ÎÎδοÏÏα (âMedusaâ) - a tragedy in Classical Attic verse by Chris A. Tsirkas
Chris Tsirkas
Belletristik / Dramatik
Beschreibung
The events of this tragedy unfold in the times of Perseus, in 1,355 BCE, at the Tritonis Lake, which covered an area southwest of present-day Tunisia and northeast of present-day Algeria. During this era, the influence of the once mighty Atlantean Empire (inhabitants of western "Libya") has been confined to the region around the Atlas Mountains and the Tritonis Lake. One of the few Greek cities which still survive in the broader area is "Méne," founded in the past on the shores of the island of "Hespéra", in Tritonis, by the mythical Heracles, who is now deified. The Argives, for the needs of this tragedy, are under the command of the mythical Perseus the 1st, who has come to the region with the aim of its military protection and its recolonization by the Greeks. Simultaneously, they repel the sporadic attacks of the neighboring, warlike nation of the Gorgons. The inhabitants of Tritonis, melanochthonous Atlantean fishermen, fight alongside the Argives against the army of the also neighboring nation of the Libyan Amazons, who have their stronghold on "Cherronesos", within Tritonis.
Medusa, the young former queen of the Gorgons, captured by Perseus from a young age, serves in the temple of Hercules, the Solar deity, in the city of Méne, burdened by a lifelong vow of chastity. The high priestess in the temple of Hercules is Athena, also called "Tritogeneia"; Athena essentially opposes Medusa's service in the temple, considering it disrespectful and offensive to the god, due to the barbaric origin of the latter. Moreover, Athena has discerned Medusa's virtues early on, seeing her as a potential successor –an idea she inherently detests. However, openly, she prefers to support and assist Medusa in her advancement in the priestly hierarchy, in order to avoid raising suspicions –since she knows that Medusa has gained the favor of Perseus despite her initial capture by him. The secret love between Perseus and Medusa will reach Athena's ears, leading her to devise a plan to exterminate Medusa. The only person genuinely friendly to Medusa is the elderly Alyos, the highest priest of Poseidon in Tritonis and last leader of the Atlanteans in Libya.
In the endless chain of human experiences, tragedies derived from the depths of History and Mythology often remind us of the everlasting conflicts between fate, will, and destiny. "Medusa," as such a tragedy, is a blend of desires, divine intervention, and mythological adventures.
Transformation is the central theme highlighted throughout this tragedy, attempting to showcase the richness of the personas, in this dramatical adaptation of the myth of Medusa. It is a dynamic process and a transitional phenomenon which represents change, growth and the discovery of the inner/personal truth.
In this tragedy, the narration of the myth of Medusa unfolds in a more contemporary approach. As the characters undergo profound transformations, the story explores their complex psyche –through the interaction between inner beauty and external appearance– as well as the consequences of actions stemming from free will in contrast to the dictates of necessity. It also delves into the constant juxtaposition between light and darkness. Ultimately, this tragedy attempts to use the theme of transformation as its central element, in order to explore internal conflicts, the influences of the gods, and the interaction between characters and their societal expectations.
With echoes from ancient Greek tragedy and philosophy, viewed through the lens of modern psychology, this reinterpretation of the myth of Medusa invites the reader to witness the transformative power of Mythology through the eternal dance of change and rebirth.
This book includes the original text of "Medusa" –written by me in prosody, in the ancient greek attic dialect– translated side-by-side in modern greek –the Choral parts translated in verse. The translation is accompanied by commentary on a selected number of verses, by a brief analysis of the dramaturgy of each Episode and Stasimon, and by a brief Prologue –all in modern greek.
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Τα γεγονÏÏα ÏÎ·Ï ÏÏαγÏÎ´Î¯Î±Ï ÎµÎºÏÏ
λλίÏονÏαι ÏÏα ÏÏÏνια ÏοÏ
ΠεÏÏÎα, ÏÏο 1.355 ¹.Χ., ÏÏη λίμνη ÏÎ·Ï Î¤ÏιÏÏνίδαÏ, η ο¹Î¿Î¯Î± κάλÏ
¹Ïε μια ¹ÎµÏιοÏή νοÏιοδÏ
Ïικά ÏÎ·Ï ÏημεÏÎ¹Î½Î®Ï Î¤Ï
νηÏÎ¯Î±Ï ÎºÎ±Î¹ βοÏειοαναÏολικά ÏÎ·Ï ÏημεÏÎ¹Î½Î®Ï ÎλγεÏίαÏ. ÎαÏά Ïην ε¹Î¿Ïή αÏ
Ïή, η ε¹Î¹ÏÏοή ÏοÏ
¹Î¿Î»Î¹ÏιÏÎ¼Î¿Ï ÏÎ·Ï ¹Î¬Î»Î±Î¹ ¹Î¿ÏΠαÏ
ÏοκÏαÏοÏÎ¯Î±Ï ÏÏν ÎÏλάνÏÏν (καÏοίκÏν ÏÎ·Ï Î´Ï
ÏÎ¹ÎºÎ®Ï ÇÎιβÏηÏÈ) ÎÏει ¹Î»Îον ¹ÎµÏιοÏιÏÏεί ÏÏην ¹ÎµÏιοÏή γÏÏÏ Î±¹Ï Ïο ÏÏÎ¿Ï ÏοÏ
ÎÏλανÏÎ¿Ï ÎºÎ±Î¸ÏÏ ÎºÎ±Î¹ ÏÏην ΤÏιÏÏνίδα λίμνη. Îια α¹' ÏÎ¹Ï Î»Î¯Î³ÎµÏ ÎµÎ»Î»Î·Î½Î¹ÎºÎÏ ¹ÏÎ»ÎµÎ¹Ï ¹Î¿Ï
ÎÏοÏ
ν ε¹Î¹Î²Î¹ÏÏει ÏÏην εÏ
ÏÏÏεÏη ¹ÎµÏιοÏή είναι η ÇÎήνηÈ, ιδÏÏ
θείÏα ÏÏα ¹Î±Ïάλια ÏÎ·Ï Î½Î®ÏοÏ
ÇÎϹÎÏαÏÈ ÏÎ·Ï Î¤ÏιÏÏÎ½Î¯Î´Î±Ï ÎºÎ±Ïά Ïο ¹Î±ÏελθÏν, α¹Ï Ïον μÏ
Î¸Î¹ÎºÏ ÎÏακλή, ο ο¹Î¿Î¯Î¿Ï ÎÏει ¹Î»Îον θεο¹Î¿Î¹Î·Î¸ÎµÎ¯. Îι ÎιογενείÏ, για ÏÎ¹Ï Î±Î½Î¬Î³ÎºÎµÏ ÏοÏ
ÎÏ
θοδÏάμαÏοÏ, ÏελοÏν Ï
¹Ï Ïην ηγεÏία ÏοÏ
μÏ
Î¸Î¹ÎºÎ¿Ï Î ÎµÏÏÎα ÏοÏ
Î', ο ο¹Î¿Î¯Î¿Ï ÎÏει ÎÏθει ÏÏην ¹ÎµÏιοÏή με Ïκο¹Ï Ïη ÏÏÏαÏιÏÏική ÏÎ·Ï ¹ÏοÏÏαÏία και Ïον ε¹Î±Î½Î±¹Î¿Î¹ÎºÎ¹ÏÎ¼Ï ÏÎ·Ï ¹ÎµÏιοÏÎ®Ï Î±¹' ÏοÏ
Ï ÎÏγείοÏ
Ï. ΤαÏ
ÏοÏÏÏνÏÏ Î´Îµ, α¹Î¿ÎºÏοÏοÏ
ν και ÏÎ¹Ï Ï¹Î¿ÏαδικÎÏ Îµ¹Î¹Î¸ÎÏÎµÎ¹Ï ÏοÏ
γειÏονικοÏ, ¹Î¿Î»ÎµÎ¼Î¿ÏαÏοÏÏ ÎθνοÏ
Ï ÏÏν ÎοÏγÏνÏν. Îι κάÏοικοί ÏÎ·Ï Î¤ÏιÏÏνίδαÏ, μελαμÏοί αÏ
ÏÏÏθονοι ÎÏλανÏÎµÏ ÏαÏάδεÏ, μάÏονÏαι ÏÏο ¹Î»ÎµÏ
ÏÏ ÏÏν ÎÏγείÏν ενανÏίον ÏοÏ
ÏÏÏαÏÎ¿Ï ÏοÏ
ε¹Î¯ÏÎ·Ï Î³ÎµÎ¹ÏÎ¿Î½Î¹ÎºÎ¿Ï ÎθνοÏ
Ï ÏÏν ÎίβÏ
Ïν ÎμαζÏνÏν, οι ο¹Î¿Î¯ÎµÏ ÎÏοÏ
ν ÏÏ Î¿ÏμηÏήÏιο Ïην ÇΧεÏÏÏνηÏοÈ, ενÏÏÏ ÏÎ·Ï Î¤ÏιÏÏνίδαÏ.
Î ÎÎδοÏ
Ïα, νεαÏή ¹ÏÏην βαÏίλιÏÏα ÏÏν ÎοÏγÏνÏν, ÎÏονÏÎ±Ï Î±Î¹ÏμαλÏÏιÏÏεί α¹Ï νεαÏή ηλικία α¹' Ïον ΠεÏÏÎα, Ï
¹Î·ÏεÏεί ÏÏον Î½Î±Ï ÏοÏ
ÎÏακλÎοÏ
Ï ÎλίοÏ
, ÏÏην ¹Ïλη ÏÎ·Ï ÎήνηÏ, βαÏÏ
νÏμενη α¹Ï ιÏÏβιο ÏÏκο αγνÏÏηÏαÏ. Î ÏÏθιÎÏεια ÏÏον Î½Î±Ï ÏοÏ
ÎÏακλÎοÏ
Ï ÎλίοÏ
είναι η Îθήνη, ε¹Î¿Î½Î¿Î¼Î±Î¶Î¿Î¼Îνη και ÇΤÏιÏογÎνειαÈá η Îθήνη, ε¹Î¯ ÏÎ·Ï Î¿Ï
ÏίαÏ, ανÏιÏίθεÏαι ÏÏην Ï
¹Î·ÏεÏία ÏÎ·Ï ÎÎδοÏ
ÏÎ±Ï ÏÏον ναÏ, θεÏÏÏνÏÎ±Ï Ïην Ï
βÏιÏÏική και ¹ÏοÏβληÏική ¹ÏÎ¿Ï Ïο ¹ÏÏÏϹο ÏοÏ
θεοÏ, λÏÎ³Ï ÏÎ·Ï ÎºÎ±ÏαγÏÎ³Î®Ï ÏÎ·Ï ÏελεÏ
ÏαίαÏ, αλλά και ε¹ÎµÎ¹Î´Î® ÎÏει α¹Ï νÏÏÎ¯Ï Î´Î¹Î±ÎºÏίνει ÏÎ¹Ï Î±ÏεÏÎÏ ÏηÏ, ÏÏÏε να Ïην θεÏÏεί ¹Î¹Î¸Î±Î½Î® διάδοÏÏ ÏÎ·Ï –κάÏι Ïο ο¹Î¿Î¯Î¿, ÏÏ
Ïικά, α¹ÎµÏÏεÏαι. ΣÏα ÏανεÏά ÏμÏÏ, ¹ÏοÏιμά να ÏÏ
νÏÏÎÏει και να βοηθάει Ïη ÎÎδοÏ
Ïα ÏÏην εξÎλιξή ÏÎ·Ï ÏÏην ιεÏαÏική ιεÏαÏÏία, ÏÏÏε να μην κινήÏει Ï
¹Î¿ÏÎ¯ÎµÏ –Î¼Î¹Î±Ï ÎºÎ±Î¹ γνÏÏίζει ¹ÏÏ Î· ÏελεÏ
Ïαία ÎÏει, εν ÏÏ Î¼ÎµÏαξÏ, α¹Î¿ÎºÏήÏει Ïην εÏνοια ÏοÏ
ΠεÏÏÎα, ¹Î±Ïά Ïη ÏÏλληÏή ÏÎ·Ï Î±¹' Ïον ίδιο. ΠκÏÏ
ÏÏÏ ÎÏÏÏÎ±Ï Î¼ÎµÏÎ±Î¾Ï ÏοÏ
ΠεÏÏÎα και ÏÎ·Ï ÎÎδοÏ
ÏÎ±Ï Î¸Î± ÏÏάÏει ÏÏ' αÏ
Ïιά ÏÎ·Ï ÎθηνάÏ, η ο¹Î¿Î¯Î± θα εξÏ
Ïάνει ÏÏÎδιο εξÏνÏÏÏÎ·Ï ÏÎ·Ï ÎÎδοÏ
ÏαÏ. ÎÏÎ½Î¿Ï Ïιλικά ¹ÏοÏÎºÎµÎ¯Î¼ÎµÎ½Î¿Ï ÏÏη ÎÎδοÏ
Ïα είναι ο Ï
¹ÎÏγηÏÎ¿Ï ÎλÏ
Î¿Ï –ανÏÏαÏÎ¿Ï Î±ÏÏιεÏÎÎ±Ï ÏοÏ
ΠοÏειδÏνα ÏÏην ΤÏιÏÏνίδα και ÏελεÏ
ÏÎ±Î¯Î¿Ï Î·Î³ÎÏÎ·Ï ÏÏν εν ÎιβÏá¿ ÎÏλάνÏÏν.
ΣÏην αÏελείÏÏη αλÏ
Ïίδα ÏÏν ανθÏϹίνÏν ¹Î±Î¸Ïν, οι ÏÏαγÏÎ´Î¯ÎµÏ ¹Î¿Ï
ανÏλοÏν Ïο ÏδÏÏ ÏοÏ
Ï Î±¹' Ïο βάθη ÏÎ·Ï ÎÏÏοÏÎ¯Î±Ï ÎºÎ±Î¹ ÏÎ·Ï ÎÏ
Î¸Î¿Î»Î¿Î³Î¯Î±Ï ÏÏ
Ïνά Î¼Î±Ï Ï
¹ÎµÎ½Î¸Ï
μίζοÏ
ν Ïη ÏÏγκÏοÏ
Ïη ανάμεÏα ÏÏην ÏÏÏη, ÏÏη θÎληÏη και ÏÏο ¹Îµ¹ÏÏμÎνο. Î ÇÎÎδοÏ
ÏαÈ, ÏÏ Îνα ÏÎÏοιο ÎÏγο, α¹Î¿Ïελεί Îνα κÏάμα ε¹Î¹Î¸Ï
μιÏν, θεÏÎºÎ®Ï ¹Î±ÏÎμβαÏÎ·Ï ÎºÎ±Î¹ μÏ
θολογικÏν ¹ÎµÏι¹ÎµÏειÏν.
ΠμεÏαμÏÏÏÏÏη είναι Ïο κενÏÏÎ¹ÎºÏ Î¸Îμα Ïο ο¹Î¿Î¯Î¿ ¹ÏοβάλλεÏαι ÏÏο μεγαλÏÏεÏο εÏÏÎ¿Ï ÏÎ·Ï ÏÏαγÏδίαÏ, ¹ÏοϹαθÏνÏÎ±Ï Î½Î± αναδείξει Ïον ¹Î»Î¿ÏÏο ÏÏν ÏαÏακÏήÏÏν, καθÏÏ ÎºÎ±Î¹ ÏοÏ
–¹ÏοÏαÏμοÏμÎνοÏ
ÏÏÎ¹Ï Î´ÏαμαÏοÏ
ÏγικÎÏ ÏÎ·Ï Î±Î½Î¬Î³ÎºÎµÏ– μÏθοÏ
ÏÎ·Ï ÎÎδοÏ
ÏαÏ. Îίναι μια δÏ
ναμική διαδικαÏία και Îνα μεÏαβαÏÎ¹ÎºÏ ÏαινÏμενο ¹Î¿Ï
ανα¹Î±ÏιÏÏά Ïην αλλαγή, Ïην ανά¹ÏÏ
ξη και Ïην ανακάλÏ
Ïη ÏÎ·Ï ÎµÏÏÏεÏικήÏ/¹ÏοÏÏ¹Î¹ÎºÎ®Ï Î±Î»Î®Î¸ÎµÎ¹Î±Ï.
Σ' αÏ
Ïή Ïην ÏÏαγÏδία, η αÏήγηÏη ÏοÏ
μÏθοÏ
ÏÎ·Ï ÎÎδοÏ
ÏÎ±Ï Î±Î½Î±¹ÏÏÏÏεÏαι με μια ¹Î¹Î¿ ÏÏγÏÏονη ¹ÏοÏÎγγιÏη. ÎαθÏÏ Î¿Î¹ ÏαÏακÏήÏÎµÏ Ï
¹ÏκεινÏαι Ïε βαθιÎÏ Î¼ÎµÏαμοÏÏÏÏειÏ, η ιÏÏοÏία εξεÏεÏ
νά Ïον ¹ÎµÏί¹Î»Î¿ÎºÎ¿ ÏÏ
ÏιÏÎ¼Ï ÏοÏ
Ï –μÎÏÏ ÏÎ·Ï Î±Î»Î»Î·Î»Îµ¹Î¯Î´ÏαÏÎ·Ï Î¼ÎµÏÎ±Î¾Ï ÏÎ·Ï ÎµÏÏÏεÏÎ¹ÎºÎ®Ï Î¿Î¼Î¿ÏÏÎ¹Î¬Ï ÎºÎ±Î¹ ÏÎ·Ï ÎµÎ¾ÏÏεÏÎ¹ÎºÎ®Ï ÎµÎ¼ÏάνιÏηϖ καθÏÏ ÎºÎ±Î¹ ÏÎ¹Ï ÏÏ
Î½Î¹ÎµÎ¹ÎµÏ ÏÏν ¹ÏάξεÏν ¹Î¿Ï
εκ¹Î¿ÏεÏονÏαι α¹' Ïην ελεÏθεÏη βοÏληÏη Ïε ανÏιδιαÏÏολή με Ïα κελεÏÏμαÏα ÏÎ·Ï Î±Î½Î¬Î³ÎºÎ·Ï, αλλά και Ïη διαÏκή ανÏι¹Î±ÏάθεÏη μεÏÎ±Î¾Ï ÏÏÏÏÏ ÎºÎ±Î¹ ÏκοÏαδιοÏ. Îν ÏÎλει, η ÏÏαγÏδία αÏ
Ïή ¹ÏοϹαθεί να ÏÏηÏιμο¹Î¿Î¹Î®Ïει Ïο θÎμα ÏÎ·Ï Î¼ÎµÏαμÏÏÏÏÏÎ·Ï ÏÏ ÎºÎµÎ½ÏÏÎ¹ÎºÏ ÏÎ·Ï ÏÏοιÏείο, ÏÏÏε να εξεÏεÏ
νήÏει ÏÎ¹Ï ÎµÏÏÏεÏικÎÏ ÏÏ
γκÏοÏÏειÏ, ÏÎ¹Ï Îµ¹Î¹ÏÏοÎÏ ÏÏν θεÏν, καθÏÏ ÎºÎ±Î¹ Ïην αλληλε¹Î¯Î´ÏαÏη μεÏÎ±Î¾Ï ÏÏν ÏαÏακÏήÏÏν και ÏÏν κοινÏνικÏν ÏοÏ
Ï ¹ÏοÏδοκιÏν. Îε ανÏηÏήÏÎµÎ¹Ï Î±¹' Ïην αÏÏαία ελληνική ÏÏαγÏδία και ÏιλοÏοÏία, και Ï
¹Ï Ïο ¹ÏίÏμα ÏÎ·Ï ÏÏγÏÏÎ¿Î½Î·Ï ÏÏ
ÏολογίαÏ, αÏ
Ïή η ε¹Î±Î½ÎµÎºÎ´Î¿Ïή ÏοÏ
μÏθοÏ
¹ÏοÏκαλεί Ïον αναγνÏÏÏη να γίνει μάÏÏÏ
ÏÎ±Ï ÏÎ·Ï Î¼ÎµÏα¹Î»Î±ÏÏÎ¹ÎºÎ®Ï Î´ÏÎ½Î±Î¼Î·Ï ÏÎ·Ï ÎÏ
θολογίαÏ, μÎÏÏ ÏοÏ
αιÏνιοÏ
ÏοÏÎ¿Ï ÏÎ·Ï Î±Î»Î»Î±Î³Î®Ï ÎºÎ±Î¹ ÏÎ·Ï Î±Î½Î±Î³ÎννηÏηÏ.
Το βιβλίο ¹ÎµÏιλαμβάνει Ïο αÏÏÎ¹ÎºÏ ÎºÎµÎ¯Î¼ÎµÎ½Î¿ ÏÎ·Ï ÇÎÎδοÏ
ÏαÏÈ, γÏαμμÎνο α¹Ï εμÎνα Ïε ¹ÏοÏÏδία ÏÏην αÏÏαία αÏÏική διάλεκÏο και μεÏαÏÏαÏμÎνο ÏÏα νÎα ελληνικά –Ïα ÏοÏικά μÎÏη Ïε ÎμμεÏÏο ÏÏίÏο. ΠμεÏάÏÏαÏη ÏÏ
νοδεÏεÏαι α¹Ï ÏÏÏλια ε¹Î¯ ε¹Î¹Î»ÎµÎ³Î¼ÎνÏν ÏÏίÏÏν, α¹Ï ÏÏνÏομη ανάλÏ
Ïη ÏÎ·Ï Î´ÏαμαÏοÏ
ÏÎ³Î¯Î±Ï ÎºÎ¬Î¸Îµ ιειÏοδίοÏ
και ΣÏαÏίμοÏ
, και α¹Ï Îναν ÏÏνÏομο Î ÏÏλογο.
