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Die Vögel

von Aristophanes

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475940,999 (3.24)55
Disenchanted with the corruption of their native Athens, a pair of friends unite with the birds to found an idyllic city in the clouds. Widely acknowledged as Aristophanes' masterpiece, this sparkling fantasy resounds with comic vitality, combining witty dialog, interludes of exquisite lyricism, and clever stage effects for an irresistible extravaganza.… (mehr)
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This was an entertaining, and widely imaginative, play by Aristophanes. The comedy was at times witty and at times slapstick. Overall, I enjoyed it and feel that those interested in comedies, and ancient Greek drama, will enjoy reading this.

3 stars. ( )
  DanielSTJ | May 16, 2020 |
Masterful translation of a witty play. I'm not sure of the meaning of the play, but I can see where elements of low humor today were birthed in ancient times. I appreciated the translator's notes and glossary. They explained many obscure [to us] references--cultural and topical in Aristophanes' day. I read this to compare it with Braunfels' treatment of the story in his opera "Die Vogel" based on the same play. ( )
  janerawoof | Aug 9, 2016 |
This is a great play in any translation, but Arrowsmith's decision to use various dialects (such as Brooklynese) for some of the characters (to reproduce the effect the use of various Greek dialects would have had on the original audience) is brilliant. This is inspired nonsense that holds up even after 2000 years. If you think Greek plays aren't for you, try this one. ( )
  datrappert | Jan 18, 2016 |
The important thing to note about this review is that I'm reading the version of the Birds that's subtitled "A Modern Translation by William Arrowsmith." If you read a translation by someone else it's likely you'll have a different experience - but then, a lot of your enjoyment of Aristophanes will depend on the translator's own sense of humor.

This is a text where it's critical to read the notes - not just for explanations but to get an idea of what Aristophanes is trying to make a joke about, but also to enjoy Arrowsmith. The man writes some delightful notes.

You can read the plot on wikipedia, but the short version is that two Athenians go to the birds and convince them to set up a kingdom so that the Athenians don't have to go back to Athens, where there are too many taxes and fees, and other annoyances. Here one of the characters tells the beginning of why they left, p. 19. I've added the notes from the back of the book (for this quote, p 135-136) - this is a good example of the translator giving you background and also letting you know when he's substituted words: Euelpides:
...Think of it man:
here we are dying to go tell it to the Birds,*
and then, by god, we can't even find the way.

To the Audience.
Yes, dear people, we confess we're completely mad.
But it's not just like Sakas'* madness. Not a bit.
For he, poor dumb foreigner, wants in, while we,
born and bread Athenians both, true blue,
true citizens, not afraid of any man,
want out.
Yes, we've spread our little feet
and taken off. Not that we hate Athens -
heavens, no. And not that dear old Athens
isn't grand, that blessed land where men are free -
to pay their taxes.*

Relevant text from the Notes section:

Sakas: [via note on text p. 18] "From the frequent allusions in the play to men who, technically ineligible, had somehow managed to get themselves enrolled as Athenian citizens, it's tempting to believe that proposals to revise the citizenship lists were in the air or had recently been carried out. The climax of these allusions comes in the final scene of the play, in which Posthetairos attempts to prove that Herakles is technically a bastard (and hence can not inherit Zeus' estate) since his mother was an ordinary mortal, i.e., of foreign stock.

"to pay their taxes": A slight modernization of the Greek which says: "to pay fines."Euelpides goes on to give specifics about what made them leave Athens: "legal locusts" - by which he means lawyers. Here's the section in the Notes on that reference, p. 136:"because of legal locusts": Aristophanes favorite complaint against Athens, and one which the entire Wasps is devoted. But although Aristophanes here develops Athens' love of litigation as the major source of dissatisfaction, elsewhere throughout the play other grievances emerge: the restless and mischievous Athenian character (called [Greek word I can't type!]); the plague of informers; the victimization of the Allies; the ambition for power, an ambition which knows no limits and whose only goal is World Mastery ([another word in Greek]).

Another point I'll toss in here (for lack of a good transition elsewhere) is that the word/concept Cloudcuckooland (that has been tossed about in pop culture in various places) comes from this play. It's the name of the new kingdom/city that one of our Athenians (Pisthetairos) convinces the birds to build in the clouds.

Many times Arrowsmith will explain what specific Greek he translated, how he modernized it into a joke we'd understand, and what the original was.

[I was going to add an example quote here, but ran out of time on my trip and had to leave the book with my father - because he enjoys reading Aristophanes every now and then - and now don't have it to quote. So you'll just have to believe me when I say that Arrowsmith does this more than once.]

I suggest that you be sure to read the Introduction after you've read the play - not because it spoils anything but because it explains a lot, and specifically gives reasons for how Arrowsmith has chosen to translate the play.

p 13, Introduction:...For fidelity's sake, this is also a poetic version. A prose Aristophanes is to my mind as much a monstrosity as a limerick in prose paraphrase. And for much the same reasons. If Aristophanes is visibly obscene, farcical, and colloquial, he is also lyrical, elegant, fantastic, and witty. And a translation which, by flattening incongruities and tensions, reduces one dimension necessarily reduces the other. Bowdlerize Aristophanes and you sublimate him into something less vital and whole; prose him and you cripple his wit, dilute his obscenity and slapstick, and weaken his classical sense of the wholeness of human life.

p 71-72, for those who haven't read Aristophanes, an example of his rude/obscene/however-you-categorize-it moments (not at first, I left in the comedy build up to it): Chorus:
Friends, you haven't really lived till you've tried a set of FEATHERS!
Think, spectators.
Imagine yourself with a pair of wings!
The sheer joy of it! Not having to sit those tragedies out!
No getting bored. You merely flap your little wings and fly off home.
You have a snack, then make it back to catch the COMIC play.
Or again, suppose your're overtaken by a sudden need to crap.
Do you do it in your pants?
Not a bit.
You just zoom off,
fart and shit to your heart's content and whizz right back.
Or perhaps you're having an affair - I won't name any names.
You spot the lady's husband attending some meeting or other.
Up you soar, flap your wings, through the window and into bed!
You make it a quickie, of course, then flutter back to your seat.
So what do you say?
Aren't wings the most wonderful things?This is actually pretty mild stuff (for our day and age, not the Victorians), there's plenty of more racy, phalus-oriented material elsewhere. However this speech is being spoken by a chorus of birds (actors dressed humorously as birds, that is), and a good example of the weirdness/humor in this play. ( )
  bookishbat | Sep 25, 2013 |

Nephelococcygia, a metropolis in air,
Zeus' cloudy nightmare,
Unlikely a bedroom scare
From a sparrow’s wild rare.

A respite between heaven and earth,
“An avian heaven”, says Pisthetaerus,
Flirting with the nightingale’s mirth
Hoopoe consents ; what a fucking putz!

Sacred chants float over the lustral waters,
The birds join the jubilant choir,
The peacock dancing in a tutu simply backfires,
It’s not an ass-whooping Le Ballet Noir!

The pelican, the spoon-bill, the horned-owl, the teal, the stormy petrel and the titmouse,
Solemnized the laws of the land,
Harboring the Olympians grouse,
I rather be chained and canned.

Messiah to Bitch Dependency,
“Birds over bitches!” proclaims a pimp called Slickback,
Pleading for wings is a bitch tendency,
Cloud-cuckoo town- a two-cent hustler.

Rainbows descent on womanly divinity,
“That’s a bitch!” , yelps Slickback,
Iris, messenger of Gods, heart of Zeus’ affinity,
“That bitch’s gonna fuck y’all".

Perching on twigs, the birds laud the forgotten heroes,
A choral interlude, a cry for pigeons,
Howl the pigeons preening their Afros,
“You came to the wrong neighborhood, motherfucking wigeons!”

A cry of an amateur,
Verses may not rationally click
Least an award clincher,
I care a fuck ; I just blasted a stick!








( )
  Praj05 | Apr 5, 2013 |
keine Rezensionen | Rezension hinzufügen

» Andere Autoren hinzufügen (25 möglich)

AutorennameRolleArt des AutorsWerk?Status
AristophanesHauptautoralle Ausgabenbestätigt
Arrowsmith, WilliamÜbersetzerCo-Autoreinige Ausgabenbestätigt
Barrett, DavidÜbersetzerCo-Autoreinige Ausgabenbestätigt
De Waele, E.EinführungCo-Autoreinige Ausgabenbestätigt
De Waele, E.ÜbersetzerCo-Autoreinige Ausgabenbestätigt
Del Corno, DarioÜbersetzerCo-Autoreinige Ausgabenbestätigt
Fitts, DudleyÜbersetzerCo-Autoreinige Ausgabenbestätigt
Harrie, IvarÜbersetzerCo-Autoreinige Ausgabenbestätigt
Holzberg, NiklasÜbersetzerCo-Autoreinige Ausgabenbestätigt
Meunier, MarioÜbersetzerCo-Autoreinige Ausgabenbestätigt
Murray, GilbertÜbersetzerCo-Autoreinige Ausgabenbestätigt
Rogers, Benjamin BickleyÜbersetzerCo-Autoreinige Ausgabenbestätigt
Sinn, UlrichÜbersetzerCo-Autoreinige Ausgabenbestätigt

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Disenchanted with the corruption of their native Athens, a pair of friends unite with the birds to found an idyllic city in the clouds. Widely acknowledged as Aristophanes' masterpiece, this sparkling fantasy resounds with comic vitality, combining witty dialog, interludes of exquisite lyricism, and clever stage effects for an irresistible extravaganza.

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