间被击中。相比起那些着墨于宏大战争或神话史诗的作品,这部剧的“微观”聚焦——集中于几个核心人物在极端压力下的互动——反而产生了更强大的内爆效应。它就像一个高压锅,将所有潜在的冲突和不满都压缩到一个极小的空间里,最终以一种令人措手不及的方式释放出来。阅读过程中,我的注意力完全被那些细微的肢体语言和未言明的潜台词所吸引,因为真正的悲剧往往不是在台词中,而是在那些被刻意压抑的沉默里。这是一种高明的叙事技巧,它不给你答案,只给你最真实的体验过程。
评分如果说有什么能让我在读完后久久无法释怀,那便是它对“代价”这个概念的彻底解构。我们习惯于将生活视为一系列交易,但这部作品展示了,当某些交易的筹码是生命、尊严和未来的所有可能性时,即便赢得了眼前的“胜利”或“名声”,其内在的崩塌也是不可逆转的。它不仅仅是一个关于爱与背叛的故事,更是一部关于“存在意义”的辩证法。剧作高潮过后,留给读者的不是释然,而是一种巨大的虚空感——仿佛所有的努力、所有的挣扎,最终都导向了一个毫无意义的终点。这种极端的虚无主义倾向,在那个时代的作品中是极其大胆和前卫的。它没有提供任何宗教或哲学的慰藉,只是冷静地陈述了一个事实:人性的弱点和环境的残酷相结合时,所产生的破坏力是何等巨大,而且,这种破坏往往是由那些最应该相互扶持的人亲手完成的。它迫使读者直面生命的脆弱与不公,其坦诚与冷酷,构成了它永恒的艺术价值。
评分这部作品(暂且称之为“那部古希腊悲剧”)的震撼力,即便时隔多年,依然能在我心头激起难以言喻的波澜。它探讨的议题,并非仅仅停留在神祇的意志或英雄的宿命之上,而是深刻地触及了人性中最原始、最矛盾的冲突点。我记得初读时,那种被卷入角色复杂情感漩涡的体验。它没有试图提供一个简单的道德答案,而是将我们置于一个进退维谷的境地,让我们亲眼目睹那些看似高尚的抉择,如何在现实的重压下扭曲变形,甚至衍生出令人心寒的自私与伪善。作者对场景氛围的营造极为出色,那种弥漫在空气中的、由不祥预感和无可挽回的悲剧性所编织的网,让人喘不过气来。特别是那些关于“付出”与“索取”的辩论,极其精妙地揭示了人际关系中那种隐秘的权力结构。它强迫你反思,那些被歌颂的牺牲背后,是否真的纯粹无瑕,或者说,它是否只是为了满足施予者自身对“完美形象”的病态渴求。这种对传统叙事范式的颠覆与解构,使得这部作品远超同时代的许多作品,拥有了一种跨越时空的普适性。它不只是一个故事,更像是一面冰冷的镜子,映照出我们内心深处那些最不愿承认的阴影。
评分读完之后,我花了整整一个下午,只是坐在那里发呆,试图整理脑海中翻腾的思绪。这部剧作的结构设计简直是鬼斧神工,环环相扣,节奏的张弛拿捏得恰到好处。开场的铺陈,如同缓慢升起的浓雾,将所有主要人物的情绪基调设定在一个沉郁而压抑的水平线上。然后,当某个关键转折点被触发时,那种情感的爆发力是摧枯拉朽的。我特别欣赏作者在处理对话时的那种精准度,每一个词语的选择似乎都经过了最严苛的锤炼,既要符合人物的身份和当时的处境,又要承载起深层的哲学意味。它不像某些悲剧那样依赖突兀的外部干预来推动情节,而是让灾难如同一条逐渐收紧的绞索,完全由人物自身的性格缺陷和外界环境的不可抗力共同作用而成。更令人赞叹的是,即便是那些看似“反派”的角色,其行为逻辑也建立在一种自洽的、虽然扭曲但可以理解的动机之上。这种复杂性使得观众无法简单地站队,只能在无尽的道德困境中徘徊,体会那种深刻的无力感——仿佛无论做出何种选择,都注定会酿成无法弥补的遗憾。
评分这部剧最让我感到意外和震撼的,或许是它对“公共形象”与“私人真实”之间巨大鸿沟的无情揭露。它不是一出简单的家庭伦理剧,而是一场关于社会契约与个人价值的终极拷问。作者笔下的人物们,似乎都背负着沉重的社会期望,他们的一举一动,都在被看不见的目光审视和评判。因此,很多看似感人至深的牺牲或表态,在剧作的后续发展中,逐渐显露出其背后的功利性考量或对名誉的过度维护。这种对“光环”的剥离过程,处理得极其细腻和残酷。我仿佛能闻到那种尘封已久的、被刻意掩盖的腐臭味。而且,剧作中对少数配角的刻画也极其出彩,他们如同冷眼旁观的局外人,他们的评论和反应,往往比主要角色的独白更能提供一种清醒的外部视角,使得整个叙事维度更加立体。这部作品的价值在于,它敢于直视人类在维护自身社会地位时所展现出的惊人韧性和道德弹性,这比歌颂纯粹的美德要深刻得多。
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