Search results for ""Author Aeschylus""

Highly acclaimed as translators of Greek and Sanskrit classics, respectively, David Grene and Wendy Doniger O'Flaherty here present a complete modern translation of the three plays comprising Aeschylus' Orestia and, with the assistance of director Nicholas Rudall, an abridged stage adaptation. This blanced and highly successful collaboration of scholars with a theater director solves the contemporary problems of translating and staging the Orestia, which originally was written to be performed in Athens in the first half of the fifth century B.C. While remaning faithful to the original Greek, Grene and O'Flaherty embrace a strong and adventurous English style, vivid and visceral. The language of this extraordinary translation, immediately accessible to a theater audience, speaks across the centuries. Premiered at Chicago's Court Theater in 1986 under Rudall's direction, the stage adaptation of the Orestia proved eminently playable. This new adaptation of the orestia offers a brilliant demonstration of how clearly defined goals (here, the actor's needs) can inspire translators to produce fresh, genuine, accessible dramatic texts. The resulting work provides complete and accurate texts for those who cannot read the original Greek, and it transforms the Orestia into an effective modern stage play. With interpretive introductions written by the translators and director, this new version will be welcomed by teachers of translation courses, by students of Greek and world drama in general, and by theater professionals.

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The only surviving play of Aeschylus to be based on a historical eventthe Greek victory at Salamis just a few years before the play was writtenPersians appears in Deborah H. Roberts'' brilliant new verse translation accompanied by her Introduction, Notes, Maps, and Chronology. Also included are newly translated excerpts from Herodotus' Histories that should fascinate any reader of the play.

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Aeschylus (525–456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. In Prometheus Bound the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. The Suppliants tells the story of the fifty daughters of Danaus who must flee to escape enforced marriages, while Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus. And The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the aftermath of the defeat of Persia in the battle of Salamis, with a sympathetic portrayal of its disgraced King Xerxes.Philip Vellacott’s evocative translation is accompanied by an introduction, with individual discussions of the plays, and their sources in history and mythology.

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Aaron Poochigian's new translations of Aeschylus's earliest extant plays provide the clearest rendering yet of their formal structure. The distinction between spoken and sung rhythms is as sharp as it is in the source texts, and for the first time readers in English can fully grasp the balanced, harmonious arrangement of choral odes. The importance of these works to the history of drama and tragedy and to the history of classical literature is beyond question, and their themes of military hubris and foreign versus native are deeply relevant today. Persians offers a surprisingly sympathetic portrayal of the Athenians' most hated enemy; in Seven against Thebes Argive invaders, though no less Greek than the Thebans themselves, are portrayed as barbarians; and in Suppliants the city of Argos is called upon to protect Egyptian refugees. Based on textual evidence and the archaeological remains of the Theater of Dionysus at Athens, Poochigian's introductory overview of stage properties and accompanying stage directions allow readers to experience the plays as they were performed in their own time. He is most careful in his translations of the plays' choral odes. Instead of rendering them with little or no form, Poochigian has preserved the comprehensive structures Aeschylus himself employed. Readers are thus able to recognize Aeschylus as a master of poetry as well as of drama. Poochigian's translations are the most accurate renditions of the poetry and dramaturgy of the original works available. Intended to be both read as literature and performed as plays, these translations are lucid and readable, while remaining staunchly faithful to the texts.

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This is an outstandingly useful edition of Prometheus Bound. The translation is both faithful and graceful, and the introduction to this difficult play is a model of clarity, intelligence, and a profound familiarity with the workings of Greek myth, Greek literature, and literature in general. --Rachel Hadas, Department of English, Rutgers University

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Aeschylus (525-c.456 bc) set his great trilogy in the immediate aftermath of the Fall of Troy, when King Agamemnon returns to Argos, a victor in war. Agamemnon depicts the hero's discovery that his family has been destroyed by his wife's infidelity and ends with his death at her callous hand. Clytemnestra's crime is repaid in The Choephori when her outraged son Orestes kills both her and her lover. The Eumenides then follows Orestes as he is hounded to Athens by the Furies' law of vengeance and depicts Athene replacing the bloody cycle of revenge with a system of civil justice. Written in the years after the Battle of Marathon, The Oresteian Trilogy affirmed the deliverance of democratic Athens not only from Persian conquest, but also from its own barbaric past.

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Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae, the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig’s annotated translation of Aeschylus' Seven Against Thebes, Euripides' Suppliants, and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays—those dealing with the war between Oedipus’ sons, its casualties, and survivors.

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Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae, the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig’s annotated translation of Aeschylus' Seven Against Thebes, Euripides' Suppliants, and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays—those dealing with the war between Oedipus’ sons, its casualties, and survivors.

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Aeschylus (525-456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the final defeat of Persia in the battle of Salamis, through the eyes of the Persian court of King Xerxes, becoming a tragic lesson in tyranny. In Prometheus Bound, the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus, while The Suppliants relates the pursuit of the fifty daughters of Danaus by the fifty sons of Aegyptus, and their final rescue by a heroic king.

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Aaron Poochigian's new translations of Aeschylus's earliest extant plays provide the clearest rendering yet of their formal structure. The distinction between spoken and sung rhythms is as sharp as it is in the source texts, and for the first time readers in English can fully grasp the balanced, harmonious arrangement of choral odes. The importance of these works to the history of drama and tragedy and to the history of classical literature is beyond question, and their themes of military hubris and foreign versus native are deeply relevant today. Persians offers a surprisingly sympathetic portrayal of the Athenians' most hated enemy; in Seven against Thebes Argive invaders, though no less Greek than the Thebans themselves, are portrayed as barbarians; and in Suppliants the city of Argos is called upon to protect Egyptian refugees. Based on textual evidence and the archaeological remains of the Theater of Dionysus at Athens, Poochigian's introductory overview of stage properties and accompanying stage directions allow readers to experience the plays as they were performed in their own time. He is most careful in his translations of the plays' choral odes. Instead of rendering them with little or no form, Poochigian has preserved the comprehensive structures Aeschylus himself employed. Readers are thus able to recognize Aeschylus as a master of poetry as well as of drama. Poochigian's translations are the most accurate renditions of the poetry and dramaturgy of the original works available. Intended to be both read as literature and performed as plays, these translations are lucid and readable, while remaining staunchly faithful to the texts.

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This is an outstandingly useful edition of Prometheus Bound. The translation is both faithful and graceful, and the introduction to this difficult play is a model of clarity, intelligence, and a profound familiarity with the workings of Greek myth, Greek literature, and literature in general. --Rachel Hadas, Department of English, Rutgers University

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Agamemnon *Libation Bearers *Eumenides Aeschylus' Oresteia is the only trilogy to survive from Greek tragedy, and the religious and moral ideas it enacts afterwards influenced a great dramatic genre, as well as giving its three plays their lasting significance. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurate a way of just conduct that will ensure stable families and a strong community. The Oresteia is majestic as theatre and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the interconnection of scenes, ideas, and language that distinguishes this unique work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Aeschylus is the first of the great Greek playwrights, and the four plays in this volume demonstrate the remarkable range of Greek tragedy. Persians is the only surviving tragedy to draw on contemporary history, the Greeks' extraordinary victory over Persia in 480 BC. The Persians' aggression is inhuman in scale, and offends the gods, but while celebrating the Greek triumph, Aeschylus also portrays the shock of the defeated with some compassion. In Seven Against Thebes a royal family is cursed with self-destruction, in a remorseless tragedy that anticipates the grandeur of the later Oresteia. Suppliants portrays the wretched plight of the daughters of Danaus, fleeing from enforced marriage; as refugees they seek protection, and must plead a moral and political case to gain it. And in Prometheus Bound, Prometheus is relentlessly persecuted by Zeus for benefitting mankind in defiance of the god. Christopher Collard's highly readable new translation is accompanied by an introduction that sets the plays in their original context, and together with the notes considers theatrical and poetic issues, as well as details of content and language. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Tantalizing quotations from lost tragedies.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

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One of the foundational texts of Western literature, the Oresteia trilogy is about cycles of deception and brutality within the ruling family of Argos. In Agamemnon, queen Clytemnestra awaits her husband’s return from war to commit a terrible act of retribution. The next plays, radically retitled here as The Women at the Graveside and Orestes in Athens, deal with the aftermath of the regicide, Orestes’ search to avenge his father’s death and his ceaseless torment. A powerful discourse on the formation of democracy, The Oresteia illuminates the tensions between loyalty to one’s family and to the community. In this classic for future generations, Oliver Taplin captures the lyricism of the original.

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Orestes' parents are at war. A family drama spanning several decades, a huge, moving, bloody saga, Aeschylus' greatest and final play asks whether justice can ever be done - and continues to resonate more than two millennia after it was written. Following Mr Burns and 1984, Almeida Associate Director Robert Icke radically reimagines Oresteia for the modern stage, in its first major London production in more than a decade. Lia Williams returns to the Almeida as Klytemnestra.

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The Libation Bearers (Choephori) of Aeschylus is the central tragedy of his Oresteia, the only Greek trilogy that survives in full and one of the acknowledged masterpieces of Greek literature. The play enacts and explores in profound detail the unsettling myth of Orestes, the young hero who was obliged to avenge the murder of his father Agamemnon by killing his mother Clytemnestra. The standard commentary, by A. F. Garvie, is intended for advanced students and professional scholars and makes few concessions to the less experienced. This edition, while taking full account of the latest advances in scholarship and criticism, seeks to make the play accessible to a much wider range of readers. Besides an introduction and bibliography it includes a newly constituted Greek text (with critical apparatus), a facing translation closely matched to this, and a commentary keyed to the translation. The commentary seeks to interpret the play at all levels, not avoiding detailed issues of textual criticism and the meaning of individual words but also exploring the play’s imagery, questions of stagecraft and dramatic effect, the poet’s use of existing mythical and poetic material, and the wider significance of the play in relation to the rest of the trilogy.

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Agememnon is the first part of the Aeschylus's Orestian trilogy in which the leader of the Greek army returns from the Trojan war to be murdered by his treacherous wife Clytemnestra. In Sophocles' Oedipus Rex the king sets out to uncover the cause of the plague that has struck his city, only to disover the devastating truth about his relationship with his mother and his father.Medea is the terrible story of a woman's bloody revenge on her adulterous husband through the murder of her own children.

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For readers accustomed to the relatively undramatic standard translations of Prometheus Bound, this version by James Scully, a poet and winner of the Lamont Poetry Prize, and C. John Herington, one of the world's foremost Aeschylean scholars, will come as a revelation. Scully and Herington accentuate the play's true power, drama, and relevance to modern times. Aeschylus originally wrote Prometheus Bound as part of a tragic trilogy, and this translation is unique in including the extant fragments of the companion plays.

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Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeshylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Tourians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

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Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

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This translation is the result of a close collaboration between theatre director and playwright, Andy Hinds (author of Acting Shakespeares Language), and Classics scholar, Dr. Martine Cuypers (Trinity College Dublin). Whilst preserving a scholarly fidelity to the original Greek, the translation is written in a clear and energetic verse, designed to be as 'performable' in the theatre, as it is readable in the home or study. It will be of equal interest and use, therefore, to teachers, students and academics, to actors and directors, and to the general reader. The Oresteia is released as a companion volume to Hinds translation of Iphigenia in Aulis. Iphigenia represents Euripides version of a key episode in the great saga, The Fall of the House of Atreus, while The Oresteia relates Aeschylus version of the continuation and conclusion of the saga.

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Drama Classics: The World's Great Plays at a Great Little Price Aeschylus' great trilogy of Greek tragedies about the end of the curse on the House of Atreus, The Oresteia comprises Agamemnon, Choephori (Libation-Bearers) and Eumenides (The Furies). A fourth play, Proteus, originally formed part of a tetralogy, but has not survived. The trilogy was first performed at the Dionysia festival in Athens in 458 BC, where it won first prize. This English version of The Oresteia, in the Nick Hern Books Drama Classics series, is translated and introduced by Marianne McDonald and J. Michael Walton.

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This Norton Critical Edition includes: Oliver Taplin’s new translation of the fifth-century B.C.E. Greek tragedy—a trilogy of revenge and murder within the royal family of Argos—with explanatory annotations by the editors, ancient backgrounds and responses from Homer, Stesichorus, Pindar, Euripides and Sophocles, fourteen wide-ranging critical essays on the Oresteia, from G. W. F. Hegel and Friedrich Nietzsche to Oliver Taplin and Peter Wilson, a Glossary of Technical Terms and Proper Names and a Selected Bibliography.

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The only trilogy in Greek drama that survives from antiquity, Aeschylus' The Oresteia is translated by Robert fagles with an introduction, notes and glossary written in collaboration with W.B. Stanford in Penguin Classics.In the Oresteia Aeschylus addressed the bloody chain of murder and revenge within the royal family of Argos. As they move from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration. In Agamemnon, a king's decision to sacrifice his daughter and turn the tide of war inflicts lasting damage on his family, culminating in a terrible act of retribution; The Libation Bearers deals with the aftermath of Clytemnestra's regicide, as her son Orestes sets out to avenge his father's death; and in The Eumenides, Orestes is tormented by supernatural powers that can never be appeased. Forming an elegant and subtle discourse on the emergence of Athenian democracy out of a period of chaos and destruction, The Oresteia is a compelling tragedy of the tensions between our obligations to our families and the laws that bind us together as a society.Aeschylus (525-456 BC) was born near Athens. He wrote more than seventy plays, of which seven have survived, all translated for Penguin Classics: The Supplicants, The Persians, Seven Against Thebes, Prometheus Bound, Agamemnon, The Libation Bearers and The Eumenides.If you enjoyed The Oresteia, you might like Euripides' Medea and Other Plays, also available in Penguin Classics.'Conveys more vividly and powerfully than any of the ten competitors I have consulted the eternal power of this masterpiece ... a triumph'Bernard Levin'How satisfying to read at last a modern translation which is rooted in Greek feeling and Greek thought ... both the stature and the profound instinctive genius of Aeschylus are recognised'Mary Renault, author of The King Must Die

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Meineck's translation is faithful and supple; the language employed is modern without betraying the grandeur and complexity--particularly the images--of the Aeschylean text. After reading this translation, one has but one further wish: to see it and hear it at Delphi, Epidaurus or Syracuse. --Herman Van Looy, L'Antiquite Classique

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