Satyric is the most thinly attested genre of Greek drama, but it appears to have been the oldest and according to Aristotle formative for tragedy. By the 5th Century BC at Athens it shared most of its compositional elements with tragedy, to which it became an adjunct; for at the annual great dramatic festivals, it was performed only together with, and after, the three tragedies which each poet was required to present in competition. It was in contrast with them, aesthetically and emotionally, its plays being considerably shorter and simpler; coarse and half-way to comedy, it burlesqued heroic and tragic myth, frequently that just dramatised and performed in the tragedies. Euripides'Cyclops is the only satyr-play which survives complete. It is generally held to be the poet's late work, but its companion tragedies are not identifiable. Its title alone signals its content, Odysseus' escape from the one-eyed, man-eating monster, familiar from Book 9 of Homer's Odyssey. Because of its uniqueness, Cyclops could afford only a limited idea of satyric drama's range, which the many but brief quotations from other authors and plays barely coloured. Our knowledge and appreciation of the genre have been greatly enlarged, however, by recovery since the early 20th Century of considerable fragments of Aeschylus, Euripides' predecessor, and of Sophocles, his contemporary - but not, so far, of Euripides himself. This volume provides English readers for the first time with all the most important texts of satyric drama, with facing-page translation, substantial introduction and detailed commentary. It includes not only the major papyri, but very many shorter fragments of importance, both on papyrus and in quotation, from the 5th to the 3rd Centuries; there are also one or two texts whose interest lies in their problematic ascription to the genre at all. The intention is to illustrate it as fully as practicable.

Eighteen of the ninety or so plays composed by Euripides between 455 and 406 bce survive in a complete form and are included in the preceding six volumes of the Loeb Euripides. A further fifty-two tragedies and eleven satyr plays, including a few of disputed authorship, are known from ancient quotations and references and from numerous papyri discovered since 1880. No more than one-fifth of any play is represented, but many can be reconstructed with some accuracy in outline, and many of the fragments are striking in themselves. The extant plays and the fragments together make Euripides by far the best known of the classic Greek tragedians.

This edition, in a projected two volumes, offers the first complete English translation of the fragments together with a selection of testimonia bearing on the content of the plays. The texts are based on the recent comprehensive edition of R. Kannicht. A general Introduction discusses the evidence for the lost plays. Each play is prefaced by a select bibliography and an introductory discussion of its mythical background, plot, and location of the fragments, general character, chronology, and impact on subsequent literary and artistic traditions.

This new volume represents forty years of scholarship. Of the twenty papers collected here, thirteen explore tragedy in general and Euripides in particular, but with emphasis on textual questions - transmission, interpretation, verbal criticism - and dramatic form. The other seven evaluate important Euripidean scholars from the 17th to the 19th centuries including Joshua Barnes, Jeremiah Markland, S. Musgrave, Peter Elmsely and J.H. Monk. The book's material is divided into three thematic sections: 'Tragedy', 'Euripides' and 'Euripideans'. All papers have been corrected and revised, and supplemented with further matter, chiefly a recent and full bibliography. Strong sales of Lost Dramas of Classical Athens published under Bristol Phoenix Press's sister imprint, University of Exeter Press, in 2005, demonstrate the ongoing interest in classical drama.

The fragmentary plays of Euripides are a body of texts still regularly increasing in number and extent. They are of very great interest in themselves, apart from the significant aid they give to the fuller appreciation of the surviving complete plays. This two-volume edition brings together for the first time for English readers the more substantial and important of the plays, about fifteen in all. Each play is introduced by a summary bibliography and an appreciative essay which analyses the mythic background and plot: reconstructs the play as far as the fragmentary text and secondary evidence allow; and discusses themes, characterisation, staging, date, reflections of the story in art and other dramatisations. For each play the fragmentary texts are presented as conveniently and succinctly as possible, together with a brief critical apparatus of sources and readings. An English translation stands on the facing page. The text and translation of each play are followed by a short, primarily interpretative commentary.This volume contains: Alexandros (together with Palamedes and Sisyphus), Oedipus, Andromeda, Antiope, Hypsipyle, Archelaus (415 to about 407 B.C.).

The fragmentary plays of Euripides are a body of texts still regularly increasing in number and extent. They are of very great interest in themselves, apart from the significant aid they give to the fuller appreciation of the surviving complete plays. This two-volume edition brings together for the first time for English readers the more substantial and important of the plays, about fifteen in all. Each play is introduced by a summary bibliography and an appreciative essay which analyses the mythic background and plot: reconstructs the play as far as the fragmentary text and secondary evidence allow; and discusses themes, characterisation, staging, date, reflections of the story in art and other dramatisations. For each play the fragmentary texts are presented as conveniently and succinctly as possible, together with a brief critical apparatus of sources and readings. An English translation stands on the facing page. The text and translation of each play are followed by a short, primarily interpretative commentary. Text with facing translation, commentary and notes.

Eighteen of the ninety or so plays composed by Euripides between 455 and 406 BCE survive in a complete form and are included in the first six volumes of the Loeb Euripides. A further fifty-two tragedies and eleven satyr plays, including a few of disputed authorship, are known from ancient quotations and references and from numerous papyri discovered since 1880. No more than one-fifth of any play is represented, but many can be reconstructed with some accuracy in outline, and many of the fragments are striking in themselves. The extant plays and the fragments together make Euripides by far the best known of the classic Greek tragedians.

This edition of the fragments, concluded in this second volume, offers the first complete English translation together with a selection of testimonia bearing on the content of the plays. The texts are based on the recent comprehensive edition of R. Kannicht. A general Introduction discusses the evidence for the lost plays. Each play is prefaced by a select bibliography and an introductory discussion of its mythical background, plot, and location of the fragments, general character, chronology, and impact on subsequent literary and artistic traditions.

The Oresteia is the only trilogy of tragedy plays to survive from Ancient Greece. Agamemnon, Libation Bearers, and Eumenides have established the enduring themes of Greek tragedy--the inexorable nature of Fate, the relationship between justice, revenge, and religion. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurate a way of just conduct that will ensure stable families and a strong community.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Oresteia is majestic as theater and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the relationship between the scenes, ideas, and language that distinguishes this unique work.

The volume continues P. G. Walsh's admired translation with commentary of Augustine's The City of God Books I-XIV which have been published in eight earlier volumes between 2003 and 2016, and this ninth volume in the collection looks at books XV and XVI. After completing the first ten books of De Civitate Dei, in which Augustine sought to refute the claim that pagan deities had ensured that Rome enjoyed unbroken success and prosperity in this life and guaranteed its citizens a blessed life after death, Augustine devoted the remaining twelve books to discuss the origins, development and destiny of the two cities of Babylon and Jerusalem, with the predominant emphasis on the city of God. This is the only edition of these books in English which provides not only a text but also a detailed commentary on one of the most influential documents in the history of western Christianity. Latin text with facing-page English translation, introduction and commentary.

The volume continues P. G. Walsh's admired translation with commentary of Augustine's The City of God Books I-XIV which have been published in eight earlier volumes between 2003 and 2016, and this ninth volume in the collection looks at books XV and XVI. After completing the first ten books of De Civitate Dei, in which Augustine sought to refute the claim that pagan deities had ensured that Rome enjoyed unbroken success and prosperity in this life and guaranteed its citizens a blessed life after death, Augustine devoted the remaining twelve books to discuss the origins, development and destiny of the two cities of Babylon and Jerusalem, with the predominant emphasis on the city of God. This is the only edition of these books in English which provides not only a text but also a detailed commentary on one of the most influential documents in the history of western Christianity. Latin text with facing-page English translation, introduction and commentary.

'Euripides: Iphigenia at Aulis' comprises two volumes (Volume 1: Introduction, Text and Translation; Volume 2: Commentary and Indexes), which are sold together as a set. This is the first English edition with complete commentary of the play since 1891, and there has been only one other substantial such work in any language (W. Stockert, in German, Vienna 1992). The reasons for this remarkable lack lie chiefly in the unusual circumstances of the play's composition and early history. Euripides died before completing it and it was prepared for its first performance in or about 405 BC by his son or nephew. In the century and more after that other hands intervened, the last in very late antiquity. Since the 18th Century scholars have disagreed greatly in identifying how much of the surviving text may stem from Euripides' own hand or his original conception, and how much may be 'inauthentic'; whatever the facts, the Iphigenia has received frequent and very successful production in recent years. The play's quality was rewarded at its first performance, with first prize in a dramatic competition. Scholars have written a stream of mostly brief general appreciations; but this edition with translation and commentary wishes to recognise that the play for the most part shows Euripides at his finest. It is therefore deliberately wide in its aim, at readers who have no Greek at all, at students in schools and universities who have some Greek, and at their teachers and professional scholars; its Introduction and the most important parts of the commentary are accessible to all, while notes particularly on the Greek of the poetic text and its problems are kept separate.

Aeschylus is the first of the great Greek playwrights, and the four plays in this volume demonstrate the remarkable range of Greek tragedy. Persians is the only surviving tragedy to draw on contemporary history, the Greeks' extraordinary victory over Persia in 480 BC. The Persians' aggression is inhuman in scale, and offends the gods, but while celebrating the Greek triumph, Aeschylus also portrays the shock of the defeated with some compassion. In Seven Against Thebes a royal family is cursed with self-destruction, in a remorseless tragedy that anticipates the grandeur of the later Oresteia. Suppliants portrays the wretched plight of the daughters of Danaus, fleeing from enforced marriage; as refugees they seek protection, and must plead a moral and political case to gain it. And in Prometheus Bound, Prometheus is relentlessly persecuted by Zeus for benefitting mankind in defiance of the god. Christopher Collard's highly readable new translation is accompanied by an introduction that sets the plays in their original context, and together with the notes considers theatrical and poetic issues, as well as details of content and language. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

A new, accurate, and readable translation of four of Aeschylus' plays: Persians, Seven Against Thebes, Suppliants, and Prometheus Bound. It is based upon the most authoritative recent edition of the Greek text and particular care is taken with the many lyric passages. A lengthy introduction sets the plays in their original context, and includes short appreciative essays on them. The explanatory notes treat dramatic issues, structure and form, and theatrical aspects, as well as details of content and language. Major difficulties in the texts themselves, which affect general interpretation, are briefly discussed. The volume as a whole should provide an informative, reliable, and suggestive basis for study and enjoyment.

Oxford, the home of lost causes, the epitome of the world of medieval and renaissance learning in Britain, has always fascinated at a variety of levels: social, institutional, cultural. Its rival, Cambridge, was long dominated by mathematics, while Oxford's leading study was Classics. In this pioneering book, 16 leading authorities explore a variety of aspects of Oxford Classics in the last two hundred years: curriculum, teaching and learning, scholarly style, publishing, gender and social exclusion and the impact of German scholarship. Greats (Literae Humaniores) is the most celebrated classical course in the world: here its early days in the mid-19th century and its reform in the late 20th are discussed, in the latter case by those intimately involved with the reforms. An opening chapter sets the scene by comparing Oxford with Cambridge Classics, and several old favourites are revisited, including such familiar Oxford products as Liddell and Scott's "Greek-English Lexicon", the "Oxford Classical Texts", and Zimmern's "Greek Commonwealth". The book as a whole offers a pioneering, wide-ranging survey of Classics in Oxford.

Aeschylus' Oresteia is a tragedy of inescapable killing within one family, such that each generation must avenge it in kind. This new and close translation tries to preserve its theatrical and poetic qualities: introductory and explanatory matter emphasizes the interconnection of scenes, ideas, and language which distinguishes this unique work, the only trilogy to survive from Greek tragedy.