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 variation of the Greek textual content and specific care is inquisitive about the various lyric passages. A long advent units the performs of their unique context, and contains 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 impact common interpretation, are in short mentioned. the quantity as a complete should still offer an informative, trustworthy, and suggestive foundation for learn and delight.
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Extra info for Aeschylus: Persians and Other Plays
844–6. In Euripides’ Suppliants Theseus is styled like Pelasgus, a king in a democracy who consults his people, but more readily: cf. ll. 350–3 and 404–6 there with our 368– 9, 398–9. For the ‘Areopagus’, see Eum. g. Collard (2002), pp. xvi– xix. Sommerstein (1997), 76 observes that Suppliants is like Eumenides in dramatizing the acceptance of ‘immigrants’ (‘metics’) into a community (609, 994, and EN; Eum. 1011); similarly Bakewell (1997), who adds the point about the Areopagus: cf. n. 30 above.
Xlviii and n. 45); apparent demand upon theatrical resources not yet developed in Aeschylus’ lifetime (below). All these pointers are strong. Defenders of authenticity argue that many of the features just listed are nevertheless compatible with Aeschylus’ authorship, and that the play came from his very last years, written during his ﬁnal visit to Sicily (see the Chronology, p. lxxxv; they cite especially the description of Mount Etna at 363–72). Defenders also point out, and condemners acknowledge, that the play’s authenticity was never questioned in antiquity.
590–2, 649–52) and Zeus’ failure to protect her from Hera’s jealousy (earlier at 578–81, 599– 601). Her account appears to strengthen Prometheus’ indignation; he partly discloses to her his secret knowledge, how Zeus’ planned new marriage will destroy him (761–8, later repeated in full to the Chorus in 907–40). 42 His prophecies eventually link Io’s destiny with his: a descendant of hers will free him physically from his fetters (771–4, recapitulated at 871–3). Zeus will release Io from her torment (848– 9), just as he will ultimately be compelled to release Prometheus, to save himself (769–70).