By Kathrin H. Rosenfield, Charles B. Duff
Following Friedrich Hölderlin’s insights, the writer finds an ignored historic aspect – the epiclerate – that makes Antigone the heiress to the throne of Thebes. Creon’s activities gather new which means, as does Antigone’s resistance, and a nearly Hitchcockian drama emerges from subtleties within the Greek textual content. Hölderlin brings us absolutely rounded characters, and we consider the fun of actual tragedy. Rosenfield argues that Hölderlin could have come towards the spirit of Sophocles and the Athenian enlightenment than later, extra scholarly, translators and critics, a controversy that redeems a misunderstood translation of a tremendous Romantic writer and demonstrates comparative method of literature – realizing a German poet’s method of a Greek tragedy –can elevate creative excitement and deepen our figuring out of the customarily unusual Greek mentality. Rosenfield's Antigone is now on hand to an English conversing viewers for the 1st time. It includes a particular preface for the English variation and some stylistic alterations making the essay more uncomplicated to learn for a public now not usual with the tips of German Idealism.
The paintings of Sophocles has parallels with smooth outlooks, even supposing fifth-century Athens was once very assorted from our international. Rosenfield's aspect of departure is an in depth studying of Friederich Hölderlin's translation that makes those parallels believable. She indicates that poetic intelligence may be as helpful a severe device as historic or philological wisdom. Following Hölderlin, she finds a historic aspect up to now ignored, the epiclerate, some degree of Greek legislations that provides Antigone political significance and offers the play a fully-rounded tragic plot, ambiguous and paradoxical. Antigone isn't really an blameless virgin sacrificed by means of a power-thirsty villain. She is a fierce and unsettling heroine in a virtually hitchcockian drama. development on Hölderlin, Rosenfield brings out what's 'modern' in classical Greek drama: the judgment of right and wrong 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. knowledgeable in Salzburg, Vienna, and Paris, she has lengthy mixed literary feedback with a tradition in psychotherapy and an lively profession within the theatre. Her e-book Desenveredando Rosa gained Brazil’s premier literary award in 2007. various types of her e-book 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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Additional info for Antigone: Sophocles' Art, Hölderlin's Insight
To show the tensions that fracture the sisterly union of Antigone and Ismene, Hölderlin emphasizes certain untranslatable elements by moving them to Whose Antigone? 39 another part of the text — for example, when he moves connotations of a line of Antigone’s into a speech of Ismene. He also puts a great deal of effort into recovering the feel of the Greek dual, a middleterm between singular and plural that has no equivalent in modern languages. Hölderlin was convinced that Sophocles had used the dual to suggest subtle nuances of unity and division, and to express the intimate association of two beings melted together (by blood, circumstance, or participation in a joint effort) into a single thing or a single principle.
OCT, 498) or, in Hölderlin’s translation: I don’t want anything. When I have it (your death,) I’ll have everything. ” He thinks that he can purge the impurity of incest by doing away with the last descendants of Oedipus. Only too late will he realize how much he has left out of his calculations. Antigone, however, seems to have the whole picture. She seems fully aware that her story and her fate—and Creon’s, for that matter—are bound up with those of their respective families. She realizes, as well, that her marriage with Haemon is far from a solution to the problems of the city.
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. ) By this slight modification—by turning “impossible” into “improper,”—he recovers the moral connotation of hosia panourgesasa in the Greek original. Here is Hölderlin’s method in a nutshell. Faced with a choice between imitating the graceful surface of the Greek original at the expense of its depth of meaning, and trying to capture the wide range of suggestions instead of the clear surface, he goes for the suggestive complexity and depth.
Antigone: Sophocles' Art, Hölderlin's Insight by Kathrin H. Rosenfield, Charles B. Duff