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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.

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Add this contemporary and sophisticated sofa to create a new way to enrich and complete your living space style. Founded atop four solid wood legs with a charming painted finish, its solid and manufactured wood frame is upholstered with skin-touched genuine leather, offering different pure hues to satisfy your taste and demand. Loose back and tufted seat form a cozy space, while the rectangle arms are a perfect fit for ergonomics, let anyone who sits on this sofa feel cozy. The best of both worlds, it's where comfort meets great looks. Color: BROWN.

One of the most successful playwrights of ancient Greece, Aeschylus wrote nearly 90 plays, but today only 7 survive. Credited with introducing a second actor onstage, his plays retell the battles, victories, and social ramifications of life in the golden days of Athens. These plays are 2,500 years old and still performed, for they speak directly to the human psyche.

Treating ancient plays as living drama. Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including0 suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Agamemnon is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Agamemnon is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

During a propaganda parade, a young man working for the state-controlled media agency experiences a vision of the ancient general Agamemnon who warns him of the repercussions of his love affair with a high-ranking official's daughter in the title novella, in a collection that also includes the short stories "The Blinding Order" and "The Great Wall."

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.

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Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting. 0.18

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.

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.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1

Treating ancient plays as living drama. Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including0 suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Agamemnon is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Agamemnon is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

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Hardback, ex-library, with usual stamps and markings, in fair all round condition suitable as a reading copy.

Seneca's tragedy Agamemnon is a brilliantly rhetorical piece, written for the study rather than the stage. In this edition Professor Tarrant provides a much needed critical text. In his introduction he discusses the sources, dating, structure and mode of production of Agamemnon and Senecan drama in general, and includes a detailed survey of the manuscript tradition. His commentary is the fullest yet published on a Senecan play and attempts both to interpret the text and to define the originality of Senecan drama by placing it in its proper literary context; it contains material illustrating Seneca's relationship to earlier Greek and Roman drama, Augustan poetry (Ovid's in particular), and the rhetoric of declamation. This edition will be welcomed by classical scholars and students of Latin poetry, and may also prove valuable to those interested in Seneca's influence on later European drama.

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.

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A Bold, Iconoclastic New Look at One of the Great Works of Greek Tragedy In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions―Aischylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes―giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions―signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law. Carson's accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson's Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

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