Prometeo (Italian Edition)
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It is often assumed that translators would always use a printed edition once it had appeared, but B. Working with West's recension of the manuscripts, he finds that Cinuzzi's translation indicates the use of other manuscript s that diverge from the Aldine edition.
In Aeschylus a winged bird conveys the god Oceanos on and off the stage which Cinuzzi replaces with a dolphin, presumably easier to deal with, rather than 'more realistic' as B. The daughters of Oceanos in P. One would expect a rewriting like this to conform with cultural imperatives of the princely courts, and changes intend to soften the Aeschylean picture of Zeus, king of the gods, as a tyrant. A new chorus 'del Traduttore' 'adjusts Aeschylus' view , and another presents the notion of obedience and service to the king of the gods as part of a sacred destiny ff.
For the choral odes Cinuzzi uses a scheme based on septenarii and hendecasyllables, in varying patterns for each strophe, the pattern made more complex by use of rhyme.
Prometeo, Ponte Vecchio, Via dei Bardi - Windows on Italy
For the spoken sections of the Greek text, both of dialogue and monologue, Cinuzzi uses trimeters to render the iambic lines of the original. The text is printed with marginal notations to show recto and verso of the manuscript; footnotes work as a critical apparatus in which the editor signals alterations made to the manuscript by the same hand. On the whole Cinuzzi made very few changes to his original before presenting it to the duke. Cinuzzi's translation is lines of Italian as compared with of the Griffith's Cambridge text.
For most of the Commentary the editor lists groups of lines and matches them, where possible, with the corresponding lines of Aeschylus, noting places where Cinuzzi reworks the original or inserts his own material.
Throughout the commentary B. The third chorus 'del Traduttore' shows this dynamic at work; while using the same themes as the 3rd stasimon of P. Where Aeschylus' chorus sings of unions between gods and men as dangerous, the Italian lyrics concentrate on the distance between the two groups as one between ruler and ruled, providing 'interesting evidence on the ethic of service to the prince' p.
The final episode reinforces these points as the chorus, not Prometheus concludes the play advising obedience to the king of the gods. The volume is well presented, the text itself a model of clarity, but the organisation of material in the introduction can be confusing as the same issues are discussed under more than one heading. Correction: p. Griffith in fact assigns them to the second play, Prometheus Luomenos. We focused all our knowledge of more than 20 years, all we learned about acoustics, dynamics and reconstruction of soundstage. We completely developed it and we are producing it in Italy under AudioBarletta brand.
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