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 really is dependent upon the main authoritative fresh variation of the Greek textual content and specific care is curious about the numerous 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 matters, 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 short mentioned. the quantity as an entire may still supply an informative, trustworthy, and suggestive foundation for learn and delight.

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PB 853–63). The content of Daughters of Danaus can be conjectured with some confidence: these killings had been carried through, but one daughter, Hypermnestra, had spared her new husband out of a suddenly conceived love. She was at risk of being killed (by Danaus? perhaps after some judicial process at Argos), but the goddess Aphrodite appeared and saved her, upholding the procreative function of marriage (Daughters of Danaus fr. 44). All the daughters were thereupon reconciled to marriage, so fulfilling the warning they receive at the end of Suppliants (1034–5, cf.

Here Aeschylus at last works the power of the curse into the overriding duty to defend Thebes which has pressed upon Eteocles since the play began. He states it himself (1–9), together with his determination to exercise command (20, 196–200, 224–5); the Scout confirms it as his duty (62–4, 650–2); the Chorus rely on it when they accept obedience to him (260–3, cf. 287). His obligations are to organize the stoutest defence (10–20, 30–5); to learn the attackers’ plans (24–9, 36–8) and later oppose them (200–1, 282–4, 369–676); to quell the inhabitants’ panic, which the Chorus embody at its extreme (182– 202, 232, 237–8, 285–6); to keep the support of the city’s gods by prayer and sacrifice (14–15, 271–9), in which he orders the Chorus to join (265–70).

An unexpected and bizarre human visitor does achieve impact, although some readers question the length given to the two narratives of Io’s past, her own (640–86) and then Prometheus’ (823– 43: see EN), and then to his prophecies of her future (700–41, 786–818), which only at their end mesh with his own (844–86). xlvi Introduction Io’s abrupt relapse into frenzy and sudden departure (877–86) herald the yet harsher torment which is now imminent for Prometheus. After she goes he can only repeat his confidence in Zeus’ fall (907– 40); and the only further plausible development for the play is Zeus’ discovery of the secret, and reaction.

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