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For readers accustomed to the relatively undramatic standard translations of Prometheus Bound, this version by James Scully, a poet and winner of the Lamont Poetry Prize, and C. John Herington, one of the world's foremost Aeschylean scholars, will come as a revelation. Scully and Herington accentuate the play's true power, drama, and relevance to modern times. Aeschylus originally wrote Prometheus Bound as part of a tragic trilogy, and this translation is unique in including the extant fragments of the companion plays.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 edition. Excerpt: ... Strike with thy hammer, rivet to the rocks. He. Apace, and not in vain, the work proceeds. St. Smite harder, clinch them fast, leave nothing slack: A chink will serve him, though all doors be barred. 60 He. One arm at least inextricably is fixed. St. Clasp now the other safely: let him learn His wisdom is but dullness, matched with Zeus. He. Except of him, I shall not merit blame. St. Now, stubborn-fanged, an adamantine wedge Drive through his breast and rivet with thy might. He. Ah, I am grieved, Prometheus, for thy pain. St. Lingering again, and for the foes of Zeus Grieved? Have a care, or soon thyself thou'lt pity. He. Thou seest an evil sight for eyes to see. 70 St. I see this fellow punished as befits. Come, round his sides lash now the belly-girths. He. It must be done, thy needless chiding spare. St. Chide thee I shall--yea, hound thee to thy work. Down, and with gyves perforce enring his legs. He. Lo, how with no long toil the work is done. St. Now with thy might smite home the linked fetters: Thou hast no easy taskmaster to please. He. Too well thy accents and thy form accord. St. Be tender-hearted thou, but blame not me, 80 That I am stubborn and implacable. He. The chains are round his limbs; let us be gone. St. Here, if thou canst, insult; and short-lived men Grace with the stolen honours of the gods. Can mortals ease thee of thy load of pain? Prometheus falsely art thou named in heaven, Who rather of a counsellor hast need, How to unlock this cunning handiwork. Prometheus. Bright empyrean, and ye winged winds, Fountains of rivers, and the uncounted smile 90 Of the ocean-waves, and Earth, Mother of all, And the Sun's orb, all-seeing, I invoke-- See me tormented by the gods, a god Behold me, what agony Through the...
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Prometheus Bound was accepted without question in antiquity as the work of Aeschylus, and most modern authorities endorse this ascription. But since the nineteenth century several leading scholars have come to doubt Aeschylean authorship. Dr Griffith here provides a thorough and wide-ranging study of this problem, and concludes: 'Had Prometheus Bound been newly dug up from the sands of Oxyrhynchus... few scholars would regard it as the work of Aeschylus.' After a preliminary assessment of the external evidence, Dr Griffith examines minutely the idiosyncrasies of metre, dramatic technique, vocabulary, syntax and expression to be found in the play, applying the same tests to other plays of Aeschylus, Sophocles and Euripides in order to provide a control for his methods. In his final chapter he discusses how the conditions surrounding the ancient transmission and cataloguing of texts may have led to the ascription to Aeschylus.
Three classic Greek tragedies are translated and critically introduced by Edith Hamilton.
Classics, Computer Science, and Linguistics are brought together in this book, in an attempt to provide an answer to the authorship question concerning Prometheus Bound, a disputed play in the Aeschylean corpus, by applying some well-established Computer Stylistics methods. One of the main objectives of Stylometry, which, broadly speaking, is the study of quantified style, is Authorship Attribution. In its traditional form it can range from manually calculating descriptive statistics to the use of computer-assisted methodologies. However, non-traditional Authorship Attribution drastically changed the field. It brought together modern Linguistics and Artificial Intelligence applications (machine learning, natural language processing), and its key characteristic is that it aims at developing fully-automated systems for the attribution of texts of unknown authorship. In this book the author employs a series of supervised and unsupervised techniques used in non-traditional Authorship Attribution–applied here for the first time in ancient drama. The outcome of the analysis indicates a significant distance between the disputed text and the secure plays of Aeschylus, but also various interesting (micro-linguistic) ties of affinity with other authors, especially Sophocles and Euripides.
Drugs, madness, and a quest for enlightenment are Joel Agee's inheritance from the 1960s. Now sober, he recounts his adventures and knows the ghosts of past terrors--his own and his brother's, who died by his own hand at the age of 27--are still trapped and crying for release. To find them, he must write his way into the house of his fear.
Aeschylus was the first of the great Greek tragedians. The four plays presented in this volume -- together with the Oresteian Trilogy -- are all that survive of his work. "The Persians" is set against the Athenian victory at Salamis, which took place only eight years before the play was written. In "Seven against Thebes" the two sons of Oedipus are relentlessly pursued to their death by a family curse. But in "The Suppliants" and "Prometheus" conflict of principle is resolved by rational compromise. [Back cover].
This book includes two works: 1. Prometheus Bound by Aeschylus, translated by Thomas Medwin & Percy Bysshe Shellsy, and 2. Prometheus Unbound by Percy Bysshe Shelley.