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Books : Literature & Fiction : Authors, A-Z : ( A ) : Aeschylus
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"These authoritative translations consign all other complete collections to the wastebasket."—Robert Brustein, The New Republic
"This is it. No qualifications. Go out and buy it everybody."—Kenneth Rexroth, The Nation
"The translations deliberately avoid the highly wrought and affectedly poetic; their idiom is contemporary....They have life and speed and suppleness of phrase."—Times Education Supplement
"These translations belong to our time. A keen poetic sensibility repeatedly quickens them; and without this inner fire the most academically flawless rendering is dead."—Warren D. Anderson, American Oxonian
"The critical commentaries and the versions themselves...are fresh, unpretentious, above all, functional."—Commonweal
"Grene is one of the great translators."—Conor Cruise O'Brien, London Sunday Times
"Richmond Lattimore is that rara avis in our age, the classical scholar who is at the same time an accomplished poet."—Dudley Fitts, New York Times Book Review
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Aeschylus, the earliest of the great Attic tragedians, presented his Oresteia at Athens' City Dionysia festival in 458 BCE. Born in the last quarter of the sixth century, Aeschylus had fought with the victorious Greeks in one and probably both of the Persian Wars (190 and 480-79). He died around 456 at about seventy years of age in Gela, Sicily. His epitaph records his role as a soldier at Marathon, not his artistic achievements, but these were many. The author of more than seventy plays, he won his first of thirteen tragic victories in 484. Of these plays, only seven remain. The Oresteia is Aeschylus' only complete surviving trilogy; the satyr play with which it was first performed, Proteus, is lost. Peter Meineck has aimed to translate the Oresteia for the modern stage.
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In three paperback volumes, the Grene and Lattimore editions offer a selection of the most important and characteristic plays of Aeschylus, Sophocles, and Euripides from the nine-volume anthology of The Complete Greek Tragedies. Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.
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PROMETHEUS Think not that I for pride and stubbornness Am silent: rather is my heart the prey Of gnawing thoughts, both for the past, and now Seeing myself by vengeance buffeted. For to these younger Gods their precedence Who severally determined if not I?
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Aeschylus (525-456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. In "Prometheus Bound", the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. "The Suppliants" tells the story of the fifty daughters of Danaus who must flee to escape enforced marriages, while "Seven Against Thebes" shows the inexorable downfall of the last members of the cursed family of Oedipus. And "The Persians", the only Greek tragedy to deal with events from recent Athenian history, depicts the aftermath of the defeat of Persia in the battle of Salamis, with a sympathetic portrayal of its disgraced King Xerxes. Philip Vellacott's evocative translation is accompanied by an introduction, with individual discussions of the plays, and their sources in history and mythology.
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The Grene and Lattimore edition of the Greek tragedies has been among the most widely acclaimed and successful publications of the University of Chicago Press. On the occasion of the Centennial of the University of Chicago and its Press, we take pleasure in reissuing this complete work in a handsome four-volume slipcased edition as well as in redesigned versions of the familiar paperbacks.
For the Centennial Edition two of the original translations have been replaced. In the original publication David Grene translated only one of the three Theban plays, Oedipus the King. Now he has added his own translations of the remaining two, Oedipus at Colonus and Antigone, thus bringing a new unity of tone and style to this group. Grene has also revised his earlier translation of Prometheus Bound and rendered some of the former prose sections in verse. These new translations replace the originals included in the paperback volumes Sophocles I (which contains all three Theban plays), Aeschylus II, Greek Tragedies, Volume I, and Greek Tragedies, Volume III, all of which are now being published in second editions.
All other volumes contain the translations of the tragedies of Aeschylus, Sophocles, and Euripides for the most part from the original versions first published in the 1940s and 1950s. These translations have been the choice of generations of teachers and students, selling in the past forty years over three million copies.
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The Grene and Lattimore edition of the Greek tragedies has been among the most widely acclaimed and successful publications of the University of Chicago Press. On the occasion of the Centennial of the University of Chicago and its Press, we take pleasure in reissuing this complete work in a handsome four-volume slipcased edition as well as in redesigned versions of the familiar paperbacks.
For the Centennial Edition two of the original translations have been replaced. In the original publication David Grene translated only one of the three Theban plays, Oedipus the King. Now he has added his own translations of the remaining two, Oedipus at Colonus and Antigone, thus bringing a new unity of tone and style to this group. Grene has also revised his earlier translation of Prometheus Bound and rendered some of the former prose sections in verse. These new translations replace the originals included in the paperback volumes Sophocles I (which contains all three Theban plays), Aeschylus II, Greek Tragedies, Volume I, and Greek Tragedies, Volume III, all of which are now being published in second editions.
All other volumes contain the translations of the tragedies of Aeschylus, Sophocles, and Euripides for the most part from the original versions first published in the 1940s and 1950s. These translations have been the choice of generations of teachers and students, selling in the past forty years over three million copies.
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The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander.
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Aeschylus' Oresteia, the only ancient tragic trilogy to survive, is one of the great foundational texts of Western culture. It begins with Agamemnon, which describes Agamemnon's return from the Trojan War and his murder at the hands of his wife Clytemnestra, continues with her murder by their son Orestes in Libation Bearers, and concludes with Orestes' acquittal at a court founded by Athena in Eumenides. The trilogy thus traces the evolution of justice in human society from blood vengeance to the rule of law, Aeschylus' contribution to a Greek legend steeped in murder, adultery, human sacrifice, cannibalism, and endless intrigue. This new translation is faithful to the strangeness of the original Greek and to its enduring human truth, expressed in language remarkable for poetic intensity, rich metaphorical texture, and a verbal density that modulates at times into powerful simplicity. The translation's precise but complicated rhythms honor the music of the Greek, bringing into unforgettable English the Aeschylean vision of a world fraught with spiritual and political tensions.
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Five of the greatest Greek tragedies, each in an outstanding translation, include Oedipus Rex and Electra by Sophocles (translated by George Young); Medea and Bacchae by Euripides (translated by Henry Hart Milman); and Prometheus Bound by Aeschylus (translated by George Thomson), a monumental work that examines relations between humans and the gods.
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This paperback edition replaces the hardback first published in 1957.
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Classic trilogy by great tragedian deals with the bloody history of the House of Atreus. Grand in style, rich in diction and dramatic dialogue, the plays embody Aeschylus' concerns with the destiny and fate of both individuals and the state, all played out under the watchful eye of the gods.
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The mighty Xerxes from Darius sprung, The stream of whose rich blood flows in our veins, Leads against Greece; whether his arrowy shower Shot from the strong-braced bow, or the huge spear High brandish'd, in the deathful field prevails.
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Aeschylus (ca. 525–456 BCE), author of the first tragedies existing in European literature, was an Athenian born at Eleusis. He served at Marathon against Darius in 490, and again during Xerxes' invasion, 480–479. Between 478 and 467 he visited Sicily, there composing by request Women of Aetna. At Athens he competed in production of plays more than twenty times, and was rewarded on at least thirteen occasions, becoming dominant between 500 and 458 through the splendour of his language and his dramatic conceptions and technique.
Of his total of 80–90 plays seven survive complete. The Persians (472), the only surviving Greek historical drama, presents the failure of Xerxes to conquer Greece. Seven against Thebes (467) was the second play of its trilogy of related plays on the evil fate of the Theban House. Polyneices tries to regain Thebes from his brother Eteocles; both are killed. In Suppliant Maidens, the first in a trilogy, the daughters of Danaus arrive with him at Argos, whose King and people save them from the wooing of the sons of their uncle Aegyptus. In Prometheus Bound, first or second play of its trilogy about Prometheus, he is nailed to a crag, by order of Zeus, for stealing fire from heaven for men. Defiant after visitors' sympathy and despite advice, he descends in lightning and thunder to Hell. The Oresteia (458), on the House of Atreus, is the only Greek trilogy surviving complete. In Agamemnon, the King returns from Troy, and is murdered by his wife Clytaemnestra. In Libation-Bearers, Orestes with his sister avenges their father Agamemnon's death by counter-murder. In Eumenides, Orestes, harassed by avenging Furies, is arraigned by them at Athens for matricide. Tried by a court set up by Athena, he is absolved, but the Furies are pacified.
We publish in Volume I four plays; and in Volume II the Oresteia and some fragments of lost plays.
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Sommerstein presents a freshly constituted text, with introduction and commentary, of Eumenides, the climactic play of the only surviving complete Greek tragic trilogy, the Oresteia of Aeschylus. Of all Athenian tragic dramas, Eumenides is most consciously designed to be relevant to the situation of the Athenian state at the time of its performance (458 B.C.) and seems to have contained daring innovations both in technique and in ideas. The introduction and commentary to this edition seek to bring out how Aeschylus shaped to his purpose the legends he inherited, and ended the tragic story of Agamemnon's family in a celebration of Athenian civic unity and justice. The commentary also pays attention to the linguistic, metrical and textual problems to be encountered by the reader.
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What is justice? How is it related to vengeance? Can justice be reconciled with the demands of religion, the violence of human feeling, the forces of fate? These questions, which puzzled thoughtful Athenians in the decades after the battle of Marathon, provided the theme for "Agamemmon", "The Choephori" and "The Eumenides" - those grim tragedies that make up the Oresteian triology. In these plays, Aeschyluys (525bc-456bc) takes as his subject the bloody chain of murder and revenge within the royal family of Argos - a chain finally broken only by the intervention of the goddess Athene. Philip Vellacott's verse translation makes available to the modern reader a mile-stone in the history of drama.
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The only complete trilogy to survive from the ancient Greek theater is here presented in the first sound recording of all three plays: Agamemnon, The Libation Bearers, and The Eumenides. In the Oresteia, Aeschylus dramatizes the myth of the curse on the royal house of Argos. The action begins when King Agamemnon returns victorious from the Trojan War only to be treacherously slain by his own wife. He ends with the trial of their Orestes, who slew his mother to avenge her treachery--a trial with the goddess Athena as judge, the god Apollo as defense attorney, and, as prosecutors, relentless avenging demons called The Furies. The results of the trial change the nature of divine and human justice forever.
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Classic plays reissued in the new Methuen Greek Classics series in a new distinctive style The Persians; based on the destruction of the Persian invaders in 480BC, breaks with the Greek tradition of purely dramatising myths to deals with the recent past and with characters who would have been familiar to its first audience in 472BC; Prometheus Bound stages the stand off between the original rebel and hero Prometheus and almighty Zeus; Suppliants, follows the plight of Danaus and his daughters, in flight from a fateful marriage contract with the King of Egypt's sons and shows the triumph of humanity over brute force while Seven Against Thebes dramatises the final battle between the two sons of Oedipus Eteocles and Polynices in the climax of the Oedipus saga. Translated by Kenneth McLeish and Frederic Raphael, these plays are widely studied in schools, colleges and universities.