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Aeschylus: Eumenides
The "Eumenides", the concluding drama in Aeschylus' sole surviving trilogy, the "Oresteia", is not only one of the most admired Greek tragedies, but also one of the most controversial and contested, both to specialist scholars and public intellectuals. It stands at the crux of the controversies over the relationship between the fledgling democracy of Athens and the dramas it produced during the City Dionysia, and over the representation of women in the theatre and their implied status in Athenian society. The "Eumenides" enacts the trial of Agamemnon's son Orestes, who had been ordered under the threat of punishment by the god Apollo to murder his mother Clytemnestra, who had earlier killed Agamemnon.In the "Eumenides", Orestes, hounded by the Eumenides (Furies), travels first to Delphi to obtain ritual purgation of his mother's blood, and then, at Apollo's urging, to Athens to seek the help of Athena, who then decides herself that an impartial jury of Athenians should decide the matter. Aeschylus thus presents a drama that shows a growing awareness of the importance of free will in Athenian thought through the mythologized institution of the first jury trial.
Hecuba
This is an English translation of Euripides' tragedy Hecuba about Hecuba's grief over her daughter and son’s deaths and the revenge she enacts over her son’s death. Focus Classical Library provides close translations with notes and essays to provide access to understanding Greek culture. Euripides’ Hecuba is one of the few tragedies that evoke a sense of utter desolation and destruction in the audience. The drama focuses on the status of women, those who are out of power and at the margins of society, by enacting the sufferings of Hecuba. With the city of Troy fallen, Hecuba and Polyxena, her daughter, are enslaved to Agamemnon. Hecuba is despondent with the news that Polyxena is chosen to be sacrificed at the tomb of Achilles. After the sacrifice, the body of her son Polydorus, already a ghost at the start of the drama, is discovered. Polymestor, a king in Thrace who Hecuba sent Polydorus to for safety reasons, murdered Polydorus for his gold. With the tacit complicity of Agamemnon, Hecuba plots her revenge against Polymestor. What transpires next has lasting implications for all involved, including a dramatic trial scene and Hecuba’s ultimate metamorphosis.
The Soul of Tragedy
'The Soul of Tragedy' brings together scholars to offer perspectives on the Greek tragedy. The collection pays homage to this genre by offering an exploration into the oldest form of dramatic expression.
Rites of Passage in Ancient Greece
This volume reflects on liminality as it relates to initiatory themes in Greek literature and on literary works, especially tragedy, that represent heroes and heroines undergoing rites of passage. Featured works include Aeschylus's Prometheus Bound, Euripides' Ion and Iphigenia in Tauris, and Sophocles' Antigone and Women of Trachis.
Alcestis, Medea, Hippolytus
This new volume of three of Euripides' most celebrated plays offers graceful, economical, metrical translations that convey the wide range of effects of the playwright's verse, from the idiomatic speech of its dialogue to the high formality of its choral odes.
Sunjata
A pillar of the West African oral tradition for centuries, this epic traces the adventures and achievements of the Mande hero, Sunjata, as he liberates his people from Sumaworo Kanté, the sorcerer king of Soso, and establishes the great medieval empire of Mali. David Conrad conveys the strong narrative thrust of the Sunjata epic in his presentation of substantial excerpts from his translation of a performance by Djanka Tassey Condé. Readers approaching the epic for the first time will appreciate the translation's highly readable, poetic English as well as Conrad's informative Introduction and notes. Scholars will find the familiar heroes and heroines taking on new dimensions, secondary cha...
A Companion to Sophocles
A Companion to Sophocles presents the first comprehensive collection of essays in decades to address all aspects of the life, works, and critical reception of Sophocles. First collection of its kind to provide introductory essays to the fragments of his lost plays and to the remaining fragments of one satyr-play, the Ichneutae, in addition to each of his extant tragedies Features new essays on Sophoclean drama that go well beyond the current state of scholarship on Sophocles Presents readings that historicize Sophocles in relation to the social, cultural, and intellectual world of fifth century Athens Seeks to place later interpretations and adaptations of Sophocles in their historical context Includes essays dedicated to issues of gender and sexuality; significant moments in the history of interpreting Sophocles; and reception of Sophocles by both ancient and modern playwrights
Odysseus at Troy
This book contains translations of three plays:Ajax, Hecuba, and Trojan Women. They are all centered around the mythological theme of the Greek warrior, Odysseus, hero of the Trojan War. All three plays are complete, with notes and introductions, plus an introduction to the volume with background to the story which was one of the most popular themes and one of the most written about Greek hero in Greek literature. Written during a tumultuous age of sophists and demagogues, these three plays (c. 450-425 BCE) bear witness to the gradual degradation of Odysseus’ character. In presenting the unexpected devolution of a renowned mythic figure, the plays examine numerous themes relevant to contemporary American political life: the profound psychological consequences of brought on by the stress of war and why a once proud and noble warrior might commit suicide; and the dehumanizing darkness that descends upon innocent female war-victims when victors use act on false political necessity.
Iphigenias at Aulis
How should a literary scholar approach a text characterized not by stability but by variation and flux? This book offers a radical new perspective on the limits—and the accomplishments—of the modern traditions of textual criticism in classics.Sean Alexander Gurd takes as his starting point the case of a single Greek tragedy by Euripides, one of his last. According to ancient accounts, the Iphigenia at Aulis was produced at the city Dionysia, the great festival of Athenian tragedy, sometime after Euripides died (between 407 and 405 BCE). Whether the text performed then was entirely the work of Euripides, and whether the version that appears in the manuscripts reflects either that performa...
The Roman Wedding
This is the first book-length examination of Roman wedding ritual.
