35 products were found matching your search for Aeschylus Agamemnon AeschylusNagelsbach Carl in 1 shops:

Paperbacks. 2 BOOK SET. Aeschylus I and II. Pages are clean and unmarked. Covers show minor shelving wear. Previous owner's name emboss stamped (a light circular indent with no ink) on front covers,

May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 0.85

This commentary discusses Aeschylus' play Agamemnon (458 B.C.), which is one of the most popular of the surviving ancient Greek tragedies, and is the first to be published in English since 1958. It is designed particularly to help students who are tackling Aeschylus in the original Greek for the first time, and includes a reprint of D. L. Page's Oxford Classical Text of the play. The introduction defines the place of Agamemnon within the Oresteia trilogy as a whole, and the historical context in which the plays were produced. It discusses Aeschylus' handling of the traditional myth and the main ideas which underpin his overall design: such as the development of justice and the nature of human responsibility; and it emphasizes how the power of words, seen as ominous speech-acts which can determine future events, makes a central contribution to the play's dramatic momentum. Separate sections explore Aeschylus' use of theatrical resources, the role of the chorus, and the solo characters. Finally there is an analysis of Aeschylus' distinctive poetic style and use of imagery, and an outline of the transmission of the play from 458 B.C. to the first printed editions.

This commentary discusses Aeschylus' play Agamemnon (458 B.C.), which is one of the most popular of the surviving ancient Greek tragedies, and is the first to be published in English since 1958. It is designed particularly to help students who are tackling Aeschylus in the original Greek for the first time, and includes a reprint of D. L. Page's Oxford Classical Text of the play. The introduction defines the place of Agamemnon within the Oresteia trilogy as a whole, and the historical context in which the plays were produced. It discusses Aeschylus' handling of the traditional myth and the main ideas which underpin his overall design: such as the development of justice and the nature of human responsibility; and it emphasizes how the power of words, seen as ominous speech-acts which can determine future events, makes a central contribution to the play's dramatic momentum. Separate sections explore Aeschylus' use of theatrical resources, the role of the chorus, and the solo characters. Finally there is an analysis of Aeschylus' distinctive poetic style and use of imagery, and an outline of the transmission of the play from 458 B.C. to the first printed editions.

Robert Browning is one of the most significant Victorian Poets and, of course, English Poetry.Much of his reputation is based upon his mastery of the dramatic monologue although his talents encompassed verse plays and even a well-regarded essay on Shelley during a long and prolific career. He was born on May 7th, 1812 in Walmouth, London. Much of his education was home based and Browning was an eclectic and studious student, learning several languages and much else across a myriad of subjects, interests and passions. Browning's early career began promisingly. The fragment from his intended long poem Pauline brought him to the attention of Dante Gabriel Rossetti, and was followed by Paracelsus, which was praised by both William Wordsworth and Charles Dickens. In 1840 the difficult Sordello, which was seen as willfully obscure, brought his career almost to a standstill. Despite these artistic and professional difficulties his personal life was about to become immensely fulfilling. He began a relationship with, and then married, the older and better known Elizabeth Barrett. This new foundation served to energise his writings, his life and his career. During their time in Italy they both wrote much of their best work. With her untimely death in 1861 he returned to London and thereafter began several further major projects. The collection Dramatis Personae (1864) and the book-length epic poem The Ring and the Book (1868-69) were published and well received; his reputation as a venerated English poet now assured. Robert Browning died in Venice on December 12th, 1889.

Cover shows minimal shelf wear. Cover boards are lightly warping. Pages are clean, text and pictures are intact and unmarred.

"These authoritative translations consign all other complete collections to the wastebasket."—Robert Brustein, The New Republic"This is it. No qualifications. Go out and buy it everybody."—Kenneth Rexroth, The Nation"The translations deliberately avoid the highly wrought and affectedly poetic; their idiom is contemporary....They have life and speed and suppleness of phrase."—Times Education Supplement"These translations belong to our time. A keen poetic sensibility repeatedly quickens them; and without this inner fire the most academically flawless rendering is dead."—Warren D. Anderson, American Oxonian"The critical commentaries and the versions themselves...are fresh, unpretentious, above all, functional."—Commonweal"Grene is one of the great translators."—Conor Cruise O'Brien, London Sunday Times"Richmond Lattimore is that rara avis in our age, the classical scholar who is at the same time an accomplished poet."—Dudley Fitts, New York Times Book Review

Published posthumously in 1910, this is the last great work of the eminent classical scholar Walter Headlam (1866-1908), who devoted most of his short life to the study of Aeschylus. On Headlam's death, Alfred Pearson was commissioned to finish the project, and the care and precision of both scholars are evident in this well-edited text. Pearson added a commentary and explanatory notes to Headlam's translation and introduction, both of which were nearly complete when the author died. The text is set out with the English translation facing the original Greek, making them easy to compare. The substantial introduction includes background about the House of Atreus as well as a detailed plot summary, a discussion of the moral and religious content of the play and a description of the characters. Pearson's commentary and notes are equally comprehensive and informative.

Unread book in perfect condition.

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander.

Robert Browning is one of the most significant Victorian Poets and, of course, English Poetry.Much of his reputation is based upon his mastery of the dramatic monologue although his talents encompassed verse plays and even a well-regarded essay on Shelley during a long and prolific career. He was born on May 7th, 1812 in Walmouth, London. Much of his education was home based and Browning was an eclectic and studious student, learning several languages and much else across a myriad of subjects, interests and passions. Browning's early career began promisingly. The fragment from his intended long poem Pauline brought him to the attention of Dante Gabriel Rossetti, and was followed by Paracelsus, which was praised by both William Wordsworth and Charles Dickens. In 1840 the difficult Sordello, which was seen as willfully obscure, brought his career almost to a standstill. Despite these artistic and professional difficulties his personal life was about to become immensely fulfilling. He began a relationship with, and then married, the older and better known Elizabeth Barrett. This new foundation served to energise his writings, his life and his career. During their time in Italy they both wrote much of their best work. With her untimely death in 1861 he returned to London and thereafter began several further major projects. The collection Dramatis Personae (1864) and the book-length epic poem The Ring and the Book (1868-69) were published and well received; his reputation as a venerated English poet now assured. Robert Browning died in Venice on December 12th, 1889.

This paperback edition replaces the hardback first published in 1957.

Aeschylus (ca. 525–456 BCE), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once.Of his total of about eighty plays, seven survive complete. The second volume contains the complete Oresteia trilogy, comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.

Aeschylus (ca. 525–456 BCE), author of the first tragedies existing in European literature, was an Athenian born at Eleusis. He served at Marathon against Darius in 490, and again during Xerxes' invasion, 480–479. Between 478 and 467 he visited Sicily, there composing by request Women of Aetna. At Athens he competed in production of plays more than twenty times, and was rewarded on at least thirteen occasions, becoming dominant between 500 and 458 through the splendour of his language and his dramatic conceptions and technique. Of his total of 80–90 plays seven survive complete. The Persians (472), the only surviving Greek historical drama, presents the failure of Xerxes to conquer Greece. Seven against Thebes (467) was the second play of its trilogy of related plays on the evil fate of the Theban House. Polyneices tries to regain Thebes from his brother Eteocles; both are killed. In Suppliant Maidens, the first in a trilogy, the daughters of Danaus arrive with him at Argos, whose King and people save them from the wooing of the sons of their uncle Aegyptus. In Prometheus Bound, first or second play of its trilogy about Prometheus, he is nailed to a crag, by order of Zeus, for stealing fire from heaven for men. Defiant after visitors' sympathy and despite advice, he descends in lightning and thunder to Hell. The Oresteia (458), on the House of Atreus, is the only Greek trilogy surviving complete. In Agamemnon, the King returns from Troy, and is murdered by his wife Clytaemnestra. In Libation-Bearers, Orestes with his sister avenges their father Agamemnon's death by counter-murder. In Eumenides, Orestes, harassed by avenging Furies, is arraigned by them at Athens for matricide. Tried by a court set up by Athena, he is absolved, but the Furies are pacified. We publish in Volume I four plays; and in Volume II the Oresteia and some fragments of lost plays.

Aeschylus' Agamemnon, opening play of the Oresteia trilogy, with its brilliant theatrical effects, is a masterpiece. The revenge plot - a murder - is simple, the language and imagery complex and thrilling. The play features two extraordinary women: the powerful, dissembling queen Clytemnestra and the frenzied prophetess Cassandra. It als features another original Aeschylean creation, the omnipresent helpless chorus, who are forced to bear witness to Agamemnon's path to death. Through the chorus, the action is seen in the problematic context of justice, destiny, and the role of the gods. The play is a serious investigation of man's problematic ethical nature. This detailed study gets the measure of Aeschylus' innovative genius as poet, storyteller and theatrical wizard by setting the play against the rich traditions of archaic poetry from which drama had only recently sprung. It considers the ethical dilemmas of the plot against contemporary fifth-century Athenian religious and political thinking, and its attitude to women. It engages with the play's great influence on later Attic tragedy and then considers Seneca's Roman Agamemnon and some revenge dramas of Elizabethan England.

Aeschylus (ca. 525–456 BCE), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once.Of his total of about eighty plays, seven survive complete. The second volume contains the complete Oresteia trilogy, comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.

Scholar's bookplate to inner cover (Robert Brown). Tiny chip to upper edge of rear board. Minor shelfwear. DJ has chipping and tears to spine ends and corners. DJ is browned. ; Commentary for Agamemnon. Greek Text with Extensive English Commentary. ; 240 pages

Published posthumously in 1910, this is the last great work of the eminent classical scholar Walter Headlam (1866-1908), who devoted most of his short life to the study of Aeschylus. On Headlam's death, Alfred Pearson was commissioned to finish the project, and the care and precision of both scholars are evident in this well-edited text. Pearson added a commentary and explanatory notes to Headlam's translation and introduction, both of which were nearly complete when the author died. The text is set out with the English translation facing the original Greek, making them easy to compare. The substantial introduction includes background about the House of Atreus as well as a detailed plot summary, a discussion of the moral and religious content of the play and a description of the characters. Pearson's commentary and notes are equally comprehensive and informative.

Aeschylus' famed tragedies 'Agamemnon', 'The Libation Bearers' and 'The Eumenides' comprise 'The Oresteia', which uses the story of a family curse and a long history of murder and revenge to raise haunting questions about the nature and the price of justice.

First presented in the spring of 458 B.C.E. at the festival of Dionysus in Athens, Aeschylus' trilogy Oresteia won the first prize. Comprising three plays—Agamemnon, Libation Bearers, and The Furies—it is the only surviving example of the ancient trilogy form for Greek tragedies. This drama of the House of Atreus catches everyone in a bloody net. Queen Clytaemestra of Argos murders her husband Agamemnon. Their son Orestes avenges his father by killing his mother. The Furies, hideous deities who punish the murder of blood kin, pursue Orestes. Into this horrific cycle steps Athena, goddess of wisdom, who establishes the rule of law to replace fatal vengeance. Orestes is tried in court before a jury of Athenians and found not guilty. Athena transforms the Furies into benevolent goddesses and extols the virtue of mercy. An important historical document as well as gripping entertainment, the Oresteia conveys beliefs and values of the ancient Athenians as they established the world's first great democracy. Aeschylus (525/4–456/5 B.C.E.) was the first of the three great tragic dramatists of ancient Greece, forerunner of Sophocles and Euripides. In this trilogy he created a new dramatic form with characters and plot, infused with spellbinding emotion. David Mulroy's fluid, accessible English translation with its rhyming choral songs does full justice to the meaning and theatricality of the ancient Greek. In an introduction and appendixes, he provides cultural background for modern readers, actors, and students.