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Prometheus Bound and Other Plays: Prometheus Bound, The Suppliants, Seven Against Thebes, The Persians (Penguin Classics) by Philip Vellacott (1961-08-30) Mass Market Paperback – January 1, 1961
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Product details
- ASIN : B01FGON1NW
- Publisher : Penguin; Later Printing edition (January 1, 1961)
- Item Weight : 1.01 pounds
- Best Sellers Rank: #1,469,008 in Books (See Top 100 in Books)
- #624 in Ancient & Classical Dramas & Plays
- #1,566 in Ancient Greek History (Books)
- #56,858 in Suspense Thrillers
- Customer Reviews:
About the author
Aeschylus (/ˈiːskᵻləs/ or /ˈɛskᵻləs/; Greek: Αἰσχύλος Aiskhulos; Ancient Greek: [ai̯s.kʰý.los]; c. 525/524 – c. 456/455 BC) was an ancient Greek tragedian. He is also the first whose plays still survive; the others are Sophocles and Euripides. He is often described as the father of tragedy: critics and scholars' knowledge of the genre begins with his work, and understanding of earlier tragedies is largely based on inferences from his surviving plays. According to Aristotle, he expanded the number of characters in theater to allow conflict among them, whereas characters previously had interacted only with the chorus.
Only seven of his estimated seventy to ninety plays have survived, and there is a longstanding debate regarding his authorship of one of these plays, Prometheus Bound, which some believe his son Euphorion actually wrote. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work. He was probably the first dramatist to present plays as a trilogy; his Oresteia is the only ancient example of the form to have survived. At least one of his plays was influenced by the Persians' second invasion of Greece (480-479 BC). This work, The Persians, is the only surviving classical Greek tragedy concerned with contemporary events (very few of that kind were ever written), and a useful source of information about its period. The significance of war in Ancient Greek culture was so great that Aeschylus' epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright. Despite this, Aeschylus' work – particularly the Oresteia – is acclaimed by today's literary academics.
Bio from Wikipedia, the free encyclopedia. Photo by Unknown [Public domain], via Wikimedia Commons.
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The Suppliants is kind of a waste of time. It's obviously the introduction to the action, and not much to reflect on unless you know a woman in an unhappy marriage, and then you can supply them with the line, "I would rather meet my fate in a drawn noose/ Than give my flesh to a husband I abhor;/ Sooner let Death possess me!" That'll add zazz to any domestic argument.
Seven Against Thebes is fantastic and serves as the end to the Oedipus trilogy if you want to read it that way. Lots of great slams on the boastful and praise to the quiet effective types. It's required reading.
The Persians is great reading right now if you're not thrilled with the way America is headed under current leadership. It's about the most powerful empire in the world shattering its massive army in a war of folly. Superior wealth and technology (bridge of boats across the ocean) are squandered in the wastelands. It's from the point of view of the losers, and I can't help but think it's cautionary to the Greeks rather than celebratory. America should read it that way as well. It's eerily relevant. I read this passage this morning and it gave me the creeps:
(Mother of Xerxes's premonition concerning the fall of the Persian empire)
I saw an eagle fly for refuge to Apollo's hearth. I watched, speechless with terror; then a falcon came, and swooped with rushing wings, and with his talons clawed the eagle's head; it, unresisting, cowered there, offering itself to wounds.
Not good for us, not good at all. In any case, just about every page has some piece of wisdom on it, and the translation here puts the the thought with the perfect words. If you're enjoying Shakespeare or KJV right now but want a different flavor, give Aeschylus a shot. He has a strong grasp on the mind of the king and the burden of leadership, more so than WS. There's also a sophisticated view of how real democracy lends strength to a society, in a way that resonates with an adult brain that has become jaded on jingoism.
Prometheus Bound is an introduction to a trilogy of plays featuring the titular Prometheus first being chained to a rock, then explaining to various passersby his story. The initial violence of the opening scene is jarring, but the majority of the play itself is very subdued, with Prometheus telling of his crimes against Zeus but that he has no regrets of bringing humanity it's greatest gift and bears his punishment gladly. This sacrifice is a pretty common thread across Western myths, but it shines very powerfully here.
The Supplicants basically sets the stage for a deeper, more moving trilogy where the bulk of the story is lost. Because of this, the play suffers drastically, as it just provides the context for something with a lot more action. I feel like this was very uninteresting and plodded along too slowly to be very memorable - but then again, it's just a teaser for the murderous undertaking to follow.
Seven Against Thebes was the real standout gem for me. Since it's the last part and apex of a trilogy rife with murder and struggle, it doesn't really hold back. In this story the citadel of Cadmea is under attack by seven bloodthirsty warriors. It's up the heroic defenders to stave them off. Although all the action happens off-stage, things end in a bloody mess, with the two sons of Oedipus killing each other. As with most Greek plays the inclusion of the chorus bogs down a lot of the action, but you can tell that Aeschylus is really trying out new techniques here, with the chorus actually interacting with the characters more than the other plays. I really liked the descriptions of the attackers and quick follow up of the defenders, I'd love seeing this play on stage.
As for The Persians, not much of note actually happens. It's basically a retelling of the loss of the battle of Salamis being relayed to the Persians back home. It's interesting enough, and clearly meant as more of a comedy which points out the hubris in Xerxes' battle strategies, but I feel like this was the weakest of the bunch and lost interest quickly. As a play, I'm sure it was very entertaining with the funny costumes and constantly poking fun at the Persians, but it's a bit flat and dry to just read through here.
One quick note - Velacott's translation really feels fresh and interesting, and his introductions and various comments throughout really help build a pretty deep understanding of the context and untranslatable humor behind the scenes. As is usually the case with ancient works, the translation is very key to the appreciation of the style, and here the wit of the original shines through.