Drama

Macbeth (Penguin Clásicos) by William Shakespeare

By William Shakespeare

Los mejores libros jamás escritos
Edición bilingüe. Versión de Agustín García Calvo
La tragedia de Macbeth, un violento y sanguinario mapa de los angeles ambición humana, empieza en el preciso instante en que las hermanas fatídicas le revelan el esplendoroso futuro que le aguarda. Sus palabras parecen un canto de sirena surgido de las profundidades del infierno, una seducción que cualquier hombre sensato desoiría. Pero cuando se cumple los angeles primera predicción y el rey Duncan le nombra barón de Cáudor para recompensar su inteligencia y destreza en el campo de batalla, las dudas, los angeles codicia y l. a. obsesión se apoderan de Macbeth y de su ávida esposa.
Frente al magnífico texto unique presentamos los angeles versión rítmica de Agustín García Calvo, uno de los humanistas más destacados del landscape español. Asimismo, viene acompañada de una introducción de Carol Chillington Rutter, catedrática de literatura inglesa de l. a. Universidad de Warwick.
«¡Salud a ti, Macbeth! ¡Salud, barón de Glamis!
¡Salud a ti, Macbeth! ¡Salud, barón de Cáudor!
¡Salud a ti, Macbeth! Serás un día rey.»

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Additional resources for Macbeth (Penguin Clásicos)

Example text

Thus Plato’s dialogue actually depicts a contest, that of drama and playwriting, between two other con- 34 encou n ter s tests—the thespian playwriting competition and the eulogies. Socrates’ final philosophical arguments in his report from his conversations with Diotima lead to the ultimate “showdown,” in which Socrates reproaches the two exhausted playwrights for the limitations of their own particular individual skills: they know how to write only either tragedy or comedy. The Symposium can be viewed as a multileveled expression of this competitive spirit, with Plato’s text in itself, both in form and content, literally “performing” the contest between philosophy and drama, crowning Socrates the philosopher, who through the philosophical discourse is apparently capable of combining the two genres.

It is the journey from one place to another, and in some cases even the exilic, unending journey without a defined goal, except for the need to escape to somewhere else. In all of the four encounters presented, the travelers become inscribed by the road, at the same time as the road becomes an inscription, or a text, announcing both dangers and accidents on the uncertain journey to a desired or fortuitous goal. Benjamin and Brecht discussed Kafka’s The Next Village (“Das Nächste Dorf ”), about the rider setting out on a journey from one village to the next who will probably never arrive.

Each of us, then, is a “matching-half” of a human whole, because each was sliced like a flatfish, two out of one, and each of us is always seeking the half that matches him. (474, 191d) Aristophanes goes on to explain that the search for these counterparts depends on the mix of genders of the original four-legged creature, expressing three distinct possibilities of union between humans: man and woman (the androgynes), woman and woman, and man and man. Besides being the source of the sexual preference of every two-legged individual, the desire for the missing half also serves as a metaphor for the reunification and ultimate unity of tragedy and comedy through philosophy for which Socrates is supposedly advocating in his discussion with the two drowsy playwrights.

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