Peter Liebregts

Turning the tables on the misconception that Ezra Pound knew little Greek, this volume looks at his work translating Greek tragedy and considers how influential this was for his later writing. Pound's work as a translator has had an enormous impact on the theory and practice of translation, and continues to be a source of heated debate. While scholars have assessed his translations from Chinese, Latin, and even Provençal, his work on Greek tragedy remains understudied. Pound's versions of Greek tragedy (of Aeschylus' Agamemnon, and of Sophocles' Elektra and Women of Trachis) have received scant attention, as it has been commonly assumed that Pound knew little of the language. Liebregts shows that the poet's knowledge of Greek was much more comprehensive than is generally assumed, and that his renderings were based on a careful reading of the source texts. He identifies the works Pound used as the basis for his translations, and contextualises his versions with regard to his biography and output, particularly The Cantos. A wealth of understudied source material is analysed, such as Pound's personal annotations in his Loeb edition of Sophocles, his unpublished correspondence with classical scholars such as F. R. Earp and Rudd Fleming, as well as manuscript versions and other as-yet-unpublished drafts and texts which illuminate his working methodology.

Translations of Greek Tragedy in the Work of Ezra Pound

Karl A. E. Enenkel

One of the most noticeable features of the Renaissance is what Jacob Burckhardt called the rise of the individual - in politics and religion, in its social life and in the arts, and in the mentality of Renaissance man, with his inclination to explore, to invent and to make new discoveries. Yet this characteristic is also very puzzling to modern people, who see that although the categories of art which depict particular people increased to a spectacular degree in a period when biography and portrait painting were among the most popular genres, and autobiography began to emerge as a genre in itself and painters began to produce self-portraits, an interest individuals is not necessarily the same thing as the more recent interest in the purely personal aspects of individuals. Literary and artistic traditions, social and ideological backgrounds, and the motives for the production of literature have changed profoundly: Renaissance biography and autobiography, portraiture and self-portraiture have little to do with their modern counterparts. Therefore this book stresses that the Renaissance is not predominantly a mirror of modernity, but rather a period of stimulating difference or alterity. The contributors to this collection of essays aim to create a better understanding of Renaissance biographies and portraits through the analysis and reconstruction of the traditions, contexts, backgrounds and circumstances of their production.

Peter Liebregts

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