Full Length, Tragedy

Characters: 7 male, 4 female

Various sets

This incisive translation of the classic drama is by the noted British playwright, translator and director.

Shedding new light on the history of the book in antiquity, Empire of Letters tells the story of writing at Rome at the pivotal moment of transition from Republic to Empire (c. 55 BCE-15 CE). By uniting close readings of the period's major authors with detailed analysis of material texts, it argues that the physical embodiments of writing were essential to the worldviews and self-fashioning of authors whose works took shape in them. Whether in wooden tablets, papyrus bookrolls, monumental writing in stone and bronze, or through the alphabet itself, Roman authors both idealized and competed with writing's textual forms. The academic study of the history of the book has arisen largely out of the textual abundance of the age of print, focusing on the Renaissance and after. But fewer than fifty fragments of classical Roman bookrolls survive, and even fewer lines of poetry. Understanding the history of the ancient Roman book requires us to think differently about this evidence, placing it into the context of other kinds of textual forms that survive in greater numbers, from the fragments of Greek papyri preserved in the garbage heaps of Egypt to the Latin graffiti still visible on the walls of the cities destroyed by Vesuvius. By attending carefully to this kind of material in conjunction with the rich literary testimony of the period, Empire of Letters exposes the importance of textuality itself to Roman authors, and puts the written word back at the center of Roman literature.

Plato challenges his readers by depicting an elderly Socrates as an enthusiastic student of rhetoric who has learned from his teacher Aspasia to recite an inspiring funeral oration, an oration that conspicuously refers to events occurring after the deaths of Socrates and Aspasia, an oration that Aspasia, as a woman and a non-Athenian, was not eligible to deliver over the Athenians who died in war. This commentary, the first in English in over 100 years, assists the modern reader in confronting Plato's challenge. The Introduction sets the dialogue in the context of the traditional Athenian funeral oration and of Plato's ongoing critique of contemporary rhetoric. The Commentary, which is well suited to the needs and interests of intermediate students of Classical Greek, provides guidance on grammatical and historical matters, while allowing the student to appreciate Plato's mastery of Greek prose style and critique of democratic ideology.

Plato challenges his readers by depicting an elderly Socrates as an enthusiastic student of rhetoric who has learned from his teacher Aspasia to recite an inspiring funeral oration, an oration that conspicuously refers to events occurring after the deaths of Socrates and Aspasia, an oration that Aspasia, as a woman and a non-Athenian, was not eligible to deliver over the Athenians who died in war. This commentary, the first in English in over 100 years, assists the modern reader in confronting Plato's challenge. The Introduction sets the dialogue in the context of the traditional Athenian funeral oration and of Plato's ongoing critique of contemporary rhetoric. The Commentary, which is well suited to the needs and interests of intermediate students of Classical Greek, provides guidance on grammatical and historical matters, while allowing the student to appreciate Plato's mastery of Greek prose style and critique of democratic ideology.

An incisive exploration of the way Greek myths empower us to defeat tyranny. As tyrannical passions increasingly plague twenty-first-century politics, tales told in ancient Greek epics and tragedies provide a vital antidote. Democracy as a concept did not exist until the Greeks coined the term and tried the experiment, but the idea can be traced to stories that the ancient Greeks told and retold. From the eighth through the fifth centuries BCE, Homeric epics and Athenian tragedies exposed the tyrannical potential of individuals and groups large and small. These stories identified abuses of power as self-defeating. They initiated and fostered a movement away from despotism and toward broader forms of political participation. Following her highly praised book Enraged: Why Violent Times Need Ancient Greek Myths, the classicist Emily Katz Anhalt retells tales from key ancient Greek texts and proceeds to interpret the important message they hold for us today. As she reveals, Homer's Iliad and Odyssey, Aeschylus's Oresteia, and Sophocles's Antigone encourage us-as they encouraged the ancient Greeks-to take responsibility for our own choices and their consequences. These stories emphasize the responsibilities that come with power (any power, whether derived from birth, wealth, personal talents, or numerical advantage), reminding us that the powerful and the powerless alike have obligations to each other. They assist us in restraining destructive passions and balancing tribal allegiances with civic responsibilities. They empower us to resist the tyrannical impulses not only of others but also in ourselves. In an era of political polarization, Embattled demonstrates that if we seek to eradicate tyranny in all its toxic forms, ancient Greek epics and tragedies can point the way.

Five Modes of Scepticism examines the argument forms that lie at the heart of Pyrrhonian scepticism as expressed in the writings of Sextus Empiricus. These are the Agrippan modes of disagreement, hypothesis, infinite regression, reciprocity and relativity; modes which are supposed to bring about that quintessentially sceptical mental state of suspended judgement. Stefan Sienkiewicz analyses how the modes are supposed to do this, both individually and collectively, and from two perspectives. On the one hand there is the perspective of the sceptic's dogmatic opponent and on the other there is the perspective of the sceptic himself. Epistemically speaking, the dogmatist and the sceptic are two different creatures with two different viewpoints. The book elucidates the corresponding differences in the argumentative structure of the modes depending on which of these perspectives is adopted. Previous treatments of the modes have interpreted them from a dogmatic perspective; one of the tasks of the present work is to reorient the way in which scholars have traditionally engaged with the modes. Sienkiewicz advocates moving away from the perspective of the sceptic's opponent - the dogmatist - towards the perspective of the sceptic and trying to make sense of how the sceptic can come to suspend judgement on the basis of the Agrippan modes.

This volume sets out to discuss a crucial question for ancient comedy - what makes Aristophanes funny? Too often Aristophanes' humour is taken for granted as merely a tool for the delivery of political and social commentary. But Greek Old Comedy was above all else designed to amuse people, to win the dramatic competition by making the audience laugh the hardest. Any discussion of Aristophanes therefore needs to take into account the ways in which his humour actually works. This question is addressed in two ways. The first half of the volume offers an in-depth discussion of humour theory - a field heretofore largely overlooked by classicists and Aristophanists - examining various theoretical models within the specific context of Aristophanes' eleven extant plays. In the second half, contributors explore Aristophanic humour more practically, examining how specific linguistic techniques and performative choices affect the reception of humour, and exploring the range of subjects Aristophanes tackles as vectors for his comedy. A focus on performance shapes the narrative, since humour lives or dies on the stage - it is never wholly comprehensible on the page alone.

Renowned poet and acclaimed translator Charles Martin faithfully captures Euripides's dramatic tone and style in this searing tale of revenge and sacrifice. The Medea of Euripides is one of the greatest of all Greek tragedies and arguably the one with the most significance today. A barbarian woman brought to Corinth and there abandoned by her Greek husband, Medea seeks vengeance on Jason and is willing to strike out against his new wife and family-even slaughtering the sons she has born him. At its center is Medea herself, a character who refuses definition: Is she a hero, a witch, a psychopath, a goddess? All that can be said for certain is that she is a woman who has loved, has suffered, and will stop at nothing for vengeance. In this stunning translation, poet Charles Martin captures the rhythms of Euripides' original text through contemporary rhyme and meter that speak directly to modern readers. An introduction by classicist and poet A.E. Stallings examines the complex and multifaceted Medea in patriarchal ancient Greece. Perfect in and out of the classroom as well as for theatrical performance, this faithful translation succeeds like no other.

'Who would you say knows himself?' In 399 BCE Socrates was tried in Athens on charges of irreligion and corruption of the young, convicted, and sentenced to death. Like Plato, an almost exact contemporary, in his youth Xenophon (c. 430-c. 354 BCE) was one of the circle of mainly upper-class young Athenians attracted to Socrates' teaching. His Memorabilia is both a passionate defence of Socrates against those charges, and a kaleidoscopic picture of the man he knew, painted in a series of mini-dialogues and shorter vignettes, with a varied and deftly characterized cast-entitled and ambitious young men, atheists and hedonists, artists and artisans, Socrates' own stroppy teenage son Lamprocles, the glamorous courtesan Theodote. Topics given Socrates' characteristic questioning treatment include education, law, justice, government, political and military leadership, democracy and tyranny, friendship, care of the body and the soul, and concepts of the divine. Xenophon sees Socrates as above all a supreme moral educator, coaxing and challenging his associates to make themselves better people, not least by the example of how he lived his own life. Self-knowledge, leading to a reasoned self-control, was for Socrates the essential first step on the path to virtue, and some found it uncomfortable. The Apology is a moving account of Socrates' behaviour and bearing in his last days, immediately before, during, and after his trial.

The Bibliotheca Teubneriana, established in 1849, has evolved into the world's most venerable and extensive series of editions of Greek and Latin literature, ranging from classical to Neo-Latin texts. Some 4-5 new editions are published every year. A team of renowned scholars in the field of Classical Philology acts as advisory board: Gian Biagio Conte (Scuola Normale Superiore di Pisa) Marcus Deufert (Universitat Leipzig) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universita di Genova) Heinz-Gunther Nesselrath (Georg-August-Universitat Goettingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universitat Munchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Formerly out-of-print editions are offered as print-on-demand reprints. Furthermore, all new books in the Bibliotheca Teubneriana series are published as eBooks. The older volumes of the series are being successively digitized and made available as eBooks. If you are interested in ordering an out-of-print edition, which hasn't been yet made available as print-on-demand reprint, please contact us: [email protected] All editions of Latin texts published in the Bibliotheca Teubneriana are collected in the online database BTL Online.

One of the most diverse books in the Iliad, Book III moves between intimate scenes in the heart of Troy and scenes serious and comic on the battlefield. It describes a major ritual in an elaborate oath-swearing, assigns a major role to divine intervention, introduces and characterises the main Trojan actors and reveals more about their Greek counterparts. The commentary discusses the styles of Homeric narrative, illustrating especially its economy and sophisticated handling of different time-scales. It situates the Iliad in its broad cultural and historical contexts, through consideration of the relationships between Greece and the Anatolian, Mesopotamian and ancient Indian cultures, particularly regarding shared story-patterns and ritual activity. An account is given of Troy's relationships with the Hittite empire and the vexed question of the historicity of the Trojan War. Also provided is a full historical account of Homeric language. The edition will be indispensable for students and instructors.

Demosthenes, as an emerging political leader in fourth-century Athens, delivered a series of fiery speeches to the citizens in the democratic Assembly, attacking the Macedonian king Philip II as an aggressive imperialist bent on destroying the city's independence. This volume presents the Greek text of five of these speeches with full introduction and detailed commentary. They show how the foremost politician of the day argued his case before the people who made policy decisions in the Assembly, and how he eventually persuaded them to support his doomed militaristic position in preference to the more pragmatic stance of accommodation advocated by his political opponents. These speeches are unique sources for the ideology and political history of this crucial period, and the best specimens of persuasive rhetoric in action from democratic Athens. This edition takes account of recent studies of fourth-century Athens and showcases Demosthenes as a master of Greek prose style.

'Thus she was decapitated, and this was the end to which she was brought by her unbridled lusts.' For over two centuries after Boccaccio's groundbreaking Decameron, the Italian novella exercised a crucial influence over European prose fiction. With thirty-nine stories by nineteen authors, many translated for the first time, this anthology presents tales from the whole genre and period. Here we meet a rich cast of humble peasants and shrewd craftsmen, frustrated wives, libidinous friars, ill-fated lovers, and vengeful nobles. These works had a considerable impact in English, and the selection includes tales that have provided sources for Chaucer, Shakespeare, Webster, Marston, Dryden, Byron and Keats. The typical novella is situated in a precise time and place and features people who either existed historically or are presumed to have done so. The subject-matter, whether ribald or sentimental, comic or tragic, often reflects the social and economic conditions of its age and thus the novella has been seen as a crucial stage in the development of fictional realism and the emergence of the novel

Book VII of Lucan's De Bello Ciuili recounts the decisive victory of Julius Caesar over Pompey at the Battle of Pharsalus on 9 August 48 BCE. Uniquely within Lucan's epic, the entire book is devoted to one event, as the narrator struggles to convey the full horror and significance of Romans fighting against Romans and of the republican defeat. Book VII shows both De Bello Ciuili and its impassioned, partisan narrator at their idiosyncratic best. Lucan's account of Pharsalus well illustrates his poem's macabre aesthetic, his commitment to paradox and hyperbole, and his highly rhetorical presentation of events. This is the first English commentary on this important book for more than half a century. It provides extensive help with Lucan's Latin, and seeks to orientate students and scholars to the most important issues, themes and aspects of this brilliant poem.

This book provides new insights on different aspects of Old and Middle Eng-lish language and literature, presenting state-of-the-art analyses of linguistic phenomena and literary developments in those periods and opening up new directions for future work in the field. The volume tackles aspects of English diachronic linguistics such as the development of binominals and collective nouns in Old and Middle English, the early history of the intensifiers 'deadly' and 'mortally', the articulatory-acoustic characteristics of approximants in English, Old English metrics, some aspects of the methodology of corpus research with paleography in focus, studies of the interplay language-register, and a chapter discussing the periodology of Older Scots. The last section of the book ad-dresses literary and translatorial issues such as the impact of Latin 'quis' on the Middle English interrogative 'who of', the problems that may arise when trans-lating Beowulf into Galician, a reinterpretation of Chaucer's Knight's Tale, and a discussion of the structure of medieval manuscripts containing miscellanea.

Die Bibliotheca Teubneriana, gegrundet 1849, ist die weltweit alteste, traditionsreichste und umfangreichste Editionsreihe griechischer und lateinischer Literatur von der Antike bis zur Neuzeit. Pro Jahr erscheinen 4-5 neue Editionen. Samtliche Ausgaben werden durch eine lateinische oder englische Praefatio erganzt. Die wissenschaftliche Betreuung der Reihe obliegt einem Team anerkannter Philologen: Gian Biagio Conte (Scuola Normale Superiore di Pisa) Marcus Deufert (Universitat Leipzig) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universita di Genova) Heinz-Gunther Nesselrath (Georg-August-Universitat Goettingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universitat Munchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Vergriffene Titel werden als Print-on-Demand-Nachdrucke wieder verfugbar gemacht. Zudem werden alle Neuerscheinungen der Bibliotheca Teubneriana parallel zur gedruckten Ausgabe auch als eBook angeboten. Die alteren Bande werden sukzessive ebenfalls als eBook bereitgestellt. Falls Sie einen vergriffenen Titel bestellen moechten, der noch nicht als Print-on-Demand angeboten wird, schreiben Sie uns an: [email protected] Samtliche in der Bibliotheca Teubneriana erschienenen Editionen lateinischer Texte sind in der Datenbank BTL Online elektronisch verfugbar.

Sophocles stands as one of the greatest dramatists of all time, and one of the most influential on artists and thinkers over the centuries. His plays are deeply disturbing and unpredictable, unrelenting and open-ended, refusing to present firm answers to the questions of human existence, or to provide a redemptive justification of the ways of gods to men or women. These three tragedies portray the extremes of human suffering and emotion, turning the heroic myths into supreme works of poetry and dramatic action. Antigone's obsession with the dead, Creon's crushing inflexibility, Deianeira's jealous desperation, the injustice of the gods witnessed by Hyllus, Electra's obsessive vindictiveness, the threatening of insoluble dynastic contamination... Such are the pains and distortions and instabilities of Sophoclean tragedy. And yet they do not deteriorate into cacophony or disgust or incoherence or silence: they face the music, and through that the suffering is itself turned into the coherence of music and poetry. These original and distinctive verse translations convey the vitality of Sophocles' poetry and the vigour of the plays in performance, doing justice to both the sound of the poetry and the theatricality of the tragedies. Each play is accompanied by an introduction and substantial notes on topographical and mythical references and interpretation.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

This book offers a new English translation of Musaeus' poem Hero and Leander, with the original Greek on the facing page, a substantial introduction and a detailed commentary. The tragic romance of Hero and Leander has had and still has a great appeal, inspiring countless writers, painters, sculptors, and musicians. The Introduction aims at situating the poem within its literary tradition and cultural context as well as at drawing its major themes and describing the salient features of its style. Because Hero and Leander enjoyed an immense and uninterrupted popularity, the Introduction also devotes a large section to the poem's reception in literature, which crosses paths with the reception of the other main ancient poetic treatment of the legend, Ovid's Heroides 18 and 19. The commentary, which follows the Greek text and its translation, is addressed to a variety of readers: the student and the scholar of Greek literature, as well as those of other literatures in which the poem has been inspirational. This work has no precedent in the English language. This new translation will be of interest to students and scholars of Greek and late antique literature, as well as those working on mythology and classical reception.