'Today good reading and effective performance of ancient drama require a constellation of talents to succeed, and in the four brought together for "The Electra Plays" we are getting some of the best. Justina Gregory provides a fine critical Introduction to the whole project, and the performance-tested translations of Peter Meineck, Cecelia Eaton Luschnig, and Paul Woodruff are wonderfully readable and speakable - even when the events to be spoken of are not. This is not the usual random gathering of plays, but a volume with a concentrated focus on the three playwrights' treatment of the same events in the House of Atreus. There are parallels and profound differences, all of them endlessly discussable. This ensemble of plays and the team that made it should appeal to anyone interested in Greek literature, theater history, or mythology' - James Tatum, Aaron Lawrence Professor of Classics, Dartmouth College (Johns Hopkins University Press)....

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In the "Oresteia" - the only trilogy in Greek drama which survives from antiquity - Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos. Moving from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, its spirit of struggle and regeneration is eternal....

Aeschylus (525-c.456 bc) set his great trilogy in the immediate aftermath of the Fall of Troy, when King Agamemnon returns to Argos, a victor in war. Agamemnon depicts the hero's discovery that his family has been destroyed by his wife's infidelity and ends with his death at her callous hand. Clytemnestra's crime is repaid in The Choephori when her outraged son Orestes kills both her and her lover. The Eumenides then follows Orestes as he is hounded to Athens by the Furies' law of vengeance and depicts Athene replacing the bloody cycle of revenge with a system of civil justice. Written in the years after the Battle of Marathon, "The Oresteian Trilogy" affirmed the deliverance of democratic Athens not only from Persian conquest, but also from its own barbaric past....

Three masterpieces of classical tragedy

Containing Aeschylus's Agamemnon, Sophocles' Oedipus Rex, and Euripides' Medea, this important new selection brings the best works of the great tragedians together in one perfect introductory volume. This volume also includes extracts from Aristophanes' comedy The Frogs and a selection from Aristotle's Poetics....

Classic trilogy by great tragedian deals with the bloody history of the House of Atreus. Grand in style, rich in diction and dramatic dialogue, the plays embody Aeschylus’ concerns with the destiny and fate of both individuals and the state, all played out under the watchful eye of the gods.
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Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.

The volume brings together four major works by one of the great classical dramatists: Prometheus Bound, translated by James Scully and C. John Herrington, a haunting depiction of the most famous of Olympian punishments; The Suppliants, translated by Peter Burian, an extraordinary drama of flight and rescue arising from women's resistance to marriage; Persians, translated by Janet Lembke and C. John Herington, a masterful telling of the Persian Wars from the view of the defeated; and Seven Against Thebes, translated by Anthony Hecht and Helen Bacon, a richly symbolic play about the feuding sons of Oedipus. These four tragedies were originally available as single volumes. This new volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers....

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....

Aeschylus (ca. 525–456 BCE), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once.

Of his total of about eighty plays, seven survive complete. The third volume of this edition collects all the major fragments of lost Aeschylean plays.

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Aeschylus (ca. 525–456 BCE), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once.

Of his total of about eighty plays, seven survive complete. The second volume contains the complete Oresteia trilogy, comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.

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Aeschylus (ca. 525–456 BCE), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once.

Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition offers fresh texts and translations by Alan H. Sommerstein of Persians, the only surviving Greek historical drama; Seven against Thebes, from a trilogy on the conflict between Oedipus’ sons; Suppliants, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage; and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus.

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