Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Ancient Greek Myth in World Fiction since 1989 explores the diverse ways that contemporary world fiction has engaged with ancient Greek myth. Whether as a framing device, or a filter, or via resonances and parallels, Greek myth has proven fruitful for many writers of fiction since the end of the Cold War. This volume examines the varied ways that writers from around the world have turned to classical antiquity to articulate their own contemporary concerns. Featuring contributions by an international group of scholars from a number of disciplines, the volume offers a cutting-edge, interdisciplinary approach to contemporary literature from around the world. Analysing a range of significant authors and works, not usually brought together in one place, the book introduces readers to some less-familiar fiction, while demonstrating the central place that classical literature can claim in the global literary curriculum of the third millennium. The modern fiction covered is as varied as the acclaimed North American television series The Wire, contemporary Arab fiction, the Japanese novels of Haruki Murakami and the works of New Zealand's foremost Maori writer, Witi Ihimaera.

This is the first book-length study of the classicism of Tony Harrison, one of the most important contemporary poets in England and the world. It argues that his unique and politically radical classicism is inextricable from his core notion that poetry should be a public property in which communal problems are shared and crystallised, and that the poet has a responsibility to speak in a public voice about collective and political concerns. Enriched by Edith Hall's longstanding friendship with Harrison and involvement with his most recent drama, inspired by Euripides' Iphigenia in Tauris, it also asserts that his greatest innovations in both form and style have been direct results of his intense engagements with individual works of ancient literature and his belief that the ancient Greek poetic imagination was inherently radical. Tony Harrison's large body of work, for which he has won several major and international prizes, and which features on the UK National Curriculum, ranges widely across long and short poems, plays, translations and film poems. Having studied Classics at Grammar School and University and having translated ancient poets from Aeschylus to Martial and Palladas, Harrison has been immersed in the myths, history, literary forms and authorial voices of Mediterranean antiquity for his entire working life and his classical interests are reflected in every poetic genre he has essayed, from epigrams and sonnets to original stage plays, translations of Greek drama and Racine, to his experimental and harrowing film poems, where he has pioneered the welding of tightly cut video materials to tightly phrased verse forms. This volume explores the full breadth of his oeuvre, offering an insightful new perspective on a writer who has played an important part in shaping our contemporary literary landscape.

Human sacrifice, a spirited heroine, a quest ending in a hairsbreadth escape, the touching reunion of long-lost siblings, and exquisite poetry-these features have historically made Euripides' Iphigenia in Tauris one of the most influential of Greek tragedies. Yet, despite its influence and popularity in the ancient world, the play remains curiously under-investigated in both mainstream cultural studies and more specialized scholarship. With Adventures with Iphigenia in Tauris, Edith Hall provides a much-needed cultural history of this play, giving as much weight to the impact of the play on subsequent Greek and Roman art and literature as on its manifestations since the discovery of the sole surviving medieval manuscript in the 1500s. The book argues that the reception of the play is bound up with its spectacular setting on the southern coast of the Crimean peninsula in what is now the Ukraine, a territory where world history has often been made. However, it also shows that the play's tragicomic tenor and escape plot have had a tangible influence on popular culture, from romantic fiction to Hollywood action films. The thirteen chapters illustrate how reactions to the play have evolved from the ancient admiration of Aristotle and Ovid, the Christian responses of Milton and Catherine the Great, the anthropological ritualists and theatrical Modernists including James Frazer and Isadora Duncan, to recent feminist and postcolonial dramatists from Mexico to Australia. Individual chapters are devoted to the most significant adaptations of the tragedy, Gluck's opera Iphigenie en Tauride and Goethe's verse drama Iphigenie auf Tauris. Richly illustrated and accessibly written, with all texts translated into English, Adventures with Iphigenia in Tauris argues elegantly for a reappraisal of this Euripidean masterpiece.

The ancient Greeks invented democracy, theater, rational science, and philosophy. They built the Parthenon and the Library of Alexandria. Yet this accomplished people never formed a single unified social or political identity. In Introducing the Ancient Greeks, acclaimed classics scholar Edith Hall offers a bold synthesis of the full 2,000 years of Hellenic history to show how the ancient Greeks were the right people, at the right time, to take up the baton of human progress. Hall portrays a uniquely rebellious, inquisitive, individualistic people whose ideas and creations continue to enthrall thinkers centuries after the Greek world was conquered by Rome. These are the Greeks as you've never seen them before.

A People's History of Classics explores the influence of the classical past on the lives of working-class people, whose voices have been almost completely excluded from previous histories of classical scholarship and pedagogy, in Britain and Ireland from the late 17th to the early 20th century. This volume challenges the prevailing scholarly and public assumption that the intimate link between the exclusive intellectual culture of British elites and the study of the ancient Greeks and Romans and their languages meant that working-class culture was a 'Classics-Free Zone'. Making use of diverse sources of information, both published and unpublished, in archives, museums and libraries across the United Kingdom and Ireland, Hall and Stead examine the working-class experience of classical culture from the Bill of Rights in 1689 to the outbreak of World War II. They analyse a huge volume of data, from individuals, groups, regions and activities, in a huge range of sources including memoirs, autobiographies, Trade Union collections, poetry, factory archives, artefacts and documents in regional museums. This allows a deeper understanding not only of the many examples of interaction with the Classics, but also what these cultural interactions signified to the working poor: from the promise of social advancement, to propaganda exploited by the elites, to covert and overt class war. A People's History of Classics offers a fascinating and insightful exploration of the many and varied engagements with Greece and Rome among the working classes in Britain and Ireland, and is a must-read not only for classicists, but also for students of British and Irish social, intellectual and political history in this period. Further, it brings new historical depth and perspectives to public debates around the future of classical education, and should be read by anyone with an interest in educational policy in Britain today.

This is the final in a series of three volumes of a new prose translation of Euripides' most popular plays. In the three great war plays contained in this volume Euripides subjects the sufferings of Troy's survivors to a harrowing examination. The horrific brutality which both women and children undergo evokes a response of unparalleled intensity in the playwright whom Aristotle called the most tragic of the poets.

Why did Aeschylus characterize differently from Sophocles? Why did Sophocles introduce the third actor? Why did Euripides not make better plots? So asks H.D.F Kitto in his acclaimed study of Greek tragedy, available for the first time in Routledge Classics. Kitto argues that in spite of dealing with big moral and intellectual questions, the Greek dramatist is above all an artist and the key to understanding classical Greek drama is to try and understand the tragic conception of each play. In Kitto's words 'We shall ask what the dramatist is striving to say, not what in fact he does say about this or that.' Through a brilliant analysis of Aeschylus's 'Oresteia', the plays of Sophocles including 'Antigone' and 'Oedipus Tyrannus'; and Euripides's 'Medea' and 'Hecuba', Kitto skilfully conveys the enduring artistic and literary brilliance of the Greek dramatists.

From renowned classicist Edith Hall, ARISTOTLE'S WAY is an examination of one of history's greatest philosophers, showing us how to lead happy, fulfilled, and meaningful lives Aristotle was the first philosopher to inquire into subjective happiness, and he understood its essence better and more clearly than anyone since. According to Aristotle, happiness is not about well-being, but instead a lasting state of contentment, which should be the ultimate goal of human life. We become happy through finding a purpose, realizing our potential, and modifying our behavior to become the best version of ourselves. With these objectives in mind, Aristotle developed a humane program for becoming a happy person, which has stood the test of time, comprising much of what today we associate with the good life: meaning, creativity, and positivity. Most importantly, Aristotle understood happiness as available to the vast majority us, but only, crucially, if we decide to apply ourselves to its creation--and he led by example. As Hall writes, "If you believe that the goal of human life is to maximize happiness, then you are a budding Aristotelian." In expert yet vibrant modern language, Hall lays out the crux of Aristotle's thinking, mixing affecting autobiographical anecdotes with a deep wealth of classical learning. For Hall, whose own life has been greatly improved by her understanding of Aristotle, this is an intensely personal subject. She distills his ancient wisdom into ten practical and universal lessons to help us confront life's difficult and crucial moments, summarizing a lifetime of the most rarefied and brilliant scholarship.

This book traces the international performance history of Aristophanic comedy, and its implication in aesthetic and political controversies, from 421 BC to AD 2007. It includes Brechtian experiments in East Berlin, and musical theatre from Gilbert and Sullivan to Stephen Sondheim.

Greek and Roman Classics in the British Struggle for Social Reform presents an original and carefully argued case for the importance of classical ideas, education and self-education in the personal development and activities of British social reformers in the 19th and first six decades of the 20th century. Usually drawn from the lower echelons of the middle class and the most aspirational artisanal and working-class circles, the prominent reformers, revolutionaries, feminists and educationalists of this era, far from regarding education in Latin and Greek as the preserve of the upper classes and inherently reactionary, were consistently inspired by the Mediterranean Classics and contested the monopoly on access to them often claimed by the wealthy and aristocratic elite. The essays, several of which draw on previously neglected and unpublished sources, cover literary figures (Coleridge, the 'Cockney Classicist' poets including Keats, and Dickens), different cultural media (burlesque theatre, body-building, banner art, poetry, journalism and fiction), topics in social reform (the desirability of revolution, suffrage, poverty, social exclusion, women's rights, healthcare, eugenics, town planning, race relations and workers' education), as well as political affiliations and agencies (Chartists, Trade Unions, the WEA, political parties including the Fabians, the Communist Party of Great Britain and the Labour Party). The sixteen essays in this volume restore to the history of British Classics some of the subject's ideological complexity and instrumentality in social progress, a past which is badly needed in the current debates over the future of the discipline. Contributors include specialists in English Literature, History, Classics and Art.

The extensive performance history of Euripides' Medea since the Renaissance underscores its lasting social and political relevance. Here, papers drawn from an interdisciplinary colloquium hosted at Somerville College by the University of Oxford's Archive of Performances of Greek and Roman Drama in August 1998 are augmented by additional essays from specialists. The contributors to this important volume include Ian Christie, David Gowne, Edith Hall, Fiona Macintosh, Platon Mavromoustakos, Marianne McDonald, Diane Purkiss, Margaret Reynolds, Mae Smethurst, Eva Stehlikova, Oliver Taplin, and Olga Taxidou. (Legenda 2000)

This series of twenty complementary essays by experts in the field explores the art, social status, reputation and image of the ancient actor in the Greek and Roman worlds, from the sixth century B.C. to the Byzantine period. It covers tragedy, comedy, mime and pantomime and offers a full overview of the most important ancient evidence. In some essays new questions are asked, and in others, completely new evidence is offered. Numerous illustrations are included and all Greek and Latin passages are translated.

Studies of ancient theater have traditionally taken Athens as their creative center. In this book, however, the lens is widened to examine the origins and development of ancient drama, and particularly comedy, within a Sicilian and southern Italian context. Each chapter explores a different category of theatrical evidence, from the literary (fragments of Epicharmus and cult traditions) to the artistic (phylax vases) and the archaeological (theater buildings). Kathryn G. Bosher argues that, unlike in classical Athens, the golden days of theatrical production on Sicily coincided with the rule of tyrants, rather than with democratic interludes. Moreover, this was not accidental, but plays and the theater were an integral part of the tyrants' propaganda system. The volume will appeal widely to classicists and to theater historians.

Flying to Heaven to demand an end to war, building Cloudcuckooland in the sky, descending to Hades to retrieve a dead tragedian such were the cosmic missions on which Aristophanes, the father of comedy, sent his heroes of the classical Athenian stage. The wit, intellectual bravura, political clout and sheer imaginative power of Aristophanes' quest dramas have profoundly influenced humorous literature and satire, but this volume, which originated at an international conference held at the Archive of Performances of Greek and Roman Drama at Oxford University in 2004, is the first interdisciplinary study of their seminal contribution to the evolution of comic performance. Interdisciplinary essays by specialists in Classics, Theatre, and Modern Literatures trace the international performance history of Aristophanic comedy, and its implication in aesthetic and political controversies, from antiquity to the twenty-first century. The story encompasses Jonson's satire, Cromwell's Ireland, German classicism, British Imperial India, censorship scandals in France, Greece and South Africa, Brechtian experiments in East Berlin, and musical theatre from Gilbert and Sullivan to Stephen Sondheim.

Studies of ancient theater have traditionally taken Athens as their creative center. In this book, however, the lens is widened to examine the origins and development of ancient drama, and particularly comedy, within a Sicilian and southern Italian context. Each chapter explores a different category of theatrical evidence, from the literary (fragments of Epicharmus and cult traditions) to the artistic (phylax vases) and the archaeological (theater buildings). Kathryn G. Bosher argues that, unlike in classical Athens, the golden days of theatrical production on Sicily coincided with the rule of tyrants, rather than with democratic interludes. Moreover, this was not accidental, but plays and the theater were an integral part of the tyrants' propaganda system. The volume will appeal widely to classicists and to theater historians.

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.

In this richly varied selection of Tony Harrison's provocative prose of the last fifty years, the great poet of page, stage and screen presents a lifetime's thinking about art and politics, creativity and mortality. In so doing, he takes us on an extraordinary journey through languages and across continents and millennia, from his Nigerian Lysistrata to the British Raj of his version of Racine's Phedre, to post-Communist Europe for the film Prometheus to a one-off performance of The Kaisers of Carnuntum at the Roman amphitheatre between Vienna and Bratislava, tothe peace camp at Greenham Common, and from a Leeds street bonfire celebrating the defeat of Japan by the new atomic bomb to wines made from the vines on volcanoes. A collection of work filled with passion and humour that educates as it dazzles. 'Slangy, rooted, erudite, rhythmic, Harrison is a titan among poets; a unique Yorkshire brew of Auden, Byron, Brecht and Kipling, with a slug of Roman satire.' Independent

This 2009 book contains thirteen essays by senior international experts on Greek tragedy looking at Sophocles' dramas. They reassess their crucial role in the creation of the tragic repertoire, in the idea of the tragic canon in antiquity, and in the making and infinite re-creation of the tragic tradition in the Renaissance and beyond. The introduction looks at the paradigm shifts during the twentieth century in the theory and practice of Greek theatre, in order to gain a perspective on the current state of play in Sophoclean studies. The following three sections explore respectively the way that Sophocles' tragedies provoked and educated their original Athenian democratic audience, the language, structure and lasting impact of his Oedipus plays, and the centrality of his oeuvre in the development of the tragic tradition in Aeschylus, Euripides, ancient philosophical theory, fourth-century tragedy and Shakespeare.

This 2009 book contains thirteen essays by senior international experts on Greek tragedy looking at Sophocles' dramas. They reassess their crucial role in the creation of the tragic repertoire, in the idea of the tragic canon in antiquity, and in the making and infinite re-creation of the tragic tradition in the Renaissance and beyond. The introduction looks at the paradigm shifts during the twentieth century in the theory and practice of Greek theatre, in order to gain a perspective on the current state of play in Sophoclean studies. The following three sections explore respectively the way that Sophocles' tragedies provoked and educated their original Athenian democratic audience, the language, structure and lasting impact of his Oedipus plays, and the centrality of his oeuvre in the development of the tragic tradition in Aeschylus, Euripides, ancient philosophical theory, fourth-century tragedy and Shakespeare.

This collection of twenty essays examines the art, profession and idea of the actor in Greek and Roman antiquity, and has been commissioned and arranged to cast as much interdisciplinary and transhistorical light as possible on these elusive but fascinating ancient professionals. It covers a chronological span from the sixth century BC to Byzantium (and even beyond to the way that ancient actors have influenced the arts from the Renaissance to the twentieth century) and stresses the huge geographical spread of ancient actors. Some essays focus on particular themes, such as the evidence for women actors or the impact of acting on the presentation of suicide in literature; others offer completely new evidence, such as graffiti relating to actors in Asia Minor; others ask new questions, such as what subjective experience can be reconstructed for the ancient actor. There are numerous illustrations and all Greek and Latin passages are translated.