Ahl's translations of three Senecan tragedies will gratify and challenge readers and performers. With stage performance specifically in mind, Ah1 renders Seneca's dramatic force in a modern idiom and style that move easily between formality and colloquialism as the text demands, and he strives to reproduce the richness of the original Latin, to retain the poetic form, images, wordplays, enigmas, paradoxes, and dark humor of Seneca's tragedies.

Here is a moving and accomplished translation of this complex play dealing the the violent passions stirred by innocence and beauty and the terrible power of ideology, hatred, and misunderstanding.

This free and eloquent translation skillfully reproduces the imagery, power, and frequent irony and sarcasm of Seneca's language.

Ahl's translations of three Senecan tragedies will gratify and challenge readers and performers. With stage performance specifically in mind, Ahl renders Seneca's dramatic force in a modern idiom and style that move easily between formality and colloquialism as the text demands, and he strives to reproduce the richness of the original Latin, to retain the poetic form, images, wordplays, enigmas, paradoxes, and dark humor of Seneca's tragedies.

In this powerful and imaginative translation of Medea, Frederick Ahl retains the compelling effects of the monologues, as well as the special feeling and pacing of Seneca's choruses.

Frederick Ahl and Hanna M. Roisman believe that contemporary readers who do not know ancient Greek can gain a sophisticated grasp of the Odyssey if they are aware of some of the issues that intrigue and puzzle the experts. They offer a challenging new reading of the epic that is directed to the general student of literature as well as to the classicist.Ahl and Roisman suggest that, while translators have served the Odyssey and its English-speaking readers remarkably well, the nonspecialist wishing to do a more detailed, critical reading of the epic faces a dilemma. The enormous scholarly literature makes few concessions to the nonspecialist, and those studies designed for general readers tend to offer variations on the overly simple, idealized readings of the epic common in high school and college survey courses.The Odyssey Re-Formed offers a lively and detailed reading of the Odyssey, episode by episode, with particular attention paid to the manipulative power of its language and Homer's skill in using that power. The authors explore how myth is shaped for specific, rhetorical reasons and suggest ways in which the epic uses its audience's awareness of the varied pool of mythic traditions to give the Odyssey remarkable and subtle resonances that have profound poetic power.

'Arms and the man I sing of Troy...' So begins one of the greatest works of literature in any language. Written by the Roman poet Virgil more than two thousand years ago, the story of Aeneas' seven-year journey from the ruins of Troy to Italy, where he becomes the founding ancestor of Rome, is a narrative on an epic scale: Aeneas and his companions contend not only with human enemies but with the whim of the gods. His destiny preordained by Jupiter, Aeneas is nevertheless assailed by dangers invoked by the goddess Juno, and by the torments of love, loyalty, and despair. Virgil's supreme achievement is not only to reveal Rome's imperial future for his patron Augustus, but to invest it with both passion and suffering for all those caught up in the fates of others. Frederick Ahl's new translation echoes the Virgilian hexameter in a thrillingly accurate and engaging style. An Introduction by Elaine Fantham, and Ahl's comprehensive notes and invaluable indexed glossary complement the translation. 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.

Sophocles' Oedipus Tyrannus is the most famous of ancient tragedies and a literary masterpiece. It is not, however, the only classical dramatization of Oedipus' quest to discover his identity. Between four and five hundred years after Sophocles' play was first performed, Seneca composed a fine, but neglected and often disparaged Latin tragedy on the same subject, which, in some ways, comes closer to our common understanding of the Oedipus myth. Now, modern readers can compare the two versions, in new translations by Frederick Ahl.

Balancing poetry and clarity, yet staying scrupulously close to the original texts, Ahl's English versions are designed to be both read and performed, and are alert to the literary and historical complexities of each. In approaching Sophocles anew, Ahl is careful to preserve the richly allusive nature and rhetorical power of the Greek, including the intricate use of language that gives the original its brilliant force. For Ahl, Seneca's tragedy is vastly and intriguingly different from that of Sophocles, and a poetic masterpiece in its own right. Seneca takes us inside the mind of Oedipus in ways that Sophocles does not, making his inner conflicts a major part of the drama itself in his soliloquies and asides.

Two Faces of Oedipus opens with a wide-ranging introduction that examines the conflicting traditions of Oedipus in Greek literature, the different theatrical worlds of Sophocles and Seneca, and how cultural and political differences between Athenian democracy and Roman imperial rule affect the nature and conditions under which the two tragedies were composed. This book brings two dramatic traditions into conversation while providing elegant, accurate, and exciting new versions of Sophocles' and Seneca's tragedies.