This is the third volume of a projected translation into English of all twelve of Jean Racineâs playsâonly the third time such a project has been undertaken. For this new translation, Geoffrey Alan Argent has rendered these plays in the verse form that Racine might well have used had he been English: namely, the âheroicâ couplet. Argent has exploited the coupletâs compressed power and flexibility to produce a work of English literature, a verse drama as gripping in English as Racineâs is in French.
Complementing the translation are the illuminating Discussion, intended as much to provoke discussion as to provide it, and the extensive Notes and Commentary, which offer their own fresh and thought-provoking insights.
In Iphigenia, his ninth play, Racine returns to Greek myth for the first time since Andromache. To Euripidesâs version of the tale he adds a love interest between Iphigenia and Achilles. And dissatisfied with the earlier resolutions of the Iphigenia myth (her actual death or her eleventh-hour rescue by a dea ex machina), Racine creates a wholly original character, Eriphyle, who, in addition to providing an intriguing new denouement, serves the dual dramatic purpose of triangulating the love interest and galvanizing the wholesome âfamily valuesâ of this play by a jolt of supercharged passion.
The Complete Plays of Jean Racine - Jean Racine & Geoffrey Alan Argent
This is the third volume of a projected translation into English of all twelve of Jean Racineâs playsâonly the third time such a project has been undertaken. For this new translation, Geoffrey Alan Argent has rendered these plays in the verse form that Racine might well have used had he been English: namely, the âheroicâ couplet. Argent has exploited the coupletâs compressed power and flexibility to produce a work of English literature, a verse drama as gripping in English as Racineâs is in French.
Complementing the translation are the illuminating Discussion, intended as much to provoke discussion as to provide it, and the extensive Notes and Commentary, which offer their own fresh and thought-provoking insights.
In Iphigenia, his ninth play, Racine returns to Greek myth for the first time since Andromache. To Euripidesâs version of the tale he adds a love interest between Iphigenia and Achilles. And dissatisfied with the earlier resolutions of the Iphigenia myth (her actual death or her eleventh-hour rescue by a dea ex machina), Racine creates a wholly original character, Eriphyle, who, in addition to providing an intriguing new denouement, serves the dual dramatic purpose of triangulating the love interest and galvanizing the wholesome âfamily valuesâ of this play by a jolt of supercharged passion.