By Christopher Collard
A brand new, actual, and readable translation of 4 of Aeschylus' performs: Persians, Seven opposed to Thebes, Suppliants, and Prometheus Bound. it's dependent upon the main authoritative contemporary version of the Greek textual content and specific care is enthusiastic about the various 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 concerns, constitution and shape, and theatrical points, in addition to info of content material and language. significant problems within the texts themselves, which have an effect on normal interpretation, are in brief mentioned. the quantity as a complete should still supply an informative, trustworthy, and suggestive foundation for learn and delight.
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Additional resources for Aeschylus: Persians and Other Plays
49 For the evidence and arguments about a trilogy see West (1979) and Studies (1990), 67–72 (a trilogy beginning with Fire-Bearer); Conacher (1980), 98–119 (FireBearer as the third play); Griﬃth in his edition (1983), 281–305, with texts of the fragmentary plays, translation, and commentary (the same trilogy favoured); LloydJones (2003), 67–70 (sceptical of a trilogy, unless Prometheus Bound is its ﬁrst play, and the third was the genuine but very fragmentary Women of Etna); Podlecki in his edition (2005), 27–34 (similar scepticism).
His way out is to link his community’s approval to his own, if he can get it: it is equally the citizens’ responsibility to answer the supplication (365–9). The Chorus, who have experienced only royal absolutism in Egypt (335, 906–7), attempt to quash this excuse, saying that leadership in both the city and its religion is his own (370–5); but he holds ﬁrm (398–9). His further evasion, a resort to divinatory sacriﬁce to the gods, in order to ﬁnd a solution (449–54), is met by a threat of suicide within the shrine (465, cf.
G. Conacher (1980), 161–8, applauds its imagination, Sommerstein AT 301 ﬁnds the links tenuous, and suggests that its main purpose is to look forward to the following play, Prometheus Unbound. 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).