{"title":"A Door into the Dark","authors":"Lucy Pitman-Wallace","doi":"10.1093/oso/9780198805656.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198805656.003.0006","url":null,"abstract":"Nottingham Playhouse asked me to find a translation of Sophocles’ Antigone for production. After searching, Giles Croft the Artistic Director alerted me to Heaney’s wonderful The Burial at Thebes. Seamus allowed me a Dublin visit, to discuss the play. He guided me through the three different verse forms: the three-beat Gaelic bars for Antigone, the Anglo- Saxon alliterative form for the Chorus, and blank verse for Creon. Seamus saw a moral balance between Creon and Antigone: for him it was a double tragedy, as both are equally misguided in their beliefs. He also made me understand ‘The verse’s the thing’, so each word must be heard. My production in 2007 used verse, music, dance, and all actors played the Chorus. Seamus came to see it and for the revival he did rewrites. On tour, we witnessed how different audiences found the play relevant to their lives.","PeriodicalId":294595,"journal":{"name":"Seamus Heaney and the Classics","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134399112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Speaking Truth to Power","authors":"M. Parker","doi":"10.1093/oso/9780198805656.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780198805656.003.0008","url":null,"abstract":"A recurrent feature in the last two decades of Seamus Heaney’s literary career was his immersion in classical, particularly Hellenic culture, which in itself sprang from a longstanding interest in literary translation and translating. Until recently relatively little critical attention was paid to Heaney’s role as a translator, due in part to the erroneous assumption that such activity was somehow peripheral to his literary project, rather than a significant element within it. Taking its cue from a contrary view first voiced by Alan Peacock, this essay offers a detailed analysis of The Burial at Thebes, the second of two of Sophocles’ plays adapted by Heaney, evaluating the quality of its poetry, tracing connections between it and Heaney’s other writings, identifying the contexts which helped shape its creation, and citing those crucial instances or clinamen where Heaney diverges from previous translators to forge ‘something new’.","PeriodicalId":294595,"journal":{"name":"Seamus Heaney and the Classics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128676823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Heaney and Virgil’s Underworld Journey","authors":"R. Falconer","doi":"10.1093/oso/9780198805656.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780198805656.003.0012","url":null,"abstract":"Tracing echoes, allusions to, and transformations of three motifs—the golden bough, Charon’s boat, and Aeneas’ three attempts to embrace his father—this chapter aims to assess the developing significance of Virgil’s presence in Heaney’s writing. Initially filtered through his response to Dante’s Commedia, Heaney’s early reading of the Virgilian underworld journey seems best encapsulated in the image of gravitas—the image of a man (both Aeneas, and Virgil the poet) who has shouldered the weight of his people’s history, and who bears a sense of irreparable loss into the future. By the time we reach his last volume, Human Chain, however, this image of Virgil has been astonishingly and lovingly transformed so that the poet of melancholy gravitas becomes the harbinger of a sense of a light-winged or delicately unfurling new life. The transformation of Virgil in Heaney, from Seeing Things (1991) and District and Circle (2006), to Human Chain (2010), is on one level also a story about the process of translation itself: how the very sense of losing the body of the original text gives birth to a new shape, a possible new world. The chapter concludes with consideration of Heaney’s posthumous translation of Aeneid VI (2016).","PeriodicalId":294595,"journal":{"name":"Seamus Heaney and the Classics","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129012782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Mycenae Lookout’ and the Example of Aeschylus","authors":"Rosie Lavan","doi":"10.1093/oso/9780198805656.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780198805656.003.0005","url":null,"abstract":"Discussing ‘Anything Can Happen’, his response, via Horace, to 11 September 2001, Heaney said to Dennis O’Driscoll: ‘For better or worse, you can’t be liberated from consciousness’. His version of the thirty-fourth of the odes in Book 1 was, he said, ‘partly an elegy—but, to quote Wilfred Owen’s “Preface”, it was also meant “to warn”’ (O’Driscoll 2008: 424). Working from the heavy collocation of time and mood Heaney offered in these remarks, uniting elegiac retrospect and uneasy anticipation, this essay explores the coincidence of classical sources and contemporary concerns in Heaney’s earlier sequence ‘Mycenae Lookout’. It attends especially closely to Heaney’s re-imagining of Aeschylus’ Cassandra, and the burden of consciousness she both bears and represents.","PeriodicalId":294595,"journal":{"name":"Seamus Heaney and the Classics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125850804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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