This book presents ancient Greek tragedy in the context of late-twentieth-century reading, criticism and performance. The twelve chapters, written by seven distinguished scholars, cover tragedy as an institution in the civic life of ancient Athens, a range of approaches to the surviving plays, and changing patterns of reception, adaptation and performance from antiquity to the present.

The period from the eighth to the fifth centuries B.C. was one of extraordinary creativity in the Greek-speaking world. Poetry was a public and popular medium, and its production was closely related to developments in contemporary society. At the time when the city states were acquiring their distinctive institutions epic found the greatest of all its exponents in Homer, and lyric poetry for both solo and choral performance became a genre which attracted poets of the first rank, writers of the quality of Sappho, Alcaeus and Pindar, whose influence on later literature was to be profound. This volume covers the epic tradition, the didactic poems of Hesiod and his imitators, and the wide-ranging work of the iambic, elegiac and lyric poets of what is loosely called the archaic age. The contributors make use of recent papyrus finds (particularly in the case of Archilochus and Stesichorus) to fill out the picture of a cosmopolitan and highly sophisticated literary culture which had not yet found its intellectual centre in Athens.

This series provides individual textbooks on early Greek poetry, on Greek drama, on philosophy, history and oratory, and on the literature of the Hellenistic period and of the Empire. Each part has its own appendix of authors and works, a list of works cited, and an index. This volume studies the revolutionary movement represented by the more creative of the Hellenistic poets and finally the very rich range of authors surviving from the imperial period, with rhetoric and the novel contributing a distinctive flavour to the culture of the time. Appropriately enough, the volume closes with a survey of books and readers in the ancient world, which draws attention to the bookish nature of Greek literature from the Hellenistic period onwards and points forward to its survival into the Middle Ages.

Cambridge Translations from Greek Drama aims to eliminate the boundary between Classics students and drama students. Sophocles: Antigone is the fifth title in the series, and is aimed at A-level students in the UK and college students in North America.Features of the book include a full commentary running alongside the translation with questions to encourage discussion, notes on pronunciation and a plot synopsis. Background information to the story is also provided.

This series provides individual textbooks on early Greek poetry, on Greek drama, on philosophy, history and oratory, and on the literature of the Hellenistic period and of the Empire. A chapter on books and readers in the Greek world concludes Part IV. Each part has its own appendix of authors and works, a list of works cited, and an index.

This volume ranges in time over a very long period and covers the Greeks' most original contributions to intellectual history. It begins and ends with philosophy, but it also includes major sections on historiography and oratory. Although each of these areas had functions which in the modern world would not be considered 'literary', the ancients made a less sharp distinction between intellectual and artistic production, and the authors included in this volume are some of Europe's most powerful stylists: Plato, Herodotus, Thucydides and Demosthenses.

Greek religion is a subject of absorbing interest, essential for the understanding of history and culture, but often puzzling and elusive. This collection of essays ranges over many aspects of Greek civil life, looking at the ways in which religion manifested itself in institutions, art and literature, and tracing the attitudes that lay behind the manifold cults and customs. It is not meant as an exhaustive introduction to the subject, but as a series of related approaches which will help students to draw the threads together, on lines suggested by Sir Moses Finley in his introduction to the book.

Sophocles' Trachiniae is, in the editor's words, 'a subtle and sophisticated play about primitive emotions'. It is also a play which presents problems to a modern audience. Making full use of recent Sphoclean scholarship, Mrs Easterling attempts in her Introduction a detailed literary analysis of Trachiniae, helping the reader to understand better its intricate structure, the treatment of Deianira and Heracles, and the meaning of the final scenes. The notes in the Commentary of grammar, syntax and style include material which will be helpful to comparative beginners in the language, but the commentary as a whole is intended for anyone with a close interest in Greek tragedy. This is an edition for classical scholars, undergraduates, and students in the upper forms of schools. The Introduction is designed to be of use to readers who do not know Greek, as well as to specialists.

Cambridge Translations from Greek Drama is a series of new translations which are faithful to the original Greek plays in content and tone, but which have the immediacy of modern English. The series aims to enable both Classics students and Drama students, and indeed anyone with an interest in the theatre, to approach Classical plays with confidence and understanding.Agamemnon is the seventh title in the series, and is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.A full commentary is provided which runs alongside the translation. It includes useful notes and questions to encourage discussion on the themes and dramatic qualities of the text, and also more practical issues of staging and performance.Features of the book include notes on pronunciation of names and a plot synopsis. Background information to the story is also provided.