Aeschylus (ca. 525âe"456 BCE), the dramatist who made Athenian tragedy one of the worldâe(tm)s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years 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 second volume contains the complete Oresteia trilogy, 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 motherâe(tm)s avenging Furies, his trial and acquittal at Athens, Athenaâe(tm)s pacification of the Furies, and the blessings they both invoke upon the Athenian people.
One of the founding documents of Western culture and the only surviving ancient Greek trilogy, the Oresteia of Aeschylus is one of the great tragedies of all time. The three plays of the Oresteia portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War, at the start of which he had sacrificed his daughter Iphigeneia to secure divine favor. After Iphi-geneia’s mother, Clytemnestra, kills her husband in revenge, she in turn is murdered by their son Orestes with his sister Electra’s encouragement. Orestes is pursued by the Furies and put on trial, his fate decided by the goddess Athena. Far more than the story of murder and ven-geance in the royal house of Atreus, the Oresteia serves as a dramatic parable of the evolution of justice and civilization that is still powerful after 2,500 years. The trilogy is presented here in George Thomson’s classic translation, renowned for its fidelity to the rhythms and richness of the original Greek. (Book Jacket Status: Jacketed)
Publisher: Oxford University Press on Demand
Release Date: 1995
Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, The Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the editorship of Herbert Golder and the late William Arrowsmith, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. Already tested in performance on the stage, this translation shows for the first time in English the striking interplay of voices in Euripides' Suppliant Women. Torn between the mothers' lament over the dead and proud civic eulogy, between calls for a just war and grief for the fallen, the play captures with unremitting force the competing poles of the human psyche. The translators, Rosanna Warren and Stephen Scully, accentuate the contrast between female lament and male reasoned discourse in this play where the silent dead hold, finally, center stage.
Author: Simon Goldhill
Publisher: Cambridge University Press
Release Date: 1986-05-08
This book is an advanced critical introduction to Greek tragedy. It is written specifically for the reader who does not know Greek and who may be unfamiliar with the context of the Athenian drama festival but who nevertheless wants to appreciate the plays in all their complexity. Simon Goldhill aims to combine the best contemporary scholarly criticism in classics with a wide knowledge of modern literary studies in other fields. He discusses the masterpieces of Athenian drama in the light of contemporary critical controversies in such a way as to enable the student or scholar not only to understand and appreciate the texts of the most commonly read plays, but also to evaluate and utilize the range of approaches to the problems of ancient drama.
Author: John D Lyons
Publisher: Northwestern University Press
Release Date: 2018-05-15
Genre: Literary Criticism
Early modernity rediscovered tragedy in the dramas and the theoretical writings of the ancient Greeks and Romans. Attempting to make new tragic fictions, writers like Shakespeare, Webster, Hardy, Corneille, and Racine created a dramatic form that would probably have been unrecognizable to the ancient Athenians. Tragedy and the Return of the Dead recovers a model of the tragic that fits ancient tragedies, early modern tragedies, as well as contemporary narratives and films no longer called “tragic” but which perpetuate the same elements. Authoritative, wide-ranging, and thought provoking, Tragedy and the Return of the Dead uncovers a set of interlocking plots of family violence that stretch from Greek antiquity up to the popular culture of today. Casting aside the elite, idealist view that tragedy manifests the conflict between two equal goods or the human struggle against the divine, John D. Lyons looks closely at tragedy’s staging of gory and painful deaths, ignominious burials, and the haunting return of ghosts. Through this adjusted lens Le Cid, Hamlet, Frankenstein, The Spanish Tragedy, Romeo and Juliet, Phèdre, Macbeth, and other early modern works appear in a striking new light. These works are at the center of a panorama that stretches from Aeschylus’s Agamemnon to Hitchcock’s Psycho and are placed against the background of the Gothic novel, Freud’s “uncanny,” and Burke’s “sublime.” Lyons demonstrates how tragedy under other names, such as “Gothic fiction” and “thrillers,” is far from dead and continues as a vital part of popular culture.
These choral odes celebrate victories in the Pythian, Isthmian, Nemean and Olympic games and chronicle the classic gods and heroes, revealing to readers the spirit and world of Golden Age Greece. First published in 1961, the paperback edition includes a translator's note by Fagle.
Author: Stephen S. Liggins
Publisher: Walter de Gruyter GmbH & Co KG
Release Date: 2016-03-21
While there have been various studies examining the contents of the evangelistic proclamation in Acts; and various studies examining, from one angle or another, individual persuasive phenomena described in Acts (e.g., the use of the Jewish Scriptures); no individual studies have sought to identify the key persuasive phenomena presented by Luke in this book, or to analyse their impact upon the book’s early audiences. This study identifies four key phenomena – the Jewish Scriptures, witnessed supernatural events, the Christian community and Greco-Roman cultural interaction. By employing a textual analysis of Acts that takes into account both narrative and socio-historical contexts, the impact of these phenomena upon the early audiences of Acts – that is, those people who heard or read the narrative in the first decades after its completion – is determined. The investigation offers some unique and nuanced insights into evangelistic proclamation in Acts; persuasion in Acts, persuasion in the ancient world; each of the persuasive phenomena discussed; evangelistic mission in the early Christian church; and the growth of the early Christian church.
Author: Willard Van Orman Quine
Publisher: Harvard University Press
Release Date: 2008
In the twenty years between his last collection of essays and his death in 2000, Quine continued his work and occasionally modified his position on central philosophical issues. This volume collects the main essays from this last, productive period of Quine s prodigious career."
Author: Joseph M. Ortiz
Release Date: 2018-09-11
John Taverner’s lectures on music constitute the only extant version of a complete university course in music in early modern England. Originally composed in 1611 in both English and Latin, they were delivered at Gresham College in London between 1611 and 1638, and it is likely that Taverner intended at some point to publish the lectures in the form of a music treatise. The lectures, which Taverner collectively titled De Ortu et Progressu Artis Musicæ ("On the Origin and Progress of the Art of Music"), represent a clear attempt to ground musical education in humanist study, particularly in Latin and Greek philology. Taverner’s reliance on classical and humanist writers attests to the durability of music’s association with rhetoric and philology, an approach to music that is too often assigned to early Tudor England. Taverner is also a noteworthy player in the seventeenth-century Protestant debates over music, explicitly defending music against Reformist polemicists who see music as an overly sensuous activity. In this first published edition of Taverner’s musical writings, Joseph M. Ortiz comprehensively introduces, edits, and annotates the text of the lectures, and an appendix contains the existing Latin version of Taverner’s text. By shedding light on a neglected figure in English Renaissance music history, this edition is a significant contribution to the study of musical thought in Renaissance England, humanism, Protestant Reformism, and the history of education.
Author: William V. Harris
Publisher: Harvard University Press
Release Date: 2009-07-01
Genre: FAMILY & RELATIONSHIPS
The angry emotions, and the problems they presented, were an ancient Greek preoccupation from Homer to late antiquity. From the first lines of the "Iliad" to the church fathers of the fourth century A.D., the control or elimination of rage was an obsessive concern. From the Greek world it passed to the Romans. Drawing on a wide range of ancient texts, and on recent work in anthropology and psychology, "Restraining Rage" explains the rise and persistence of this concern. W. V. Harris shows that the discourse of anger-control was of crucial importance in several different spheres, in politics--both republican and monarchical--in the family, and in the slave economy. He suggests that it played a special role in maintaining male domination over women. He explores the working out of these themes in Attic tragedy, in the great Greek historians, in Aristotle and the Hellenistic philosophers, and in many other kinds of texts. From the time of Plato onward, educated Greeks developed a strong conscious interest in their own psychic health. Emotional control was part of this. Harris offers a new theory to explain this interest, and a history of the anger-therapy that derived from it. He ends by suggesting some contemporary lessons that can be drawn from the Greek and Roman experience.