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Three Plays of Racine: Phaedra, Andromache, and Britannicus (Phoenix Books) Paperback – September 15, 1961

4.8 4.8 out of 5 stars 3 ratings

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"George Dillon has elected for speed and clarity; his speed, of which short quotations can impart no notion, is his equivalent for Racine's impetuous dexterity with the French Alexandrine. . . . Momentum, in such a version, is everything. It stands as a homage to Racine's strength of construction . . . and to the expressive power of his themes, on which Mr. Dillon's prefaces have eloquent and sensible things to say."—Hugh Kenner, National Review

"His literal and flexible blank verse actually forms the nearest thing in English to the longer-measured rhymed couplets of Racine; even an ordinary reading aloud of so faithful a rendering provides something of the experience that Proust described."—Elliott Coleman,
Poetry

"A superb introduction . . . flawless translations, infused with poetic fire and charm."—Margaret Carpenter,
Norfolk Virginian-Pilot
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Editorial Reviews

About the Author

George Dillon (1906-1968) was the editor of Poetry and author of two collections of poems, Boy in the Wind and The Flowering Stone. In 1931 he won the Pulitzer Prize for poetry. Dillon was co-translator, with Edna St. Vincent Millay, of Baudelaire’s Flowers of Evil.

Product details

  • ASIN ‏ : ‎ 0226150771
  • Publisher ‏ : ‎ University of Chicago Press; No Stated edition (September 15, 1961)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 212 pages
  • ISBN-10 ‏ : ‎ 0226100391
  • ISBN-13 ‏ : ‎ 978-0226150772
  • Item Weight ‏ : ‎ 8.9 ounces
  • Dimensions ‏ : ‎ 5.25 x 0.7 x 8 inches
  • Customer Reviews:
    4.8 4.8 out of 5 stars 3 ratings

Customer reviews

4.8 out of 5 stars
4.8 out of 5
3 global ratings

Top review from the United States

Reviewed in the United States on November 23, 2018
These three plays of Racine teleport Theseus, Nero and Orestes to the court of the Sun King in 18th century France. While no longer vehicles for Dionysian worship, the plays shimmer with characters that seem more Shakespearean than Greek. And, even in translation, the plays are a pleasure to read, both emotionally and intellectually.

Nor should one think that the retelling of Greek tragedy to suit 18th century mores is somehow a betrayal of the text. The Greeks themselves told and retold these myths from different perspectives. Thus, the same characters appear with slight differences in plot in Aeschylus, Sophocles and Euripides. By making the characters seem like contemporaries of early modern France, Racine is merely following an ancient tradition.

Moreover, Racine chose subjects and wrote dialogue that evoked romantic love in all its tortuous and painful aspects more than the first Greek playwrights. By making romantic love the primary theme, Racine’s renditions appeal to moderns in a way that Dionysian ritual does not.

I recommend this text to all non Franco-phones who have an interest in the time when French culture was the pinnacle which the rest of Europe strove to imitate. Easy to understand with characters that are drawn more from modern theater than ancient drama, these retellings of Greek myths reverberate with an impressive resonance for the contemporary reader. In short, a pleasurable way to extend one’s cultural fluency.