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's dependent upon the main authoritative contemporary version of the Greek textual content and specific care is fascinated by the numerous 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 concerns, constitution and shape, and theatrical points, in addition to information 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 a complete may still supply an informative, trustworthy, and suggestive foundation for research and pleasure.
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Additional info for Aeschylus: Persians and Other Plays
It is this sense of duty to his native city which carries Eteocles forward into the duel with his brother. It combines with the curse in forming the resolve he makes in his speech at 653–76. In 659–71 he rejects Polynices’ claim upon the goddess Justice who is the emblem on his shield (645–8; cf. 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?
27 The eﬀect and meaning of the ‘Shield-Scene’ are increased by the two scenes of ‘persuasion’ which bracket it. In the ﬁrst (182–286) the safety of the city is the issue and in the second (677–719) that of Eteocles. Eteocles quells the Chorus’ damaging panic, contemptuously 26 For this eﬀect, see esp. Roisman (1990). This special function of Amphiaraus was set out fully by the French scholar A. Moreau in Bulletin . . Association . . G. Budé (1976), 158–81. I oﬀer a fuller analysis of the Shield Scene in EN on 369–719.
91–7 reprint Stinton’s largely sympathetic review of Herington (1970), a principal defender). For full reviews of the argument and its progress, see Griﬃth (1977) and more brieﬂy in his edition (Bibl. Introduction li Part of a Trilogy? The second issue, that of a possible trilogy, is equally diﬃcult. A Prometheus Unbound is also attested for Aeschylus which followed directly upon Prometheus Bound (ancient commentary on PB 511 and 522), so that some scholars have thought of just two linked plays, a ‘dilogy’; unfortunately, Unbound survives only in a very fragmentary condition (see n.
Aeschylus: Persians and Other Plays by Christopher Collard