Series Copy Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, The Greek Tragedies in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the editorship of Herbert Golder and the late William Arrowsmith, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. One of Euripides'' late plays, Ion is a complex enactment of the changing relations between the human and divine orders and the way in which our understanding of the gods is mediated and re-visioned by myths. The story begins years before the play begins, with the rape of the mortal Kreousa, queen of Athens, by Apollo. Kreousa bears Apollos'' child in secret then abandons it. Unbeknownst to her, Apollo has the child brought to his temple at Delphi to be reared by the priestess as ward of the shrine. Many years later, Kreousa, now married to the foreigner Xouthos but childless, comes to Delphi seeking prophecy about children. Apollo, however, speaking through the oracle, bestows the temple ward, Ion, on Xouthos as his child. Enraged, Kreousa conspires to kill as an interloper the very son she has despaired of finding. After mother and son both try to kill each other, the priestess reveals the birth tokens that permit Kreousa to recognize and embrace the child she thought was dead. Ion discovers the truth of his parentage and departs for Athens, as a mixed blood of humanity and divinity, to participate in the life of the polis. In Ion, disturbing riptides of thought and feeling run just below the often shimmering surfaces of Euripidean melodrama. Although the play contains some of Euripides'' most beautiful lyrical writing, it quivers throughout with near disasters, poorly informed actions and misdirected intentions that almost result in catastrophe. Kreousa says at one point that good and evil do not mix, but Euripides'' argument, and what the youthful Ion strives to understand, is that human beings are not only compounded of good and evil, but that the two are often the same thing differently experienced, differently understood, just as beauty and violence are mixed both in the gods and in the mortal world.

The poems in this, W. S. Di Piero's fifth collection of poetry, are animated by an ancient vision of the human state as existing somewhere between the divine and the bestial; tense with the compulsion toward formal order and the wild yearning after chaos, these are tough poems, gritty and relentless; they indulge neither the reader nor the poet. Their austere lyricism expresses Di Piero's desire for transcendent meaning, and their unflinching attention to natural and cultural history reflects an equally strong instinct for the earthbound.

Out of Eden presents the rigorous investigations and musings of a poet-essayist on the ways in which modern artists have confronted and transfigured the realist tradition of representation. Di Piero pursues his theme with an autobiographical force and immediacy. He fixes his attention on painters and photographers as disparate as Cezanne, Boccioni, Pollock, Warhol, Edward Weston, and Robert Frank. There is indeed a satisfying sweep to this collection: Matisse, Giacometti, Morandi, Bacon, the Tuscan Macchiaioli of the late nineteenth century, the Futurists of the early modern period, and the American pop painters. Di Piero''s analysis of modern images also probes the relation between new kinds of image making and transcendence. The author argues that Matisse and Giacometti, for example, continued to exercise the religious imagination even in a desacralized age. And because Di Piero believes that the visual arts and poetry live intimate, coordinate lives, his essays speak of the relation of poetry to forms in art.This title was originally published in 1991. Out of Eden presents the rigorous investigations and musings of a poet-essayist on the ways in which modern artists have confronted and transfigured the realist tradition of representation. Di Piero pursues his theme with an autobiographical force and imm

Series Copy Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, The Greek Tragedies in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the editorship of Herbert Golder and the late William Arrowsmith, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. One of Euripides'' late plays, Ion is a complex enactment of the changing relations between the human and divine orders and the way in which our understanding of the gods is mediated and re-visioned by myths. The story begins years before the play begins, with the rape of the mortal Kreousa, queen of Athens, by Apollo. Kreousa bears Apollos'' child in secret then abandons it. Unbeknownst to her, Apollo has the child brought to his temple at Delphi to be reared by the priestess as ward of the shrine. Many years later, Kreousa, now married to the foreigner Xouthos but childless, comes to Delphi seeking prophecy about children. Apollo, however, speaking through the oracle, bestows the temple ward, Ion, on Xouthos as his child. Enraged, Kreousa conspires to kill as an interloper the very son she has despaired of finding. After mother and son both try to kill each other, the priestess reveals the birth tokens that permit Kreousa to recognize and embrace the child she thought was dead. Ion discovers the truth of his parentage and departs for Athens, as a mixed blood of humanity and divinity, to participate in the life of the polis. In Ion, disturbing riptides of thought and feeling run just below the often shimmering surfaces of Euripidean melodrama. Although the play contains some of Euripides'' most beautiful lyrical writing, it quivers throughout with near disasters, poorly informed actions and misdirected intentions that almost result in catastrophe. Kreousa says at one point that good and evil do not mix, but Euripides'' argument, and what the youthful Ion strives to understand, is that human beings are not only compounded of good and evil, but that the two are often the same thing differently experienced, differently understood, just as beauty and violence are mixed both in the gods and in the mortal world.

The poems in this, W. S. Di Piero's fifth collection of poetry, are animated by an ancient vision of the human state as existing somewhere between the divine and the bestial; tense with the compulsion toward formal order and the wild yearning after chaos, these are tough poems, gritty and relentless; they indulge neither the reader nor the poet. Their austere lyricism expresses Di Piero's desire for transcendent meaning, and their unflinching attention to natural and cultural history reflects an equally strong instinct for the earthbound.

Out of Eden presents the rigorous investigations and musings of a poet-essayist on the ways in which modern artists have confronted and transfigured the realist tradition of representation. Di Piero pursues his theme with an autobiographical force and immediacy. He fixes his attention on painters and photographers as disparate as Cezanne, Boccioni, Pollock, Warhol, Edward Weston, and Robert Frank. There is indeed a satisfying sweep to this collection: Matisse, Giacometti, Morandi, Bacon, the Tuscan Macchiaioli of the late nineteenth century, the Futurists of the early modern period, and the American pop painters. Di Piero''s analysis of modern images also probes the relation between new kinds of image making and transcendence. The author argues that Matisse and Giacometti, for example, continued to exercise the religious imagination even in a desacralized age. And because Di Piero believes that the visual arts and poetry live intimate, coordinate lives, his essays speak of the relation of poetry to forms in art.This title was originally published in 1991. Out of Eden presents the rigorous investigations and musings of a poet-essayist on the ways in which modern artists have confronted and transfigured the realist tradition of representation. Di Piero pursues his theme with an autobiographical force and imm