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A COMPANION
TO AESCHYLUS
BLACKWELL COMPANIONS TO THE ANCIENT WORLD
This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and
the most important themes in ancient culture. Each volume comprises approximately twenty-five and forty concise essays writ-
ten by individual scholars within their area of specialisation. The essays are written in a clear, provocative, and lively manner,
designed for an international audience of scholars, students, and general readers.
Peter Burian
Duke University
Durham, NC
This edition first published 2023
© 2023 John Wiley & Sons Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form
or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how
to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.
The right of Jacques A. Bromberg and Peter Burian to be identified as the authors of the editorial material in this work has
been asserted in accordance with law.
Registered Offices
John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA
John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK
Editorial Office
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For details of our global editorial offices, customer services, and more information about Wiley products visit us at www.
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standard print versions of this book may not be available in other formats.
Set in 9.5/11.5pt Galliard Std by Integra Software Services Pvt. Ltd, Pondicherry, India
In memory of
MAE SMETHURST
Epilogue 544
Jacques A. Bromberg
Index 558
List of Figures
Fig. 5.1 Eastern Sicily in the era of Aeschylus. Akragas is on the coast,
further to the west. 63
Fig. 5.2 Tetradrachm of Aitna: head of satyr, obverse; enthroned
Zeus Aitnaios, reverse (KBR, Royal Library of Belgium). 65
Fig. 8.1 The Danaids as staged in Moni Ovadia’s production of The Suppliants
(Sicily, Summer 2015). Photograph courtesy of Peter Burian. 103
Fig. 8.2 Moni Ovadia as King Pelasgos in The Suppliants (Sicily, Summer 2015).
Photograph courtesy of Peter Burian. 104
Fig. 14.1 An Attic amphora fragment by Eucharides Painter. The J. Paul
Getty Museum, Villa Collection, Malibu, California. 86.
AE.190.6. Terracotta. 187
Fig. 14.2 Sphinx with Chorus of Satyrs, Athenian Red-figure Hydria. Tokyo,
Fujita, ZA20. ©Martin von Wagner Museum der Universität
Würzburg, Photo: P. Neckermann. 191
Fig. 21.1 Hades takes Persephone off to the underworld. (After Tillyard
1923, pl.33; cf. Jenkins 1983, pl. 18). 289
Fig. 31.1 Facsimile image from the Medicean manuscript of Aeschylus
(Rostagno 1896, pl. 18). The text of Agamemnon breaks off
at the bottom of the left page, after v.1159; the text of Libation
Bearers starts in, without any sign of a change of play, at the top
of the right page. Courtesy of the Department of Special
Collections, Stanford University Libraries. 433
Preface and Acknowledgements
This volume arrives at a moment when renewed interest in ancient Greek drama is evi-
dent in the number of translations, adaptations, and performances appearing around the
world across multiple media. Aeschylus may not be as familiar to many readers as
Sophocles and Euripides, but we have striven to attract and accommodate a broad audi-
ence by providing English translations of all Greek, consistently spelling out names of
journals and reference works, and in general keeping abbreviations to a minimum. Even
in the few chapters that deal with technical issues such as metre and textual transmission,
we have made every effort to explain unfamiliar terms and avoid disciplinary jargon. Each
chapter contains suggestions for further reading as well as bibliographical information on
all works cited. We hope students reading Aeschylus in high school or college classes,
professional scholars, and everyone in between, will find useful guidance within these
pages.
We owe much to many who have fostered this project. We offer thanks first to the helpful
staff at Wiley-Blackwell: Haze Humbert, the acquisitions editor who commissioned this vol-
ume, a long succession of project managers, most recently Andrew Minton, and of editorial
assistants. All these people were consistently encouraging and amazingly patient over the
long gestation of the book. Our copy editor, Katherine Carr, did a thoughtful and meticulous
job. And of course, we thank our contributors, some of whom have waited a long time to see
their work on this project in print, others of whom produced splendid contributions on very
short notice. We are delighted by the mix of more established and younger scholars, as well
as the range of methodologies, viewpoints, and expertises represented by their
contributions.
Notes on Contributors
Malcolm Bell III is Professor Emeritus of classical archaeology at the University of Virginia
and has long been co-director of the American excavations at the ancient Sicilian city of
Morgantina. He holds undergraduate and graduate degrees from Princeton University and
has served as professor-in-charge at the American Academy in Rome. He has written exten-
sively on the art, archaeology, and political economy of Greek Sicily, and on works of Greek
sculpture found in Rome. The relevance of Pindar, Theocritus and other Greek poets to
sculpture and painting has been a recurrent theme in his writing. Bell’s study of the city plan
and civic architecture of Morgantina will appear as volume seven in the series Morgantina
Studies.
Jacques A. Bromberg holds degrees in Classics and Classical Studies from Stanford University
and the University of Pennsylvania, and has taught at Colby College and Duke University.
He is currently an Assistant Professor in the Department of Classics at the University of
Pittsburgh, and affiliate of the Global Studies Center and the Center for Bioethics and Health
Law. He has published research on ancient academic disciplines, the Socratic tradition in
Greek drama, receptions of Aeschylus in Latin America and the history and philosophy of
sport. He is author of Global Classics (Routledge, 2021), and founding editor and editor-in-
chief of the open-access journal, Global Antiquities.
Peter Burian is Professor Emeritus of Classical Studies at Duke University, where he served
as Professor of Classical and Comparative Literature, Professor of Theater Studies, and
Dean of the Humanities. His research interests centre on Greek theatre and classical recep-
tion. His publications include numerous essays on the surviving Greek tragedians, an Aris
and Phillips edition of Euripides’ Helen and a Bryn Mawr commentary on Aristophanes’
Birds. He has edited a number of volumes, including the complete Greek Tragedy in New
Translations (Oxford University Press). He is also active as a translator from Greek
(including plays by Aeschylus and Euripides) and Italian. He was twice professor-in-charge
Notes on Contributors xv
at the Intercollegiate Center for Classical Studies in Rome and was awarded Fulbright and
National Endowment for the Humanities fellowships. His current projects include a study
of theatre of the fifth century as a participant in the Athenian democracy and an adaptation
of Birds.
Sarah Derbew received her PhD in Classics from Yale University and was a Junior Fellow at
the Harvard Society of Fellows. She is currently an Assistant Professor of Classics at Stanford
University, where she is affiliated with the Center for Comparative Studies in Race and
Ethnicity. Her research focuses on literary and artistic representations of black people in
ancient Greece. Her interests extend to the twenty-first century; she has written about Greco-
Roman antiquity in the African diaspora. She recently completed on her book, Untangling
Blackness in Greek Antiquity, in which she employs critical race theory to map out an expan-
sive archaeology of blackness in ancient Greek literature and art.
P. J. Finglass is Henry Overton Wills Professor of Greek at the University of Bristol, UK.
Having recently completed terms as Director of the UK’s Arts and Humanities Research
Council (AHRC)-funded South, West and Wales Doctoral Training Partnership and as Head
of the Department of Classics and Ancient History at Bristol, he now holds a Leverhulme
Major Research Fellowship whose goal is a new edition with commentary of Sappho and
Alcaeus. He has published a monograph Sophocles (2019) in the series “Greece and Rome
New Surveys in the Classics”, as well as editions of Sophocles’ Oedipus the King (2018), Ajax
(2011), and Electra (2007), of Stesichorus (2014), and of Pindar’s Pythian Eleven (2007) in
the series “Cambridge Classical Texts and Commentaries”. He has co-edited several volumes,
including (with Adrian Kelly) The Cambridge Companion to Sappho (2021) and Stesichorus in
Context (2015) and (with Lyndsay Coo) Female Characters in Fragmentary Greek Tragedy
(2020). He also edits the journal Classical Quarterly.
Helene P. Foley is Claire Tow Professor of Classics, Barnard College, Columbia University.
She is the author of books and articles on Greek epic and drama, on women and gender in
antiquity, and on modern performance and adaptation of Greek drama. Author of Ritual
Irony: Poetry and Sacrifice in Euripides, The Homeric Hymn to Demeter, Female Acts in
Greek Tragedy, Reimagining Greek Tragedy on the American Stage, and Euripides: Hecuba
and co-author of Women in the Classical World: Image and Text, she edited Reflections of
Women in Antiquity and co-edited Visualizing the Tragic: Drama, Myth and Ritual in
Greek Art and Literature, Antigone on the Contemporary World Stage, and Aristophanes
and Politics.
A. F. Garvie is an Emeritus Professor at the University of Glasgow. His principal interest has
been Homer and Greek Tragedy. His full-scale commentaries on Aeschylus Choephori (Oxford
xvi Notes on Contributors
University Press, 1986) and Aeschylus Persae (Oxford University Press, 2009) are for
advanced readers, while The Plays of Aeschylus (2nd ed. Bloomsbury, 2016) and The Plays of
Sophocles (2nd ed. Bloomsbury, 2016) are more suitable for the non-specialist. He has given
lectures in many universities in Europe, particularly in Italy, and in addition to producing
commentaries on Homer and Sophocles, he has made many contributions to classical jour-
nals and other publications on various aspects of Greek tragedy. For a year he was the Visiting
Gillespie Professor at the College of Wooster, Ohio, and he also taught for a summer semester
at the Ohio State University, and briefly at the University of Guelph, Ontario. For six years
he was co-editor of Classical Review. He is a Fellow of The Royal Society of Edinburgh.
Adam Lecznar has taught in Classics departments across the UK, including at University
College London, Bristol, Leeds and Royal Holloway. His research interests mainly concern
classical reception in the nineteenth and twentieth centuries, and in particular the way that
the category of the ancient past and the notion of classicism have provided inspiration for
modern literature and philosophy. Lecznar has recently published his first monograph
Dionysus after Nietzsche: The Birth of Tragedy in Twentieth-Century Literature Thought
(Cambridge University Press, 2020), and a co-edited essay collection on Classicisms in the
Black Atlantic (Oxford University Press, 2020), alongside various essays on reception, post-
colonialism and Greek literature. He is now beginning work on his second monograph on
the hybrid classicism of the Nigerian playwright Wole Soyinka.
Vayos Liapis is Professor of Ancient Theatre and Its Reception at the Open University of
Cyprus. He has previously been faculty at Universities in Cyprus, Montreal and Patras,
Visiting Professor at the École Normale Supérieure in Paris, and Elizabeth and J. Richardson
Dilworth Fellow at the Institute for Advanced Study, Princeton. He is the author of A
Commentary on the Rhesus Attributed to Euripides (Oxford, 2012) and co-editor of Greek
Tragedy after the Fifth Century (Cambridge, 2018) and Adapting Greek Tragedy (Cambridge,
2020). He is the recipient of the 2018 National Prize for the Translation of Ancient Greek
Literature into Modern Greek (Hellenic Ministry of Culture and Sports).
Notes on Contributors xvii
Marsh McCall holds degrees in Classics and Classical Philology from Harvard, and has
taught at Harvard, Johns Hopkins, Berkeley and, since 1976, Stanford. He held a Junior
Fellowship at the Center for Hellenic Studies in 1968–69, an American Council of Learned
Societies (ACLS) Fellowship at the Institute for Classical Studies, London in 1973–74, and
an ACLS Fellowship at the Stanford Humanities Center in 1984–85. He has been a Fulbright
Senior Scholar at Melbourne University in 1980, a Visiting Fellow at Magdalen College
Oxford in 1992–93, a Visiting Research Fellow at Merton College Oxford in 1999–2000,
and a Visiting Researcher at St Anne’s College Oxford in 2005 and 2008. His work has cen-
tred in Ancient Rhetoric and, especially, Greek Tragedy. A series of articles established the
manuscript sources of the earliest printed editions – including the Aldine editio princeps – of
Aeschylus, specifically for the Suppliant Women.
Peter Meineck holds the endowed chair of Professor of Classics in the Modern World at New
York University. He is also the founder of Aquila Theatre. Publications include Theatrocracy:
Greek Drama, Cognition and the Imperative for Theatre (Routledge, 2018), The Routledge
Handbook of Classics and Cognitive Theory (Routledge, 2019), Sophocles’ Philoctetes
(Hackett, 2014) and Combat Trauma and the Ancient Greeks (with David Konstan, Palgrave
Macmillan, 2014). He has translated, published, directed and produced several Aeschylus
plays and used Aeschylean texts in public programmes with veterans, marginalised teens, ref-
ugees and people gathered at public libraries, arts facilities, community centres and museums.
He is currently working on a biography of Aeschylus and his relationship to democracy.
F. S. Naiden studies ancient Greek law, religion and warfare, including Near-Eastern paral-
lels, especially among the Western Semites. Chief periods of interest are the Classical and
Hellenistic. Recently completed is a study of Alexander the Great, his officers and the role of
religion in Macedonian conquests, Soldier, Priest, and God, combining his interests in war-
xviii Notes on Contributors
fare, religion and the Near East. Now underway is a study of war councils and command and
control throughout antiquity and into the early modern period.
Sarah Nooter is a Professor of Classics and Theater and Performance Studies at the
University of Chicago. She is the author of When Heroes Sing: Sophocles and the Shifting
Soundscape of Tragedy (Cambridge, 2012) and The Mortal Voice in the Tragedies of Aeschylus
(Cambridge, 2017), as well as many articles on Greek tragedy, classical reception in Africa,
poetry and sound studies. She also co-edited Sound and the Ancient Senses (Routledge,
2019) with Shane Butler, and is the editor-in-chief of the journal Classical Philology. She
is now finishing a book which explores modes of embodiment and temporality in ancient
Greek poetry and song.
Kirk Ormand is the Nathan A. Greenberg Professor of Classics at Oberlin College, where
he has taught since 2001. He is the author of Exchange and the Maiden: Marriage in
Sophoclean Tragedy (1999), The Hesiodic Catalogue of Women and Archaic Greece (2014),
and Controlling Desires: Sexuality in Ancient Greece and Rome (2nd ed., 2018); he has edited
A Companion to Sophocles (2012) and co-edited with Ruby Blondell Ancient Sex: New Essays
(2015). He has published articles on Homer, Hesiod, Sappho, Hipponax, Sophocles,
Euripides, Ovid, Lucan, Heliodorus, Michel Foucault and Clint Eastwood.
Arum Park is an Assistant Professor of Classics at the University of Arizona. Her publica-
tions include articles and book chapters on archaic and classical Greek poetry, the Greek
novel, and Augustan poetry, as well as public-facing pieces on #metoo in Greco-Roman lit-
erature, race and diversity in Classics, and classical reception. She is the editor of Resemblance
and Reality in Greek Thought: Essays in Honor of Peter M. Smith (Routledge, 2017) and the
author of Reciprocity, Truth, and Gender in Pindar and Aeschylus (forthcoming, University
of Michigan Press).
Anthony Podlecki holds degrees from Holy Cross College, Worcester MA, Oxford and
University of Toronto. He taught at Northwestern, Penn State and University of British
Columbia. He specialised in the history and literature of archaic and classical Greece, and the
interrelations between these two areas. His publications include studies of Homer, Greek
lyric, drama and the fifth-century political figures Themistocles and Pericles.
End: Closure in Greek and Latin Literature (Princeton, 1997), and co-author (with Sheila
Murnaghan) of Childhood and the Classics: Britain and America, 1850–1965 (Oxford, 2018).
Her translations of Greek tragedy include Euripides’ Ion (Penn Greek Drama series,
Philadelphia 1999), Aeschylus’s Prometheus Bound (Indianapolis 2012), and Euripides’
Andromache (Chicago series, revised edition, Chicago 2013); she is currently working on a
translation of Aeschylus’s Persians.
David Rosenbloom is Professor and Chair of the Ancient Studies Department at the
University of Maryland Baltimore County. He has published a book on Aeschylus’s Persians
and co-edited Greek Drama IV, a volume of essays on tragedy, comedy, satyr-play and
theatrical culture. He has published extensively on Attic tragedy and comedy as well as on
Athenian history and oratory. He was a Junior Fellow at the Center for Hellenic Studies and
has held visiting positions at Princeton and Johns Hopkins Universities.
Sydnor Roy is Assistant Professor of Classics in the Department of Classical and Modern
Languages and Literature at Texas Tech University. She is the co-author of Race and Ethnicity
in the Classical World (Hackett, 2013, with R. Kennedy and M. Goldman). Her primary
research focus is political history and theory in the ancient Mediterranean, with a special
focus on Greek interactions with Persia, Phoenicia and Egypt. She is currently working on a
monograph on political thought in Herodotus’s Histories.
I. A. Ruffell is Professor of Greek Drama and Culture at the University of Glasgow. Her pub-
lications include monographs on Greek comedy (Politics and Anti-Realism in Athenian Old
Comedy: The Art of the Impossible, Oxford, 2011) and tragedy (Aeschylus: Prometheus Bound,
London, 2012). She has translated Aeschylus and Euripides for professional theatre produc-
tions. As well as drama, she has also published on Roman satire and on ancient technology.
Carl Shaw teaches all levels of ancient Greek language and literature at New College, the
honors college of Florida. His scholarly interests lie broadly in the areas of Greek literature
and culture, with a particular focus on drama. He is the author of Satyric Play: The Evolution
of Greek Comedy and Satyr Drama (Oxford University Press, 2014) and Euripides: Cyclops
(Bloomsbury Publishing, 2018).
Amit Shilo is Assistant Professor of Classics at the University of California, Santa Barbara.
His forthcoming book is Beyond Death in the Oresteia: Poetics, Ethics, and Politics. He is a
co-founder of Classics and Social Justice. His current research is on polytheism and Athenian
democratic thought.
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Giovane che fin da’ suoi tempi e da lui e da altri prestantissimi
uomini se ne gridasse all’abolizione.
L’universale delirio per questi giuochi giadiatorj, l’affluenza del
pubblico, l’intervento del principe e de’ magistrati, la descrizione di
queste pugne e l’interessamento dovunque ad esse per parte d’ogni
classe di persone, non escluso il sesso che suolsi appellare gentile,
io dirò meglio colla viva dipintura che ne fa l’illustre poeta tedesco
Federico Halm, ossia, per togliergli il velo della pseudonimia lacerato
non ha guari da morte, il barone Münch Bellinghausen, nella sua
tragedia Il Gladiatore di Ravenna, la quale abbiamo la fortuna
d’avere egregiamente recata in italiani versi da quel chiarissimo
letterato che è il prof. dottor Giuseppe Rota:
. . . . . . . pectusque jacentis
Virgo modesta jubet, converso pollice, rumpi [143]
Non io di sferza
Nè di buone parole a te mi parco:
Tu dunque bada a farmi onor: m’intendi?
Impassibile mostrati e sicuro:
La coscïenza di vittoria è mezza
Già la vittoria: tieni gli occhi agli occhi
Del tuo rivale e dove intenda avverti
Pria ch’ei muova la man.
TUMELICO.
Lo so, il so bene,
GLABRIONE.
TUMELICO.
E qual?
GLABRIONE.
Nel caso....
Intendi ben.... ciò non sarà, ma pure
Esser potria.... nel caso che abbattuto,
Gravemente ferito.... egli è un supposto...
Tu ti sentissi, allor fa di cadere
Sovra il manco ginocchio e fuor protesa
La destra gamba e del sinistro braccio
Fatto puntello, declinato indietro,
Grazïoso a vedersi e pittoresco,
Statti aspettando il colpo estremo [144].
Talvolta il popolo era tanto feroce che dava tumultuosi segni
d’impazienza quando il combattimento durava un po’ più dell’usato,
senza che alcuno dei due campioni fosse rimasto ucciso o ferito.
V’eran tuttavia degli intervalli di riposo in queste lotte di gladiatori e si
chiamavano deludia: Orazio usò nell’Epistola XIX la frase deludia
posco, per dire chieggo un armistizio, togliendola a prestanza dallo
stile gladiatorio e dall’anfiteatro.
La presenza dell’imperatore faceva d’ordinario accordare la vita al
vinto, e fu ricordato come un esempio di crudeltà il fatto di Caracalla,
che a Nicomedia, in uno spettacolo gladiatorio, avesse licenziato
coloro che eran venuti ad implorarne la vita, sotto pretesto
d’interrogarne il popolo; lo che si ritenne quanto l’ordine di trucidarli.
Byron, l’immortale poeta del Corsaro, di Lara e di Don Juan, nel
Pellegrinaggio di Childe-Harold, dinnanzi al capo d’opera di Ctesilao,
il Gladiatore morente, da lui veduto in Roma, e del quale Plinio il
Vecchio aveva detto che l’artefice vulneratum deficientem fecit in
quo possit intelligi quantum restat animæ [145], così lo descrisse e gli
prestò tal sentimento da sembrare che le barbare orde settentrionali
e le sventure tutte piombate poi sull’Italia e Roma, non altro fossero
che la giusta espiazione del sangue sparso da’ poveri e innocenti
prigionieri di guerra condannati in sollazzo pubblico a’ cruenti
spettacoli dell’Anfiteatro.
Così alla meglio tento di rendere in italiano i bellissimi versi inglesi: