Aeschylus Aeschylus

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.

Alternate covers of this ISBN here, here, here, here. Most recent cover is here. In the Oresteia—the only trilogy in Greek drama which survives from antiquity—Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos. Moving 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.

"Орестея" - единственная дошедшая до нас целиком древнегреческая драматическая трилогия, посвященная проблеме трагической судьбы рода. Сюжет "Орестеи" заимствован из поэм троянского цикла. В основу ее положен миф о потомках Атрея, над которыми тяготеет проклятие за преступление их предка.

Three masterpieces of classical tragedy Containing Aeschylus's Agamemnon , Sophocles' Oedipus Rex , and Euripides' Medea , this important new selection brings the best works of the great tragedians together in one perfect introductory volume. This volume also includes extracts from Aristophanes' comedy The Frogs and a selection from Aristotle's Poetics . For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

A new, accurate, and readable translation of four of Aeschylus' plays: Persians, Seven Against Thebes, Suppliants, and Prometheus Bound. It is based upon the most authoritative recent edition of the Greek text and particular care is taken with the many lyric passages. A lengthy introduction sets the plays in their original context, and includes short appreciative essays on them. The explanatory notes treat dramatic issues, structure and form, and theatrical aspects, as well as details of content and language. Major difficulties in the texts themselves, which affect general interpretation, are briefly discussed. The volume as a whole should provide an informative, reliable, and suggestive basis for study and enjoyment. Aeschylus is a towering figure in western literature, the first of the great Greek playwrights, a dramatist whose work still has the power to inspire and terrify readers and theatre-goers alike. The four plays in this volume demonstrate the full range and depth of Aeschylus's genius. Persians is the only surviving tragedy to draw on contemporary history, the Greeks' extraordinary victory over Persia in 480 BC. 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. And in the hugely influential Prometheus Bound, Prometheus is relentlessly persecuted by Zeus for benefitting mankind in defiance of the god. About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum 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, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Sommerstein presents a freshly constituted text, with introduction and commentary, of Eumenides, the climactic play of the only surviving complete Greek tragic trilogy, the Oresteia of Aeschylus. Of all Athenian tragic dramas, Eumenides is most consciously designed to be relevant to the situation of the Athenian state at the time of its performance (458 B.C.) and seems to have contained daring innovations both in technique and in ideas. The introduction and commentary to this edition seek to bring out how Aeschylus shaped to his purpose the legends he inherited, and ended the tragic story of Agamemnon's family in a celebration of Athenian civic unity and justice. The commentary also pays attention to the linguistic, metrical and textual problems to be encountered by the reader.

A landmark anthology of the masterpieces of Greek drama, featuring all-new, highly accessible translations of some of the world's most beloved plays, including Agamemnon, Prometheus Bound, Bacchae, Electra, Medea, Antigone, and Oedipus the King Featuring translations by Emily Wilson, Frank Nisetich, Sarah Ruden, Rachel Kitzinger, Mary Lefkowitz, and James Romm The great plays of Ancient Greece are among the most enduring and important legacies of the Western world. Not only is the influence of Greek drama palpable in everything from Shakespeare to modern television, the insights contained in Greek tragedy have shaped our perceptions of the nature of human life. Poets, philosophers, and politicians have long borrowed and adapted the ideas and language of Greek drama to help them make sense of their own times. This exciting curated anthology features a cross section of the most popular--and most widely taught--plays in the Greek canon. Fresh translations into contemporary English breathe new life into the texts while capturing, as faithfully as possible, their original meaning. This outstanding collection also offers short biographies of the playwrights, enlightening and clarifying introductions to the plays, and helpful annotations at the bottom of each page. Appendices by prominent classicists on such topics as "Greek Drama and Politics," "The Theater of Dionysus," and "Plato and Aristotle on Tragedy" give the reader a rich contextual background. A detailed time line of the dramas, as well as a list of adaptations of Greek drama to literature, stage, and film from the time of Seneca to the present, helps chart the history of Greek tragedy and illustrate its influence on our culture from the Roman Empire to the present day. With a veritable who's who of today's most renowned and distinguished classical translators, The Greek Plays is certain to be the definitive text for years to come. Praise for The Greek Plays "Mary Lefkowitz and James Romm deftly have gathered strong new translations from Frank Nisetich, Sarah Ruden, Rachel Kitzinger, Emily Wilson, as well as from Mary Lefkowitz and James Romm themselves. There is a freshness and pungency in these new translations that should last a long time. I admire also the introductions to the plays and the biographies and annotations provided. Closing essays by five distinguished classicists--the brilliant Daniel Mendelsohn and the equally skilled David Rosenbloom, Joshua Billings, Mary-Kay Gamel, and Gregory Hays--all enlightened me. This seems to me a helpful light into our gathering darkness."--Harold Bloom

Archived: Does not meet catalog guidelines

De Esquilo solamente se conservan íntegras siete tragedias, tres de las cuales forman la única trilogía superviviente. En él predomina el Destino avasallador: el hombre desaparece ante lo inexorable y lo fatal. Lo que ha dado valor permanente a la obra de Esquilo es la comprensión humana, además de ser grandiosa, emotiva y con sentido de lo trascendente. La riqueza de pensamiento de este poeta se manifiesta en la abundancia de apotegmas y sentencias, que pasaron muchas veces a proverbios, a verdaderas síntesis que norman la vida. El pueblo griego, amante de la luz y de la vida, hizo de la tragedia: la expresión de la opinión, la censura o la alabanza pública; el comentario de los hechos, así como la memoria viviente, social y tradicional, de progreso y de amor al pasado, el relicario mismo de mitos vetustos y de tradiciones que iban muriendo. Por eso, el teatro helénico es fundamental para las raíces de nuestra cultura.

Neste quarto volume da série de tragédias gregas estão presentes os três maiores dramaturgos gregos: Ésquilo, Sófocles e Eurípides. Além da introdução e das notas que acompanham cada uma das peças, este volume inclui ainda uma apresentação geral da tragédia grega. Os Persas, uma das tragédias gregas mais antigas, foi encenada pela primeira vez em 472 a.C., e apresenta a singularidade de ser a única tragédia subsistente baseada em um acontecimento histórico – a guerra entre os gregos e os persas, guerra na qual o próprio autor, Ésquilo, participou como combatente. Electra, de Sófocles, representada pela primeira vez por volta de 413 a.C., começa com o retorno de Orestes, filho de Agamêmnon, a Micenas para vingar o assassinato do pai cerca de onze anos antes. Hécuba, representada pela primeira vez provavelmente em 423 a.C., em Atenas, se baseia em episódios do chamado Ciclo Troiano. Eurípides, chamado por Aristóteles de "o mais trágico dos trágicos" deve essa merecida fama em parte à Hécuba.

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.

The Orestia is a trilogy of plays written by the ancient Greek playwright Aeschylus. The three plays, Agamemnon, The Libation Bearers, and The Eumenides, tell the story of the House of Atreus and the curse that plagues the family. The first play, Agamemnon, begins with the return of Agamemnon, king of Mycenae, from the Trojan War. His wife, Clytemnestra, plots to kill him in revenge for sacrificing their daughter Iphigenia to the gods. The second play, The Libation Bearers, follows their children, Orestes and Electra, as they seek revenge for their father's death. The final play, The Eumenides, deals with the consequences of Orestes' actions and his trial in the court of Athena. The Orestia is a powerful exploration of justice, revenge, and the role of the gods in human affairs. It is considered one of the greatest works of Western literature and has influenced countless writers, philosophers, and artists over the centuries.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

The Oresteia, the only complete trilogy to survive from the ancient Greek theater, is here presented in the first sound recording of all three plays: Agamemnon, The Libation Bearers, and The Eumenides. In the Oresteia, Aeschylus dramatizes the myth of the curse on the royal house of Argos. The action begins when King Agamemnon returns victorious from the Trojan War only to be treacherously slain by his own wife. It ends with the trial of their son, Orestes, who slew his mother to avenge her treachery--a trial with the goddess Athena as judge, the god Apollo as defense attorney, and, as prosecutors, relentless avenging demons called The Furies. The results of the trial change the nature of divine and human justice forever. As was the custom in antiquity, this trilogy was accompanied by a satyr play called Proteus, a broad farce on a related theme, namely, the encounter between Agamemnon's brother, Menelaus, with the slippery Old Man of the Sea. This play is lost, but Blackstone has included verses from The Odyssey, which inspired it. From the Publisher (Blackstone Audio) Length 03:38:11

The Oresteia is the only trilogy of tragedy plays to survive from Ancient Greece. Agamemnon, Libation Bearers, and Eumenides have established the enduring themes of Greek tragedy--the inexorable nature of Fate, the relationship between justice, revenge, and religion. 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 theater and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the relationship between the scenes, ideas, and language that distinguishes this unique work.