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 dependent upon the main authoritative fresh version of the Greek textual content and specific care is fascinated with the various lyric passages. A long creation units the performs of their unique context, and contains brief appreciative essays on them. The explanatory notes deal with dramatic matters, constitution and shape, and theatrical facets, in addition to info of content material and language. significant problems within the texts themselves, which have an effect on common interpretation, are in brief 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
Said (1985); it has often been observed that the play aﬀords one of the earliest characterizations of tyranny in Greek tragedy. For the absolutism of Zeus towards mankind (which Prometheus must endure with them), native to early Greek thinking, and the theology of Zeus in the play, see esp. Lloyd-Jones (2003) = (2005), with references to his earlier work; Gagarin (Bibl. 1, 1976), 132–6; Conacher (1980), 120–37; see also n. 48 below. As to the play’s comfort for men: White (2001) argues that Io’s journey through a primitive and barbaric world to an Egypt where she will be the forebear of a saving civilization (869) perhaps symbolizes progress, in that Zeus’ release of her from torment (848–9) portends also his eventual benevolence and justice towards Prometheus.
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).
659–61): she never has allied herself, and will not now, with a well-named ‘man of strife’ (658: see EN on 576–8), a demented and reckless invader (661, 671) of his native land (668): ‘Of this I am conﬁdent, and I will stand against him myself: who else can do so more justly? Leader against leader and brother against brother, enemy against enemy, I will take my stand’ (672–5). There is, however, no further mention of the curse in this speech after its opening lines 653–5: that comes when the Chorus in response warn him against the mention of the Sphinx at 540 (which Oedipus had overcome, 775–7); similarly in Eteocles’ own words at 415 when he refers to ‘the justice of blood-kin’ which drives the Theban defender Melanippus forward (cf.
Aeschylus: Persians and Other Plays by Christopher Collard