By Christopher Collard
A brand new, actual, and readable translation of 4 of Aeschylus' performs: Persians, Seven opposed to Thebes, Suppliants, and Prometheus Bound. it's dependent upon the main authoritative fresh version of the Greek textual content and specific care is all in favour of the various lyric passages. A long creation units the performs of their unique context, and comprises brief appreciative essays on them. The explanatory notes deal with dramatic matters, constitution and shape, and theatrical elements, in addition to information of content material and language. significant problems within the texts themselves, which have an effect on common interpretation, are in short mentioned. the amount as an entire may still offer an informative, trustworthy, and suggestive foundation for examine and delight.
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Additional info for Aeschylus: Persians and Other Plays
PB 869–70). 32 A thematic continuity 403–9, and (1997), and Bakewell (1997) argued for the very late 460s on grounds of aﬃnity with contemporary political phenomena: see n. 35 below. In the face of Scullion’s arguments, Garvie (20062 ) pp. ix–xv still favoured 464/3 but conceded that ‘470 is a possible (his italics) date’. Earlier, Taplin, Stagecraft, 195 had also suggested the early 470s, and received some support from the Dutch scholar S. L. Radt in a paper of 1988 (repr. in A. ), Noch einmal zu .
48 See in particular West, Studies (Bibl. §2, 1990), 68–71 and Sommerstein, AT 321–7. West’s arguments are questioned esp. on grounds of ‘theology’ by Lloyd-Jones (2003) 52–71 = (2005), 184–202, who holds that Aeschylus’ authorship is ‘likelier’ but ‘not certain’. When Lloyd-Jones edited T. C. W. Stinton’s Collected Papers on Greek Tragedy (1990), on p. vi he recorded that Stinton, who had begun an edition of the play, was unconvinced of its inauthenticity (pp. 91–7 reprint Stinton’s largely sympathetic review of Herington (1970), a principal defender).
Xx). Rather than attempt reconstruction of Laius and Oedipus backwards from Seven by applying a model from the Oresteia, it is more proﬁtable to ﬁnd in Seven itself some anticipations of the later trilogy’s design and techniques. First there is the uncanny working of a curse, directed to the killing of kin; in Seven it has a comfortless ﬁnality which Aeschylus mitigates in Eumenides by oﬀering justice to both persecutors and persecuted. Second, Seven has clearer signs than Persians and Suppliants of cumulative dramatic power and intensity.
Aeschylus: Persians and Other Plays by Christopher Collard