Since the first installment of Dunnett’s series was published in 1961, Francis Crawford of Lymond, the swashbuckling protagonist of the stories, has been captivating his fellow characters and readers alike. Instead of approaching the books primarily as historical fiction, Richardson, an enthusiastic admirer of the series, unravels the complexities of the main character by exploring his psychology, positioning the books within the genre of espionage, and examining Dunnett’s strategy of using games in her writing. Richardson’s insight and passion for his subject will inspire fans to revisit Dunnett’s series.
The narrator of the Iliad and the Odyssey[…]belongs neither to the stories he tells nor to the real world. He is not a fictional character living in the heroic world of the epic, nor is he the historical author known as Homer.[…]This metacharacter, the Homeric narrator, is the subject of the present study. [from the Introduction]
Donald Richardson and Scott Richardson
There have been some excellent efforts by modern translators in rendering the choral parts of Aristophanes’ comedies as discernibly entertaining songs, but so far there has been little serious endeavor toward doing the same with the songs of tragedy. This translation is an attempt to do that. The songs herein are unmistakably songs. The content, tone, and themes of each are strictly Euripides’; their formats and musical idioms are modern.
Because this is not a line-for-line translation and because we have taken liberties with the lyrics, we are calling this an adaptation rather than a translation. In our own minds it is a translation, however, for it is more in keeping with the spirit of Iphigenia at Aulis than any other version we know of.
Music has been composed for all the songs. It has been arranged for keyboard, guitar, bass, and drums and is available through either collaborator upon request. [from the Preface]