By Christopher Collard
A brand new, exact, and readable translation of 4 of Aeschylus' performs: Persians, Seven opposed to Thebes, Suppliants, and Prometheus Bound. it truly is established upon the main authoritative fresh version of the Greek textual content and specific care is eager about the various lyric passages. A long advent units the performs of their unique context, and contains brief appreciative essays on them. The explanatory notes deal with dramatic concerns, constitution and shape, and theatrical points, in addition to info of content material and language. significant problems within the texts themselves, which impact basic interpretation, are in brief mentioned. the amount as a complete should still offer an informative, trustworthy, and suggestive foundation for research and pleasure.
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Extra resources for Aeschylus: Persians and Other Plays
In A. ), Noch einmal zu . . , Mnemosyne Supplement, 235 (2002), 358–61). West in his edition leaves the date as uncertain. 31 For the mythography, see Gantz, 198–208. ), see in Bibl. 1, esp. 3 Garvie (19691 ), 185–6 and (20062 ), pp. xviii–xix; also Gantz 204–6, West, Studies (Bibl. §2, 1990), 169–72, and Conacher (1996), 104–11. The implications of Supp. 1034–5 and 1050–1 that the women will inevitably marry are perhaps supported by Danaus’ anxiety about their attractiveness to all males, 996–1005 (see EN on 966–1073).
Moreau in Bulletin . . Association . . G. Budé (1976), 158–81. I oﬀer a fuller analysis of the Shield Scene in EN on 369–719. 2, 1985), 106 and Conacher (1996), 49 n. 29. 27 Introduction xxxiii at ﬁrst (182–202) and then more methodically but still impatiently (250–63 after 202–49), before he associates them with his prayers for the city; in the second scene the Chorus attempt, but fail, to dissuade him from the duel (677–719). The gender-roles are surprisingly reversed. Both scenes have the same form, which helps to make the second a suggestive parallel or ‘mirror’: they begin and end with speech, passing through excited, mixed exchanges (203–63, 686–711: ‘epirrhematic’ structure: Introd.
28) but has been returned to the daylight from beneath the cataclysm which ends Prometheus Bound. He is now rent by Zeus’ eagle (forecast by Hermes at PB 1020–5). As in Prometheus Bound the play’s Chorus comprises visitors who come to view his agonies, and no doubt to sympathize; this time they are male (fr. 3) and probably fellow Titans. The action had these main turns: Heracles came by on his quest for the Golden Apples of the Hesperides (a fortuitous visitor like Io in Prometheus Bound, but male here, like the Chorus).
Aeschylus: Persians and Other Plays by Christopher Collard