The Persians Aeschylus - The Persians is an Athenian tragedy by the ancient Greek playwright Aeschylus. First produced in 472 BC, it is the oldest surviving play in the history of theatre. It dramatises the Persian response to news of their military defeat at the Battle of Salamis (480 BC), which was a decisive episode in the Greco-Persian Wars; as such, the play is also notable for being the only extant Greek tragedy that is based on contemporary events.
An extraordinary drama of flight and rescue arising from women's resistance to marriage, The Suppliants is surprising both for its exotic color and for its forceful enactment of the primal struggle between male and female, lust and terror, brutality and cunning. In his translation of this ancient Greek drama, Peter Burian introduces a new generation of readers to a powerful work of Aeschylus' later years. He conveys the strength and daring of Aeschylus' language in the idiom of our own time, while respecting what is essentially classical in this dramatist's art: the rigor of the formal constraint with which he compresses high emotion to the bursting point. The Suppliants, which is the first and only surviving part of a trilogy, does not conform to our expectations of Greek drama in that it has neither hero, nor downfall, nor tragic conclusion. Instead the play portrays unresolved conflicts of sexuality, love, and emotional maturity. These distinctly modern themes come alive in a translation that re-creates the psychological immediacy as well as the dramatic tension of this ancient work. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
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.
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.
This updated translation of the Oresteia trilogy and fragments of the satyr play Proteus includes an extensive historical and critical introduction. In the third edition of The Complete Greek Tragedies, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining their vibrancy for which the Grene and Lattimore versions are famous. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. Each volume also includes an introduction to the life and work of the tragedian and an explanation of how the plays were first staged, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. The result is a series of lively and authoritative translations offering a comprehensive introduction to these foundational works of Western drama.
The Oresteia is a trilogy of Greek tragedies written by Aeschylus which concerns the end of the curse on the House of Atreus. When originally performed it was accompanied by Proteus, a satyr play that would have been performed following the trilogy; it has not survived. The term "Oresteia" may have originally referred to all four plays, but today is generally used to designate only the surviving trilogy. The only surviving example of a trilogy of ancient Greek plays, the Oresteia was originally performed at the Dionysia festival in Athens in 458 BC, where it won first prize. A principal theme of the trilogy is the shift from the practice of personal vendetta to a system of litigation. The name derives from the character Orestes, who sets out to avenge his father after his mother's affair with Aegisthus.Aeschylus (circa 525 BC – 455 BC) was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. According to Aristotle, he expanded the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Only seven of his estimated seventy to ninety plays have survived into modern times.
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.
The Suppliants Aeschylus - The Danaids form the chorus and serve as the protagonists. They flee a forced marriage to their Egyptian cousins. When the Danaides reach Argos, they entreat King Pelasgus to protect them. He refuses pending the decision of the Argive people, who decide in the favor of the Danaids. Danaus rejoices the outcome, and the Danaids praise the Greek gods. Almost immediately, a herald of the Egyptians comes to attempt to force the Danaids to return to their cousins for marriage. Pelasgus arrives, threatens the herald, and urges the Danaids to remain within the walls of Argos. The play ends with the Danaids retreating into the Argive walls, protected.
The third and final play in Aeschylus' Oedipodea trilogy, Seven Against Thebes is the only one of the three plays that has survived intact to this day. During the course of the action-packed play, seven would-be usurpers storm the city's gates in a series of brutal attacks. Will the family -- still weakened by the curse put on its patriarch, Oedipus -- be able to marshal the strength to fight back?
Presents a modern translation of the ancient Greek trilogy which traces the chain of murder and revenge within the royal family of Argos, commissioned by the Royal National Theatre for performance in the Fall of 1999.
Aeschylus was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. Only seven of his estimated seventy to ninety plays have survived into modern times. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work.
The Persians (Persae) is Aeschylus' first surviving play. Unlike all other surviving Greek tragedies, which deal with persons and events from the remote, mythical past, it is about living persons and events that took place barely eight years before it was produced in March 472 BC. The setting of the play is Susa, the Persian capital: its hero, the Persian king who came so close to defeating the Greeks in 480: its theme, his own defeat at their hands. Anthony J. Podlecki's translation of the play is complemented by a comprehensive introduction and notes, drawing the reader's attention to conventions of idiom and imagery, legend and allusion. With detailed discussion of the play in relation to possible antecedents, levels of tragic action and metrical schema, the book is ideally suited to students of drama and literature as well as classics.
First performed in 458BC, Aeschylus's trilogy of plays - known collectively as The Oresteia - remains perhaps the great masterpiece of Ancient tragic drama. Telling the bloody story of the House of Atreus, Aeschylus's tragedy stages an eternal debate about justice and revenge that remains relevant more than two millenia later. Now available in the Bloomsbury Revelations series in this classic and authoritative translation by Hugh Lloyd-Jones, this book contains the text of all three plays - Agamemnon, The Libation Bearers and The Eumenides - with extensive scholarly annotation throughout.
Aeschylus based his epic drama on the legendary tale of Prometheus, the Titan who stole fire from the gods for the benefit of humanity. Prometheus's terrible punishment remains a universal symbol of human vulnerability in any struggle with the gods, and this ancient play continues to entrance audiences with its timeless appeal.
The most famous series of ancient Greek plays, and the only surviving trilogy, is the "Oresteia " of Aeschylus, consisting of "Agamemnon," "Choephoroe," and "Eumenides." These three plays recount the murder of Agamemnon by his queen Clytemnestra on his return from Troy with the captive Trojan princess Cassandra; the murder in turn of Clytemnestra by their son Orestes; and Orestes' subsequent pursuit by the Avenging Furies (Eumenides) and eventual absolution. Hugh Lloyd-Jones's informative notes elucidate the text, and introductions to each play set the trilogy against the background of Greek religion as a whole and Greek tragedy in particular, providing a balanced assessment of Aeschylus's dramatic art.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
Choephori Aeschylus - Also known as 'The Libation Bearers' this is the second play of Aeschylus' Oresteia trilogy. Many years after king Agamemnon's murder at the hands of his wife Clytamnestra and her lover Aigisthos, his son Orestes returns home with Pylades to mourn at his grave. He has been living in exile and has come back to Argos in secret; his mission is to avenge Agamemnon's death.Orestes arrives at the grave of his father, accompanied by his cousin Pylades, the son of the king of Phocis, where he has grown up in exile; he places two locks of his hair on the tomb. Orestes and Pylades hide as Electra, Orestes' sister, arrives at the grave accompanied by a chorus of elderly slave women (the libation bearers of the title) to pour libations on Agamemnon's grave; they have been sent by Clytemnestra in an effort to ward off harm. Just as the ritual ends, Electra spots a lock of hair on the tomb which she recognizes as similar to her own; subsequently she sees two sets of footprints, one of which has proportions similar to hers. At this point Orestes and Pylades emerge from their hiding place and Orestes gradually convinces her of his identity.
The Persians "("Persae") is Aeschylus' first surviving play. Unlike all other surviving Greek tragedies, which deal with persons and events from the remote, mythical past, it is about living persons and events that took place barely eight years before it was produced in March 472 BC. The setting of the play is Susa, the Persian capital: its hero, the Persian king who came so close to defeating the Greeks in 480: its theme, his own defeat at their hands. Anthony J. Podlecki's translation of the play is complemented by a comprehensive introduction and notes, drawing the reader's attention to conventions of idiom and imagery, legend and allusion. With detailed discussion of the play in relation to possible antecedents, levels of tragic action and metrical schema, the book is ideally suited to students of drama and literature as well as classics.
The Libation Bearers of Aeschylus is the central tragedy of his Oresteia, one of the outstanding masterpieces of Greek literature. This edition, including text, translation and commentary, seeks to take full account of the latest advances in scholarship while making the play accessible to a wide range of readers
In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions -- Aischylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes, giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. Carson's accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. --from publisher description.
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