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 creation 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 features, in addition to information of content material and language. significant problems within the texts themselves, which impact normal interpretation, are in brief mentioned. the quantity as an entire 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
1011); similarly Bakewell (1997), who adds the point about the Areopagus: cf. n. 30 above. xlii Introduction competition: Aeschylus aims at a contrast of measured, open consultation and persuasion of the people, and reverent responsibility, with foreigners’ violent self-assertion, whether that of the Egyptian suitors or the suppliants’ own manipulative threat of suicide. 36 The play is strongly visual. The setting is a collective shrine to Argos’ gods (189–222), perhaps with statues (on which the suppliants threaten to hang themselves: see Introd.
44 Lastly, two comments on the play’s language. First, many of the spoken parts have a vigour like that of Aeschylus: for example, Prometheus’ narrative expositions at 197–241, 446–71, 476–506, and Io’s at 645–82. There are echoes of his ‘geographical catalogue’ style in the lyric 406–30 (cf. Pers. 865–97, Supp. 538–73); and ‘geographical narrative’ bulks out Prometheus’ prophecies at 707–35, 790–815, 827–52 (so fully that the scene’s momentum suﬀers: see n. 43). 45 There are some eﬀective dialogues, even the superﬁcially formalized and therefore slightly stiﬀ 36–81 (see EN; Introd.
He then has a single long speech (980– 1013; he is silent after it till the play’s end), and it is oddly selfcongratulatory, as he instructs his daughters not to disgrace by any immodesty his new dignity in Argos, which is marked by his new, armed attendants (perhaps Aeschylus is preparing his signiﬁcant role xl Introduction in the rest of the trilogy). ), and that his silences and absences expose and isolate his daughters dramatically. The third and most important individual is Pelasgus. In his two scenes, 234–523 and 911–65, and in Danaus’ two reports of him, 605–24 and 980–4, the two dominant issues of the play are fully brought out: the suppliants’ attitude to marriage and the diﬃculties of undertaking the protection demanded by their ritual entreaties.