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Old 09-13-2017, 08:38 PM
Aaron Poochigian Aaron Poochigian is offline
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Location: New York, NY
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Thank you very much, Duncan.

I am trying to avoid contractions in the choral odes as they are in an even more formal register than the rest of the play. Otherwise I would go for your “And soon/ he’ll lock me up.”

I have gladly taken your suggested revision for “Come from Olympus”. I will go with “Descend Olympus. . .” Thank you.

As a comma is not necessary after “Nysa” in “Nysa nurse of beasts” I have opted to leave it out.

I agree that the repetition of “nurse”/”nurses” in the Epode is unfortunate but I can’t come up with any solution I find satisfactory. I console myself with the fact that the audience, in performance, most likely won’t even notice the repetition.

AZ, thank you very much for commenting.

The “blessed Dirce” section is in the Greek:

σὺ δέ μ᾽, ὦ μάκαιρα Δίρκα,
στεφανηφόρους ἀπωθῇ
θιάσους ἔχουσαν ἐν σοί.

O blessed Dirce, you reject me, having garland-wearing group-religious-festivities in you.

The participle is clearly concessive—you reject me, though/despite the fact that I have . . .” There is no idiomatic literal English rendering of the Greek, so I have expanded it in translation in order to try to get the full meaning across:

I revel on your banks in ivy-crowned
choirs of women.

That way I get the festivities (“revel”) and the group-activity (“choirs of women”) in.

You have persuaded me that I should go for “deathless” instead of “holy” for the “fire.” The tomb of Semele is supposed to be smoldering still throughout the play. Thank you very much.

Thank you—yes, I decided to render Dithyrambus as “Two-Door-God” and Bromius as “The Roaring God” every time they appear. That way the name has some meaning for the audience.

Best, best,

Aaron
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