Minggu, 17 Februari 2013

Free Download , by James Martin

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, by James Martin

Product details

File Size: 1519 KB

Print Length: 533 pages

Publisher: HarperOne; Reprint edition (March 11, 2014)

Publication Date: March 11, 2014

Sold by: HarperCollins Publishers

Language: English

ASIN: B00DB3D7SA

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Father Martin tells a great and personal story -- And he sure does pray a lot.A former GE financial analyst and Wharton grad, he is now an editor-at-large of America magazine, a popular media commentator, and a religious commentator for Comedy Central's The Colbert Report. Father Martin (along with his fellow Jesuit, George) travels through Israel and Jordan and areas in between and gives their perspectives on the locations they visit, faith, and prayer, and he adds in lighthearted moments.His pilgrimage has 'produced good fruit' for us in the form of this book. In addition to the spiritual travelogue and educated discussions on things like Greek phrases, I enjoyed his zingers, such as "After a series of improbable detours that took us to the desert... to a lonely monastery, and 'to the edge of heat stroke'"In Bethlehem they visit a site that Catholics find holy, but Russian Orthodox adherents say that the site is a few blocks away; in instances like these, I enjoyed his travel realities and discussions on faith. Speaking of reality, there are instances of travel when stresses develop between friends no matter how close people are, such as the time Father Martin and George - and an empty listerine bottle - glowered at each other at the River Jordan in a "suddenly seemingly smaller" car (Note to File: do not splash a guy with water in the polluted Jordan River).I also relished his insights into "baggage" (and how a baked good can trigger a memory) as he recalls his college years - a time that he felt was a period of unholy sillyness. But on the trip, he realizes that his time at Penn was not devoid of spirituality ("sometimes we close the door to our past, thinking that we have progressed.") Additionally, at a dreamy Capernaum, Father Martin asks why Jesus moved to Capernaum and not Jerusalem? (maybe he liked the beach?); and he shares the lesson of Bartimaeus ben Timaeus (which reminded me of a Kotzker Rebbe query on preaching and ministering to a person: and the importance of personally knowing the person and study partner.) All in all, no matter your religious beliefs, this book gives a piquant perspective on travel, history, and faith

I've read several of Fr. Martin's books and this one is possibly the best one of all. I've always wanted to visit Israel and take in the sites and reading this book, I feel like I'm there with him. He writes with such humor, wit and insight that it is hard to put this book down. Like the author says, this isn't a theology book, but a book about his travels seen through the lens of his faith (as a Catholic and Jesuit priest) - but his writing is "down to earth" and accessible. He isn't writing it just for Catholics or Christians necessarily, so I think anyone with an interest in the Jesus of history and/or Jesus of faith will find something to like here. I've never met Fr. Martin but I think he would be an excellent teacher and a fun person to travel with - and all of that comes out in this book. I just wish he could write books more quickly so we didn't have to wait so long between them - ha ha!

Jesus: A Pilgrimage begins with an introduction that clearly lays out what the book is and more importantly, what the book is not. I point this out because, I generally go in with preconceived notions of what I expect or want from a book. Fr. Martin is quick to point out that this book is not a theological discussion on who Jesus is, nor is it a Bible commentary. This book, however, is a look at Jesus, as we see Him in the Gospels, through the viewpoint of Fr. Martin's education, experience, and a recent pilgrimage to the Holy Land. If we keep this in mind when reading the book, we can give it a proper review.Each chapter is laid out in the same format. Fr. Martin first mentions the place he is going to visit. He then describes the journey there. Details from this include the actual process of travelling to the location, scenery along the way, and bits of the culture and environment he encountered. Then, comes the heart of each chapter - his reflections. Mixed with theology, history, tradition, and Fr. Martin's wisdom and wit, we put ourselves in the exact moment and location of Jesus and try and picture what it must have been like for both Jesus and those around Him. We then end with the Scripture passage which served as the basis for the site Fr. Martin visited.The most interesting chapter in this book to me was entitled, "Nazareth." In this chapter Fr. Martin talks about the "Hidden Life" of Jesus. This term refers to the period of Jesus' life, age 12-30, that is absent in the Bible. Fr. Martin, like many, are drawn to this period of Jesus' life because they imagine it is a lot like our lives. "None of us is going to be preaching and performing miracles - at least not as Jesus did - but all of us live everyday lives, as Jesus did in Nazareth, being taught and cared for by our parents, loving and squabbling with our families, playing with our friends, learning what it means to be an adult, and in time earning a living." I never thought of Jesus in this light, but it does make sense. In this chapter, I also learned about just how small and poor Nazareth was. Knowing this, it really puts into perspective the disparaging remarks people make regarding Nazareth. It also shows you the environment Jesus grew up in, and influenced his parables.Fr. Martin is an excellent storyteller. He does a fine job painting pictures of the places he visited, and he draws out details in the Gospels that one could easily miss. There were, however, parts of this book that I didn't enjoy. The beginning annoyed me a little when he waffled about wanting to go to the Holy Land. (Really what Christian, wouldn't want to see the place of Jesus?!) I also got bored in the beginning reading about the trek to get to each of their destinations, and would think to myself, "Hurry up and get there." However, I eventually accepted that that was the nature of this book as a personal pilgrimage. It would be incomplete to ignore the journey and focus solely on the destination. Those complaints aside, I still enjoyed the book. It was quite interesting to see Jesus, the Gospel passages, and the modern day Holy Land through the eyes of Fr. Martin.This book was provided to me for free by Harper Collins in exchange for an honest review.

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Jumat, 08 Februari 2013

Ebook Dance Music Manual

Ebook Dance Music Manual

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Dance Music Manual

Dance Music Manual


Dance Music Manual


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Dance Music Manual

Review

In short, Snoman knows what he's talking about. ―Music Tech

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About the Author

Rick Snoman has been actively involved in the electronic dance music scene since the late eighties. He has produced numerous white labels and released under various guises such as Phiadra, GOD and Red5. He has remixed professionally for artists such as Britney Spears, Kylie Minogue, and Madonna and worked as a ghost producer for recording artists and international DJ’s. Alongside holding seminars across the UK on producing club-based music, he has written numerous articles and reviews for leading music technology magazines and authored a distance-learning course for Music For the Media. He currently runs his own recording studios in Manchester, UK.

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Product details

Paperback: 536 pages

Publisher: Routledge; 3 edition (October 3, 2013)

Language: English

ISBN-10: 0415825644

ISBN-13: 978-0415825641

Product Dimensions:

7.5 x 1.2 x 9.2 inches

Shipping Weight: 1.9 pounds (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

187 customer reviews

Amazon Best Sellers Rank:

#310,065 in Books (See Top 100 in Books)

At the risk of repeating the reviews of others, I felt it necessary to issue a review. I do so in the hopes that the faults expressed will collectively make their way to the author, and the editors at Focal Press.First off, I can't say enough good things about the catalog of the publisher, Focal Press. It would be difficult to find another publisher that provides the breadth and depth of resources and subjects Focal does; I've devoured many of their titles, and not one has let me down. Many help guide publishers fill out their catalogs with shallow or vague treatments about the same subjects. Not Focal. They have a knack for issuing books that cut right to the chase.Now for "Dance Music Manual" -- I readily applaud the author for what he does well. A major reason behind my purchase of this book was to find answers to my continual confusion about the differences between the 1000s of genres, sub-genres, and sub-sub-genres of dance music. In our media-drenched age, it seems that it takes merely 4 or 5 people who agree on a microscopic difference in a song or two to splinter off and recast them as a new dance music form. If a record store existed to stock every one of these "styles", the bins would contain more dividers than records.Thankfully, Snoman confirms my suspicion by stating more than once that honestly, differences between the dozens of genres of House music are so small as to be irrelevant. That's not to say that the subdivisions aren't necessarily valid, but simply that I shouldn't spend much energy worrying about playing a French-Hardcore-Techno-Trance-House track in a set of Appalachian-Ragga-Funk-Step-Garage-House music. Thanks for that, sir.While the theory section is necessary for this book to live up to its purpose, I agree with some other reviewers that Snoman does tend to assume too much in some of his explanations. In other words, HE certainly knows what he means on these occasions, but something is lost in translation to the reader. It's not a matter of being too technical; the fault is in the clarity of the writing. To put it plainly, there were several moments when reading this section during which I would have loved to have the author at my shoulder for a quick explanation of what he meant to say.Finally, there is the overall quality of the writing, and certainly the editing. I've never come across a Focal Press book that had any problems in this area, until now. The sheer number of errors in syntax, punctuation, and misuse of words makes this book a real struggle at times. It's worth slogging through, no doubt. However, as has been said in other reviews, multiple errors on a single page is TYPICAL (NOT 'atypical', as Snoman would insist). The overall impression I get from this aspect of "Dance Music Manual" is that it's as if the book was written in English, run through a computer translation program into Hungarian, and then re-translated into English again.I want to make clear that this won't keep me from referring to this book as a valuable resource. But I cannot dismiss this aspect of the writing, either. Mr. Snoman's chosen profession is not authoring crisp, flowing prose; it is that of producer/musician/remixer and so on. In such a case, the responsibility for keeping the copy clean, understandable, and, well, correct, falls on the book's editors. In this instance, they have failed. I hope that this critical flaw won't turn potential readers away in great numbers, but I wouldn't be surprised if that were the case.A quote from the Acknowledgements:"I'd particularly like to thank...Lars Pettersson for his tireless efforts in correcting my grammar"I looked this up because I had to know. I'm not proud that my first thought was to question whether or not English is Lars Pettersson's first language. If it is not, that would explain quite a bit about this book. Regardless, It's quite amazing that this book got to the printer in its present form, which makes me wonder how many Focal Press folks actually read it. Let's hope for a more enjoyable read in the 4th edition.Four stars means "I Like It", according to the ratings system in this forum, and that rating is accurate. It's too bad that the editing is so glaringly lacking, because I believe Mr. Sloman's star rating score would improve dramatically with a first-page rewrite/edit, and in every other judgement, deservedly so. I would think that this would result in more book sales, and that's always a good thing.

This book in my opinion is a complete reference. Music theory, to general equipment to use, to even detail device descriptions and what they are used for. Many genres of dance music are also covered in here and many I didn't know existed. This book also covers DJing and promoting as for I didn't have interest in it before, but was very intuitive and fun to learn about. Book is well written with modern text and references as also references to classic machines and understanding. Book also covers a broad spectrum overview of everything including DAWs. Well written highly recommend it to anyone who has an interest in how dance music is made or who wants to create it.

This is a very descriptive manual, It covers just about everything for electronic music production and genres. I would have titled different, it sounds simple but is not.,It includes charts, midi info, math. This is for people with some existing knowledge. A good tool if you want to explore in detail. It will stay in my library.

This book is very dense and rich with information. It'd probably be best digested slowly over the course of a very long time. I sat down and read it straight through and came away feeling like I'll never 'get there' because there's just too much to it.Also as the title implies, it's for DANCE music. If you're into non-dance electronic music you might not find it as useful.

For years I had the 2nd edition, and studied it until the cover fell off. Snoman does not waste your time with plugs for the latest software or gadget, but spent chapters of his book discussing every little nuance and detail of electronic dance music production with a solid emphasis on the analog fundamentals of sound synthesis, etc.For this 3rd edition, Snoman outdid himself, and this book is now better than ever. There are completely new chapters, and many previous chapters have been updated to reflect the latest music trends and technologies.The fundamentals are all still there, and I could spend hours studying some chapters of this book in front of my computer. His chapters on compressors, processors, effects, mixing structure, kicks and percussion, and sound design practice are very valuable.But there are some fundamental flaws with this third edition that need to be corrected in the next edition. These flaws should not stop a serious student of electronic dance music from buying and reading this book repeatedly. But they should be noted.First, the book is very poorly edited and full of typos and grammar mistakes - roughly 2 - 3 mistakes per page. Second, Snoman's style is at times a bit too casual in a very colloquial British manner, and assumes a bit too much background knowledge on his readers' part. I often found myself struggling to follow what he was saying. For example, I just randomly opened up to a page discussing how to program the lead in a song and Snoman writes "a common approach... is to construct a harmonically rich sound through saw, square, triangle and noise waveforms along with ... the unison feature... Once a harmonically rich voice is created, it can then be thinned... with the filters or EQ and modulated with the envelopes and LFOs." OK, I am perfectly capable of throwing together a couple of oscillators on my synth, and understand perfectly well what it means to apply a filter or EQ or an envelope of some kind and LFO to sound waves generated by the oscillators. But seriously, after reading this, I am no closer to understanding how these components come together to form a properly programmed lead. I mean seriously, how many contemporary synth tracks DO NOT use some combination of saw, square, triangle and noise oscillators passed through audio effects like filters and EQ and modulated by envelopes and LFOs? To some extent the burden is on my to catch up with Snoman - But if I were already at the level where reading these sentences I instantly knew exactly what Snoman meant to say and could fire up my favorite subtractive synthesizer and bust out a charming, perfectly programmed lead sound, then what would be the point of reading the book. I am the student, he is the teacher. But sometimes Snoman seems to forget that his audience is a bunch of newbies who need hand holding from time to time and seems more interested in having a casual chit chat with his peers about their craft. A third and final problem - which really isn't that big of a deal - is that Snoman's chapters discussing specific genres seem to miss the mark from time to time. Or at least, my experience and impression of certain genres is quite different from Snoman's. The weakest discussion is probably the "Ambient/chill out" chapter. Part of the problem is a problem of genre labels themselves. Snoman is sensitive to the fact that the minute you make a generalization about a genre, it is based on your subjective impression of what falls under the label. A lot of electronic music falls through the cracks, doesn't conform to any of the generalizations Snoman makes about any of the genres described in the book, etc. But I do not consider the genre discussion chapters to be the core strength of Snoman's book. The beauty of the book is really the first 19 chapters of fundamentals. So even if your particular perception of the distinguishing features of a particular style is different from Snoman's it is not a big deal.Over all, this is and has been for years a very important and valuable book for anyone interested in getting beyond the "beginner" stage in producing electronic dance music - an absolute must read! And I have not purchased Snoman's video tutorials that are built around this book, but they may be the missing link that would make this book a 5 star product. But this book still has some room for improvement for the 4th edition.

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Rabu, 06 Februari 2013

PDF Download Stan Lee: The Man behind Marvel, by Bob Batchelor

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Stan Lee: The Man behind Marvel, by Bob Batchelor

Review

This unauthorized biography by cultural historian Batchelor (Mad Men: A Cultural History) is as much a history of Marvel Comics and the comic book industry as it is of Stan Lee, the man largely credited with transforming the comic book industry into a pop culture colossus. Batchelor begins with Lee’s childhood in New York City during the Great Depression, to which he attributes Lee’s strong work ethic and ambition. A workaholic from an early age, Lee joined the comic book industry at its infancy, learning the ropes from writer Joe Simon and artist Jack Kirby, who were his mentors at Timely Comics (later renamed Marvel Comics). By age 19, Lee had already taken over as editor-in-chief. Aside from the first chapter on his childhood, the book mainly glosses over Lee’s personal life, focusing primarily on his career. Batchelor shows how Lee led his team of writers and illustrators with a can-do spirit, working with his staff in employing snappy dialogue and colorful graphics to concoct a dynamic new medium. Introducing racial diversity, serial storytelling, current events, and emotional conflict, the boastful Lee and his team devised a marvelous universe of new characters, who connected strongly with readers by displaying emotional weaknesses that equaled their physical strengths.... Batchelor successfully shows how this dreamer and risk-taker perfectly captured the cultural zeitgeist and assisted in creating 'fairy tales for grown-ups.' (Publishers Weekly)Meet Stanley Lieber: movie fan, adventure-story fan, budding writer. Young Stanley started in the comic book business as an assistant to Timely Comics’ head writer, Joe Simon, and to artist Jack Kirby. Along the way, as he graduated from assistant to writer, he became known as Stan Lee and wound up revolutionizing the comic-book business: in partnership with some of the great artists (Kirby and the legendary Steve Ditko, among others), he created Spider-Man, the Hulk, the Fantastic Four, Iron Man, and other familiar superheroes. What made Lee’s creations special was his insistence on giving them recognizable human traits and flaws; these weren’t idealized superheroes but real people with special abilities. This is a solidly researched and written biography of Lee (who is in his mid-nineties now).... [Lee] is a hugely entertaining story, and the author tells it well. (Booklist)[Stan Lee:] The Man Behind Marvel is a thorough primer for the newcomer to the tale of Lee’s legendary 1960s rise. Batchelor delves into not only how Lee worked as an editor — the creative freedom he gave many artists worked to his advantage, too — but also how he built himself into a celebrity brand synonymous with the Marvel name. (The Washington Post)Bob Batchelor's bio of Stan Lee is not only thorough and accurate, it's also extremely well written. If you enjoy reading Stan's stories, you'll enjoy the story of Stan just as much. (Steve Englehart, novelist and comic book writer (The Avengers, Captain America))An insightful and candid look at one of the twentieth century's greatest myth-makers. (Mark Waid, writer (Daredevil, The Fantastic Four, Kingdom Come))Bob Batchelor's book takes us on a journey into the life and imagination of Stan Lee, whose collaborations with Jack Kirby and Steve Ditko laid the foundation of the Marvel Universe and unleashed a creative explosion that continues to impact--and transform--all of popular culture. (J. M. DeMatteis, writer (The Amazing Spider-Man, Silver Surfer))In this smartly written, deeply researched biography, Bob Batchelor cuts through the hype and hyperbole to reveal the secret origins of Stan Lee's thoroughly mythic life and art. It's one for both the casual and hardcore fans. (Brian Jay Jones, author of George Lucas: A Life)Stan Lee is must reading for comics fans and anyone interested in the creative process. A great book about a great man. (Arthur Asa Berger, author of The Comic-Stripped American)Impressively informed and informative, exceptionally well written, organized and presented, Stan Lee: The Man behind Marvel is an extraordinary biographer that is a 'must read' for the legions of Stan Lee fans. Absolutely certain to be an enduringly popular addition to both community and academic library Contemporary American Biography collections.... (Midwest Book Review)Readers will love this book even if they know the outcome of Stan’s story. The thrill of this biography is not in Lee’s triumphs but in following the Voice of Marvel through decades of doubts, frustrations, and professional dissatisfaction before he achieved his status as an American icon. Batchelor took readers back in time with a highly descriptive style that would be at home in a novel. A meticulously researched and fact-filled account accompanied Batchelor’s breezy writing to analyze comic’s greatest bard…. Batchelor went on to fill in the blanks of history in an approachable and informative manner. It was clear he put a great effort into acquiring the multiple sources he cited regularly in the Chicago style. Moreover, this book would be a blessing for anyone seeking a secondary academic source on comics or the history of Stan Lee…. Whether a reader is a comic historian or just a big fan, Stan Lee: The Man Behind Marvel is chock-full of a thrilling narrative, stories, and little-known trivia in the life of Stan Lee….Stan Lee: The Man Behind Marvel is available on Amazon in paperback or e-book and is a must-read for comic readers and historians. Pick it up today! (Geeks Worldwide)

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About the Author

Bob Batchelor is a cultural historian who has written or edited more than two dozen books on popular culture and American literature, including books about John Updike, The Great Gatsby, and Mad Men. Batchelor lives in Oxford, Ohio and teaches at Miami University.

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Product details

Hardcover: 264 pages

Publisher: Rowman & Littlefield Publishers (September 15, 2017)

Language: English

ISBN-10: 9781442277816

ISBN-13: 978-1442277816

ASIN: 1442277815

Product Dimensions:

6.2 x 0.9 x 9.4 inches

Shipping Weight: 1.3 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

28 customer reviews

Amazon Best Sellers Rank:

#138,734 in Books (See Top 100 in Books)

Overall, it was interesting to read because I am a huge Marvel fan; however, I was mistaken into believing that it would encompass more of Stan himself, not how Marvel came to be.

Just in time for Siclcon Valley's Comic Con this weeend, to have Stan Lee sign this book! Whoo hoo

Great book about a very interesting person. What a character!

Batchelor delivered Lee's story in a way that comic fans and historians will love, even if they know the outcome. You may have met Stan Lee, but do you know Stanley Lieber? Pick this up, now. Excelsior!

Perfect arrived just in time

Can’t wait to read it!

Wonderful

Very Very very very very very very very very very very very very very very very very very good book. Like, extremely awesome.

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Senin, 04 Februari 2013

Free PDF Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)

Free PDF Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)

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Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)

Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)


Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)


Free PDF Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)

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Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies)

About the Author

Mark Griffith is a professor of classics and of theater, dance, and performance studies at the University of California, Berkeley. He lives in Albany, CA.  Trained at Cambridge, Griffith is an enormously accomplished expert on the Greek Tragedies. Glenn W. Most studied at Harvard, Oxford, and Yale and is currently professor of ancient Greek at the Scuola Normale Superiore di Pisa, and a visiting member of the Committe on Social Thought at the University of Chicago.  He divides his time between Pisa, Florence, and Chicago. Richmond Lattimore (1906–1984) was a poet, translator, and longtime professor of Greek at Bryn Mawr College. David Grene (1913–2002) taught classics for many years at the University of Chicago. He was a founding member of the Committee on Social Thought.

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Product details

Series: The Complete Greek Tragedies

Paperback: 336 pages

Publisher: University of Chicago Press; Third edition (April 19, 2013)

Language: English

ISBN-10: 9780226311555

ISBN-13: 978-0226311555

ASIN: 0226311554

Product Dimensions:

5.5 x 1.1 x 8.5 inches

Shipping Weight: 13.6 ounces (View shipping rates and policies)

Average Customer Review:

4.0 out of 5 stars

8 customer reviews

Amazon Best Sellers Rank:

#330,756 in Books (See Top 100 in Books)

A brilliant, easy to read translation. Actors find the lines easy to say aloud. Much more appropriate to actual stage production than most versions I have read.

Very good translation of some wonderful plays by Sophocles.

Gift

Great play.

If you're ordering this book for a class just make sure your professor is using the same copy & not an older one because the page numbers change, even the translation is slightly different, for example one instance the older copy said ghosts & this copy used phantoms instead. This is something my professor discovered in class. Thankfully his copy is the only older one, but it does cause confusion from time to time so just make sure you take that into account when ordering it or making your students purchase this. Other than that, its a great copy/translation of these works. The introduction before each piece is very informative & insightful. It definitely helped other students less familiar with ancient literature get a better grasping of what to look out for.

Needed for mythology, happy with purchase

The 2 stars is for the translation, which is awful

In the movie, "Amadeus," the Austrian emperor avers that Mozart's new opera has "too many notes." The composer, on the contrary, thinks the number just right, as does even his envious rival, Salieri. The defect lay in the emperor's taste, not in the composer's art.In Don Taylor's translation of "Antigone," published in the book, Sophocles, The Theban Plays, there are indeed too many notes, i.e., words. The defect does not lie in the art of Sophocles, nor in the requirements of translation. Taylor wrote with a contract for television performance already in hand. He fashions lines that are easy for actors to play and for audiences to understand. Having translated a character's thought, he often expands, supplements or restates the material. Thus, the audience is given a second and third bite at the apple of understanding. But this is more like a college lecturer who fears that his students won't get the point, than like Sophocles, who is famous for a clear, solid, succinct style.Sophocles peppers his scenes, usually dialogues between two persons, with extended series of one-line "zingers," which the characters alternately thrust and counterthrust. The power and excitement of the exchanges lie in economy and pointedness of expression. To illustrate, here is a segment from the first scene between Creon and the soldier who tells him that Polynices' body has been partly buried. The first translation is by Dudley Fitts and Robert Fitzgerald, available in their book, The Oedipus Cycle, and also in Greek Plays in Modern Translation, both listed on Amazon.com. The second translation is Taylor's.SENTRY: King, may I speak?CREON: Your very voice distresses me.SENTRY: Are you sure that it is my voice and not your conscience?CREON: By God, he wants to analyse me now!SENTRY: It is not what I say, but what has been done, that hurts you.CREON: You talk too much.SENTRY: Maybe, but I've done nothing.CREON: Sold your soul for some silver: that's all you've done.SENTRY: How dreadful it is when the right judge judges wrong.SOLDIER: Am I allowed to speak, sir?CREON: No!Why should you speak? Every word you sayIs painful to me.SOLDIER: Well, it can't be earache,Can it sir, not what I said!It must stick in your gullet. Or further downMaybe, a sort of pain in your conscience.CREON: Do you dare to answer me back: and make jokesAbout my conscience?SOLDIER: Me sir? No sir!I might give you earache; I can see that.I talk too much, always have done.But the other pain, the heartburn as it were,It's the criminal causing that sir, not me.CREON: You're not short of a quick answer, either.SOLDIER: Maybe not. But I didn't bury the body.Not guilty to that sir.CREON: But maybe guiltyOf selling your eyes for money, eh sentry,Of looking the other way for cash?SOLDIER: I think it's a shame sir, that an intelligent manAnd as well educated as you areShould miss the point so completely.The Fitts/Fitzgerald translation has 9 lines and 86 words; compared to Taylor's 24 and 160. Sophocles had used 9 lines and only 69 words. All the one-liner segments, occurring in almost every scene, undergo a similar transformation at Taylor's hand. But they are not alone. The same translating style appears in the major speeches of the play. Listen to part of the condemnation of Creon by the prophet, Teiresias, from Taylor first this time, then from Fitts/Fitzgerald.TEIRESIAS: Listen Creon. This is the truth!Before many more days, before the sun has risen- Well, shall we say a few more times -You will have made your payment, corpseFor corpse, with a child of your own blood.You have buried the one still living: the womanWho moves and breathes, you have given to the grave:And the dead man you have left, unwashed,Unwept, and without the common courtesyOf a decent covering of earth. So that bothHave been wronged, and the gods of the underworld,To whom the body justly belongs,Are denied it, and are insulted. Such mattersAre not for you to judge. You usurpAncient rights which even the godsThemselves don't dare to question, powersWhich are not in the prerogative of kings.Even now, implacable avengersAre on their way, the Furies, who rise upFrom Hell and swoop down from Heaven,Fix their hooks into those who commit crimes,And will not let go. The sufferingYou inflicted upon others, will be inflictedUpon you, you will suffer, as they did.Have I been bribed, do you think? Am I speakingFor money now? Before very long,Yes, it will be soon, there will be screamingAnd bitter tears and hysterical cryingIn this house. Men, as well as women.TEIRESIAS: Then take this, and take it to heart!The time is not far off when you shall pay backCorpse for corpse, flesh of your own flesh.You have thrust the child of this world into living night,You have kept from the gods below the child that is theirs:The one in a grave before her death, the other,Dead, denied the grave. This is your crime:And the Furies and the dark gods of HellAre swift with terrible punishment for you.Do you want to buy me now, Creon? Not many days,And your house will be full of men and women weeping.Box score, lines and words. Taylor 29:223. Fitts/Fitzgerald 11:106. Sophocles 16:94.Are all these words really necessary? Taylor claims that his approach helps to make the text not only more dramatic and intelligible, but also more poetic. I agree that his version is easier to grasp by first-time viewers or readers. But in the process much of the Sophoclean clarity, solidity and reality are lost.

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Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies) PDF

Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies) PDF

Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies) PDF
Sophocles II: Ajax, The Women of Trachis, Electra, Philoctetes, The Trackers (The Complete Greek Tragedies) PDF