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This remarkably low-priced anthology brings together five of the greatest, most studied, and most performed Greek tragedies, each in an outstanding translation:
• Oedipus Rex and Electra by Sophocles (translated by George Young), in which the much-admired playwright explores the individual's search for truth and self-knowledge
• Medea and Bacchae by Euripides (translated by Henry Hart Milman), favorites with modern audiences for their psychological subtlety and the humanity of their characters
• Prometheus Bound by Aeschylus (translated by George Thomson), a monumental work that examines relations between humans and the gods
These masterpieces of world literature represent the very apex of Greek drama and are essential for both the home library and the classroom.
• Oedipus Rex and Electra by Sophocles (translated by George Young), in which the much-admired playwright explores the individual's search for truth and self-knowledge
• Medea and Bacchae by Euripides (translated by Henry Hart Milman), favorites with modern audiences for their psychological subtlety and the humanity of their characters
• Prometheus Bound by Aeschylus (translated by George Thomson), a monumental work that examines relations between humans and the gods
These masterpieces of world literature represent the very apex of Greek drama and are essential for both the home library and the classroom.
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Sophocles was born around 496 B.C. in Colonus (near Athens), Greece. In 480, he was selected to lead the paean (choral chant to a god) celebrating the decisive Greek sea victory over the Persians at the Battle of Salamis. He served as a treasurer and general for Athens when it was expanding its empire and influence. He wrote approximately 123 plays including Ajax, Antigone, Oedipus Tyrannus, Trachiniae, Electra, Philoctetes, and Oedipus at Colonus. His last recorded act was to lead a chorus in public mourning for Euripides. He died in 406 B. C.
Euripides was born in Attica, Greece probably in 480 B.C. He was the youngest of the three principal fifth-century tragic poets. In his youth he cultivated gymnastic pursuits and studied philosophy and rhetoric. Soon after he received recognition for a play that he had written, Euripides left Athens for the court of Archelaus, king of Macedonia. Fragments of about fifty-five plays survive. Among his best-known plays are Alcestis, Medea and Philoctetes, Electra, Iphigenia in Tauris, The Trojan Women, and Iphigenia in Aulis Iphigenia. He died in Athens in 406 B.C.
Aeschylus was born at Eleusis of a noble family. He fought at the Battle of Marathon (490 b.c.), where a small Greek band heroically defeated the invading Persians. At the time of his death in Sicily, Athens was in its golden age. In all of his extant works, his intense love of Greece and Athens finds expression. Of the nearly 90 plays attributed to him, only 7 survive. These are The Persians (produced in 472 b.c.), Seven against Thebes (467 b.c.), The Oresteia (458 b.c.)---which includes Agamemnon, Libation Bearers, and Eumenides (or Furies) --- Suppliants (463 b.c.), and Prometheus Bound (c.460 b.c.). Six of the seven present mythological stories. The ornate language creates a mood of tragedy and reinforces the already stylized character of the Greek theater. Aeschylus called his prodigious output "dry scraps from Homer's banquet," because his plots and solemn language are derived from the epic poet. But a more accurate summation of Aeschylus would emphasize his grandeur of mind and spirit and the tragic dignity of his language. Because of his patriotism and belief in divine providence, there is a profound moral order to his plays. Characters such as Clytemnestra, Orestes, and Prometheus personify a great passion or principle. As individuals they conflict with divine will, but, ultimately, justice prevails. Aeschylus's introduction of the second actor made real theater possible, because the two could address each other and act several roles. His successors imitated his costumes, dances, spectacular effects, long descriptions, choral refrains, invocations, and dialogue. Swinburne's (see Vol. 1) enthusiasm for The Oresteia sums up all praises of Aeschylus; he called it simply "the greatest achievement of the human mind." Because of his great achievements, Aeschylus might be considered the "father of tragedy."
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