The subjects of his plays were drawn from mythology and legend. Each play contains at least one heroic figure, a character whose strength, courage, or intelligence exceeds the human norm - but who also has more than ordinary pride and self-assurance. These qualities combine to lead to a tragic end.Loeb Classical Library, #21. Volume 2 of 3 of the Loeb Classical Library Sophocles.Volume II contains Oedipus at Colonus (the climax of the fallen hero’s life), Antigone (a conflict between public authority and an individual woman’s conscience), The Women of Trachis (a fatal attempt by Heracles’s wife to regain her husband’s love), and Philoctetes (Odysseus’s intrigue to bring an unwilling hero to the Trojan War).

    Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including0 suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Agamemnon is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Agamemnon is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Written in the fifth century BC, this play concerns the predicament of the outcast hero, Philoctetes, whom the Greeks marooned on the island of Lemnos and forgot about until the closing stages of the Siege of Troy. Abandoned because of a wounded foot, Philoctetes nevertheless possesses an invincible bow without which the Greeks cannot win the Trojan War. They are forced to return to Lemnos and seek out Philoctetes' support in a drama that explores the conflict between personal integrity and political expediency.Heaney's version of Philoctetes is a fast-paced, brilliant work ideally suited to the stage. Heaney holds on to the majesty of the Greek original, but manages to give his verse the flavor of Irish speech and context.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.

    Now in its third series, Arden offers the best in contemporary scholarship. Each volume guides you to a deeper understanding and appreciation of Shakespeare's work.

    A returning victor, General Ezra Mannon (Agamemnon), is poisoned by his unfaithful wife Christine (Clytemnestra) and then avenged by his son Orin (Orestes) and daughter (Lavinia). With Orin's subsequent suicide, Lavinia (the Electra of the title) becomes a fatalistic recluse in the Mannon mansion.

    Writing with a pitch and heat that gets to the heart of the unforgiving classical world, Carson, a poet and classicist, translates four of the eighteen surviving plays by Euripides.Includes Heracles, Hecuba, Hippolytus, Alcestis.

    The playtext is reproduced here with footnotes which will be of no help to anyone and a letter from the authors to the Queen.

    Two different versions of the play were published in the Jacobean era, several years later. The powerful effect of early productions of the play is indicated by the legends that quickly accrued around them—that actual devils once appeared on the stage during a performance, "to the great amazement of both the actors and spectators", a sight that was said to have driven some spectators mad.

    Jess is a reserved and aloof, with a quietness about her brought on by the misfortunes of her young childhood, when she and Bessie arrived motherless from England to South Africa. Then an Englishman, Captain John Niel, arrives to try his hand at the farming life. To his eyes, Bessie is lively and lovely of face and figure -- yet Jess is mystery, with a bright and roving mind and splendid, searching eyes . . . and unwillingly the three of them are drawn together, then torn apart, by the emotions that flare among them.Excerpt from Jess The day had been very hot even for the Transvaal, where, even in the autumn, the days still know how to be hot, although the neck of the summer is broken, that is, when the thunder-storms hold off for a week or two, as they occasionally will. Even the succulent blue lilies - a variety of the agapanthus which is so familiar to us in English greenhouses - hung their long trumpet-shaped flowers and looked oppressed and miserable, beneath the burning breath of the hot wind which had been blowing for hours like the draught of a volcano. The grass, too, near the wide roadway, that stretched in a feeble and indeterminate sort of fashion across the veldt, forking, branching, and reuniting like the veins on a lady's arm, was completely coated over with a thick layer of red dust. But the hot wind was going down now, as it always does towards sunset. Indeed, all that remained of it were a few strictly local and miniature whirlwinds, which would suddenly spring up on the road itself, and twist and twirl fiercely round, raising a mighty column of dust fifty feet or more into the air, where it hung long after the cause of it had passed, and then slowly dissolved as its particles floated to the earth.

    It was performed at the Lenaia, one of the Festivals of Dionysus in Athens, in 405 BC, receiving first place.

    -- Presents the most important 20th-century criticism on major works from The Odyssey through modern literature -- The critical essays reflect a variety of schools of criticism -- Contains critical biographies, notes on the contributing critics, a chronology of the author's life, and an index

    It is a typical example of a Romantic closet drama. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with music in Three Parts, and later by Pyotr Ilyich Tchaikovsky in his Manfred Symphony, Op. 58, as well as by Carl Reinecke. Friedrich Nietzsche was impressed by the poem's depiction of a super-human being, and wrote some music for it. Byron wrote this "metaphysical drama", as he called it, after his marriage failed in scandal amidst charges of sexual improprieties and an incestuous affair between Byron and his half-sister, Augusta Leigh. Attacked by the press and ostracized by London society, Byron fled England for Switzerland in 1816 and never returned. Because Manfred was written immediately after this and because Manfred regards a main character tortured by his own sense of guilt for an unmentionable offense, some critics consider Manfred to be autobiographical, or even confessional.The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. Byron commenced this work in late 1816, only a few months after the famed ghost-story sessions which provided the initial impetus for Mary Shelley's Frankenstein. The supernatural references are made clear throughout the poem. In one scene, for example, (Act III, Scene IV, Interior of the Tower), Manfred recalls traveling through time (or astral projection traveling) to Caesar's palace, "and fill'd up, As 't were anew, the gaps of centuries...".