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Revenge in Attic and Later Tragedy.
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My passion for Greek literature began as a child when I was captivated by Greek myths and epic tales. As a student, I became fascinated with tragic revenge plots involving women, especially mothers who kill their children, and since then, I have published extensively on gender and violence in ancient Greek literature and life. I speak modern Greek and love thinking about these topics in traditional Greek folk poetry and literature as well, especially works like Alexandros Papadiamantisā The Murderess and Pantelis Prevelakisā The Sun of Death.
My journey to specialising in gender and revenge in ancient Athens began when I read this trilogy of tragedies by Aeschylus in the original ancient Greek. These plays captivated me because of their stunningly powerful and breathtakingly beautiful use of imagery and language.
The characters are equally striking, especially the clever and determined queen Clytemnestra, a ruthless and duplicitous killer who murders her husband in the bath. In turn, her son Orestes is faced with the dreadful prospect of killing his own mother to avenge the death of his father. Performing matricide brings forth the terrifying Erinyes, goddesses of vengeance, who demand that Orestes pay the price.
The powerful female characters and the dilemmas of the revenge plot are what make this trilogy one I return to time and time again.
Agamemnon *Libation Bearers *Eumenides Aeschylus' Oresteia is the only trilogy to survive from Greek tragedy, and the religious and moral ideas it enacts afterwards influenced a great dramatic genre, as well as giving its three plays their lasting significance. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurateā¦
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to runā¦
My passion for Greek literature began as a child when I was captivated by Greek myths and epic tales. As a student, I became fascinated with tragic revenge plots involving women, especially mothers who kill their children, and since then, I have published extensively on gender and violence in ancient Greek literature and life. I speak modern Greek and love thinking about these topics in traditional Greek folk poetry and literature as well, especially works like Alexandros Papadiamantisā The Murderess and Pantelis Prevelakisā The Sun of Death.
This translation of four of Euripidesā plays features his three best female avengers.
Electra is the loyal daughter who conspires with her brother Orestes, to avenge the killing of their father by slaughtering their mother, Clytemnestra. Hecabe is the fierce maternal figure who exacts revenge for her dead son Polydorus on the man who killed him for his riches. Medea is the murderous mother who avenges herself on her faithless husband, Jason, by killing her own children to destroy his family line.
The power of these plays is in the way their plots build as the women move from grief to anger, culminating in their fatal acts of revenge and leaving the audience to ponder on the nature of justice.
Four devastating Greek tragedies showing the powerful brought down by betrayal, jealousy, guilt and hatred
The first playwright to depict suffering without reference to the gods, Euripides made his characters speak in human terms and face the consequences of their actions. In Medea, a woman rejected by her lover takes hideous revenge by murdering the children they both love, and Hecabe depicts the former queen of Troy, driven mad by the prospect of her daughter's sacrifice to Achilles. Electra portrays a young woman planning to avenge the brutal death of her father at the hands of her mother, whileā¦
My passion for Greek literature began as a child when I was captivated by Greek myths and epic tales. As a student, I became fascinated with tragic revenge plots involving women, especially mothers who kill their children, and since then, I have published extensively on gender and violence in ancient Greek literature and life. I speak modern Greek and love thinking about these topics in traditional Greek folk poetry and literature as well, especially works like Alexandros Papadiamantisā The Murderess and Pantelis Prevelakisā The Sun of Death.
The focus of this book is on the power women could wield through public lamentation of the dead, with particular attention to their abilities to demand vengeance through their songs.Ā Holst-Warhaft makes use of modern Greek laments to put forward an argument about the dangers of womenās voices instigating violence and to suggest this is why the ancient Athenians wanted to restrict womenās lamentation.
I find particularly fascinating the preserved laments of women from Mani where they claim to have taken revenge themselves, such as the nineteenth-century lament of Kalopothos Sakkakos in which his sister Paraski says she poisoned his killers (her husband, father-in-law, and brother-in-law) in revenge.
The intersections between motifs in these folk songs and ancient tragedies are enlightening.
In Dangerous Voices Holst-Warhaft investigates the power and meaning of the ancient lament, especially women's mourning of the dead, and sets out to discover why legislation was introduced to curb these laments in antiquity. An investigation of laments ranging from New Guinea to Greece suggests that this essentially female art form gave women considerable power over the rituals of death. The threat they posed to the Greek state caused them to be appropriated by male writers including the tragedians. Holst-Warhaft argues that the loss of the traditional lament in Greece and other countries not only deprives women of their traditionalā¦
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother hadā¦
My passion for Greek literature began as a child when I was captivated by Greek myths and epic tales. As a student, I became fascinated with tragic revenge plots involving women, especially mothers who kill their children, and since then, I have published extensively on gender and violence in ancient Greek literature and life. I speak modern Greek and love thinking about these topics in traditional Greek folk poetry and literature as well, especially works like Alexandros Papadiamantisā The Murderess and Pantelis Prevelakisā The Sun of Death.
Sophoclesā play depicts Electra beautifully, from her bitter mourning for her dead father to her grim determination when she contemplates taking vengeance herself as she believes her brother Orestes is dead. The debate between Electra and her sister Chrysothemis over what they, as women, should do is a high point for me.
This edition features the Victorian translation of Jebb that matches the majesty of Sophoclesā play well and is enjoyable to read. Easterlingās introduction to the scholarās career and approach is also fascinating.
This is one of the seven plays of Sophocles in the full editions by R.C. Jebb, all of which will be reissued under the BCP imprint. They have occasionally been reprinted but never before in affordable paperback versions. In this set, each volume contains a foreword by P.E. Easterling, concerned with Jebb and his contribution to Sophoclean scholarship; there follows an introduction by a noted Sophoclean scholar dealing with Jebb's treatment of the individual play and its value for - and contrast with - subsequent interpretations, for which a select bibliography is included.
I first visited ancient Greece as an undergraduate. Homer and Plato seemed to speak directly to me, addressing my deepest questions. How do you live a good life? What should you admire? What should you avoid? Frustrated by English translations (each offers a different interpretation), I learned to read ancient Greek and then Latin. In college and then graduate school, I came to know Homer, Plato, Aeschylus, Cicero, Ovid, and many others in their own words. The ancient Greeks and Romans faced the same existential struggles and anxieties as we do. By precept, example, and counter-example, they remind me of humanityās best tools: discernment, deliberation, empathy, generosity.
As a cancer survivor and bone marrow transplant recipient, I found this book enormously helpful personally as well as professionally.
Drawing on his experience as a theater director producing ancient Greek tragedies for survivors of war, addiction, natural disasters, and other calamities, Doerries brings these ancient plays to life for contemporary audiences. His moving, personal, generous account ā part memoir, part philosophical exploration ā eloquently exposes the value of Greek tragedy for coping with trauma and tragedy today.
This is the personal and deeply passionate story of a life devoted to reclaiming the timeless power of an ancient artistic tradition to comfort the afflicted. For years, theater director Bryan Doerries has led an innovative public health project that produces ancient tragedies for current and returned soldiers, addicts, tornado and hurricane survivors, and a wide range of other at-risk people in society.
Drawing on these extraordinary firsthand experiences, Doerries clearly and powerfully illustrates the redemptive and therapeutic potential of this classical, timeless art: how, for example, Ajax can help soldiers and their loved ones better understand and grapple withā¦
I fell in love with the ancient Greeks a half-century ago. Ever since I have tried to learn from the past, by recognizing the ways in which the ancients were at once very like us and shockingly different. I only recently grasped that the Greeks were like us in their self-consciousness about human motivation: They recognized that many (perhaps most) people are driven by self-interest. But only a few of us are skilled at strategic choice-making. They knew that cooperation was necessary for human flourishing, but terribly hard to achieve. Today working together on common projects remains the greatest challenge for business, politics ā and your everyday life.
Williams was one of the most creative and engaging moral philosophers of the 20th century. He was a student at Oxford of E.R. Dodds. While Dodds reminded his readers of how strange the Greeks are to us, in terms of their religious practices, Williams reminds us that the Greeks are also very like us in the moral problems they confronted. Rejecting the idea that modern people have given up on āshameā in favor of āguilt,ā Williams showed that we still share the same concerns as the conflicted characters of Greek tragedy ā like them, for good and for ill, we gain our sense of ourselves and our moral worth from the reactions of the those around us.Ā
Although humanity has changed since the times of the ancient Greeks, this study claims that the differences are not to be traced to a shift in basic conceptions of ethical life. We are more like the ancients than we are prepared to acknowledge, and only when this is understood can we properly grasp our most important differences from them, such as our rejection of slavery. This treatise is directed towards writers such as Homer and the tragedians. At the centre of the study is the question of how we can understand Greek tragedy at all, when its world is soā¦
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man sheā¦
Growing up in Salt Lake City in the 1950s I was very soon aware that I was living in a world of borders, some permeable and negotiable, and some almost impossible to cross. It was a city of Mormons and a city of those who werenāt; a city of immigrants like my grandparents, and about whom my mother wrote (and wrote well); and a Jim Crow town where Black men and women couldnāt get into the ballroom to hear Duke Ellington play. Finally, it was a city haunted by its Indian past in a state keeping living Indians in its many bleak government reservations. What to make of those borders has been a life-long effort.
In 1912 a posse made up of cowboys and state police caught up with an Indian family on the run and massacred almost all of them.Ā Murderous Indians, vengeful whites: a simple Western story that when told through the multiple points of view of its participants, the sheriff who couldnāt intercept the posse in time, the son of a murdered Basque rancher, and, most poignantly, Shoshone Mikeās adolescent daughter, has the elements of a Greek tragedy.Ā
In 1911 a posse chased an itinerant Shoshone family across 200 hundred miles of Nevada desert and slaughtered them. Shoshone Mike re-creates this final chapter in the Old West through the eyes of an anachronistic sheriff.
I am a writer of psychological thrillers. I have a keen interest in psychology and how events and experiences in our childhood shape who we become. When I work on a new book, I always build a detailed profile of my charactersā childhoods ā and as I write thrillers, these are often challenging ones with issues like narcissistic parents or siblings, coping with grief, mental illness, or bullying. My plot will always be at least partly driven by the secrets my characters form in their childhood or early life, and so I also really value this depth in the psychological thrillers I read.
This is a story about three brothers. It starts with the funeral of one of them (you donāt know which) and goes back over their lives to unravel the mystery. They are all very different and none of them are likeable, and yet I found myself invested in all of them, trying my hardest to like them despite what they did ā to each other and more widely. The book explores some serious issues around mental health and addiction, and I felt Nugent did this incredibly well ā with both sympathy and clearly lots of research. The story is also told very skillfully. It uses multiple characters and jumps between timelines but reads very smoothly.
I am an Emeritus Professor of Drama at the University of Hull, translator of some twenty plays from Greek or Latin into English, a professional director, and a member of Equity for more than fifty years. I hope and believe that my own experience as a practitioner has blended with an educational background in Greek and Latin from St Andrews combined in my extensive list of publications on theatre history as author and editor to be found listed on my website.
If Arnottās approach makes it easier to understand and appreciate how Greek drama and theatre were part of a performance culture in classical Athens, Baldryās widens that perception to the much broader social and political climate of ancient Greece, from the likely āinventionā of tragedy and comedy in Athens at the end of the 6th Century BCE, to their development throughout the Greek world over the next two centuries and survival to our own time.
The whole sense of this new art form, a synthesis of storytelling, poetry, music, and dance, which developed as a kind of living and moving sculpture, is a hard one to take in all at once.
What Baldry offers is a brief but clear introduction to the background of both tragedy and comedy for anyone whose awareness of the potential of plays and players only begins with Shakespeare. He is both readable and a reliableā¦
Studies the nature of Greek tragedy during the fifth century B.C. focusing on the function of the actors and chorus, the organization of the theatre, and the audience
This book follows the journey of a writer in search of wisdom as he narrates encounters with 12 distinguished American men over 80, including Paul Volcker, the former head of the Federal Reserve, and Denton Cooley, the worldās most famous heart surgeon.
In these and other intimate conversations, the bookā¦
I am an Emeritus Professor of Drama at the University of Hull, translator of some twenty plays from Greek or Latin into English, a professional director, and a member of Equity for more than fifty years. I hope and believe that my own experience as a practitioner has blended with an educational background in Greek and Latin from St Andrews combined in my extensive list of publications on theatre history as author and editor to be found listed on my website.
While the first two links are a good introduction to classical drama and theatre for the uninitiated, this third choice is different, a vast and unparalleled compendium covering productions of the whole corpus of direct and marginal translations of Greek tragedy on the English stage over some 250 years.
It is a work of reference rather than a āgood readā, but it is a book into which I hope everyone would find reason to dip who believes in research as an essential feature of creative preparation for the new production of a āclassicā.
The book is written by two of the most prominent and inspirational contemporary classical scholars whose prolific output in kindred areas of the classics and of theatre history has little rival.
Issues such as stage censorship, social and political change and translation bias show how the classical repertoire from Aeschylus through to Seneca has made it possible,ā¦
This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aestheticā¦
