Aeschylus – författare

Aeschylus (525-c.456 bc) set his great trilogy in the immediate aftermath of the Fall of Troy, when King Agamemnon returns to Argos, a victor in war. Agamemnon depicts the hero's discovery that his family has been destroyed by his wife's infidelity and ends with his death at her callous hand. Clytemnestra's crime is repaid in The Choephori when her outraged son Orestes kills both her and her lover. The Eumenides then follows Orestes as he is hounded to Athens by the Furies' law of vengeance and depicts Athene replacing the bloody cycle of revenge with a system of civil justice. Written in the years after the Battle of Marathon, The Oresteian Trilogy affirmed the deliverance of democratic Athens not only from Persian conquest, but also from its own barbaric past.

Aeschylus (525–456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. In Prometheus Bound the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. The Suppliants tells the story of the fifty daughters of Danaus who must flee to escape enforced marriages, while Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus. And The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the aftermath of the defeat of Persia in the battle of Salamis, with a sympathetic portrayal of its disgraced King Xerxes.Philip Vellacott’s evocative translation is accompanied by an introduction, with individual discussions of the plays, and their sources in history and mythology.

The only trilogy in Greek drama that survives from antiquity, Aeschylus' The Oresteia is translated by Robert fagles with an introduction, notes and glossary written in collaboration with W.B. Stanford in Penguin Classics.In the Oresteia Aeschylus addressed the bloody chain of murder and revenge within the royal family of Argos. As they move from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration. In Agamemnon, a king's decision to sacrifice his daughter and turn the tide of war inflicts lasting damage on his family, culminating in a terrible act of retribution; The Libation Bearers deals with the aftermath of Clytemnestra's regicide, as her son Orestes sets out to avenge his father's death; and in The Eumenides, Orestes is tormented by supernatural powers that can never be appeased. Forming an elegant and subtle discourse on the emergence of Athenian democracy out of a period of chaos and destruction, The Oresteia is a compelling tragedy of the tensions between our obligations to our families and the laws that bind us together as a society.Aeschylus (525-456 BC) was born near Athens. He wrote more than seventy plays, of which seven have survived, all translated for Penguin Classics: The Supplicants, The Persians, Seven Against Thebes, Prometheus Bound, Agamemnon, The Libation Bearers and The Eumenides.If you enjoyed The Oresteia, you might like Euripides' Medea and Other Plays, also available in Penguin Classics.'Conveys more vividly and powerfully than any of the ten competitors I have consulted the eternal power of this masterpiece ... a triumph'Bernard Levin'How satisfying to read at last a modern translation which is rooted in Greek feeling and Greek thought ... both the stature and the profound instinctive genius of Aeschylus are recognised'Mary Renault, author of The King Must Die

Aeschylus (525-456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the final defeat of Persia in the battle of Salamis, through the eyes of the Persian court of King Xerxes, becoming a tragic lesson in tyranny. In Prometheus Bound, the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus, while The Suppliants relates the pursuit of the fifty daughters of Danaus by the fifty sons of Aegyptus, and their final rescue by a heroic king.

Agememnon is the first part of the Aeschylus's Orestian trilogy in which the leader of the Greek army returns from the Trojan war to be murdered by his treacherous wife Clytemnestra. In Sophocles' Oedipus Rex the king sets out to uncover the cause of the plague that has struck his city, only to disover the devastating truth about his relationship with his mother and his father.Medea is the terrible story of a woman's bloody revenge on her adulterous husband through the murder of her own children.

Aeschylus is the first of the great Greek playwrights, and the four plays in this volume demonstrate the remarkable range of Greek tragedy. Persians is the only surviving tragedy to draw on contemporary history, the Greeks' extraordinary victory over Persia in 480 BC. The Persians' aggression is inhuman in scale, and offends the gods, but while celebrating the Greek triumph, Aeschylus also portrays the shock of the defeated with some compassion. In Seven Against Thebes a royal family is cursed with self-destruction, in a remorseless tragedy that anticipates the grandeur of the later Oresteia. Suppliants portrays the wretched plight of the daughters of Danaus, fleeing from enforced marriage; as refugees they seek protection, and must plead a moral and political case to gain it. And in Prometheus Bound, Prometheus is relentlessly persecuted by Zeus for benefitting mankind in defiance of the god.Christopher Collard's highly readable new translation is accompanied by an introduction that sets the plays in their original context, and together with the notes considers theatrical and poetic issues, as well as details of content and language. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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.

The formidable talents of Anthony Hecht, one of the most gifted of contemporary American poets, and Helen Bacon, a classical scholar, are here brought to bear on this vibrant translation of Aeschylus' much underrated tragedy The Seven Against Thebes. The third and only remaining play in a trilogy dealing with related events, The Seven Against Thebes tells the story of the Argive attempt to claim the Kingdom of Thebes, and of the deaths of the brothers Eteocles and Polyneices, each by the others hand. Long dismissed by critics as ritualistic and lacking in dramatic tension, Seven Against Thebes is revealed by Hecht and Bacon as a work of great unity and drama, one exceptionally rich in symbolism and imagery.

The Persians, Aeschylus' earliest surviving tragedy, holds a fascination both for readers of Greek drama and Greek history. Not only is it the earliest existing play in the Western tradition, it is drawn directly from the playwright's own experiences at the battle of Salamis, making it the only account of the Persian Wars composed by an eyewitness. And as pure tragedy, it is a masterpiece. Aeschylus tells the story of the war from the Persian point of view, and his pride in the great victory of Greeks is tempered with a real compassion for Xerxes and his vanquished nation. Lembke and Harrington have rendered this stunning work in a modern translation that loses none of the original's dramatic juxtaposition of serenity and violence, hope and despair.

Aeschylus' famed plays Agamemnon, The Libation Bearers, and The Eumenides comprise the Oresteia, which uses the dark and convoluted story of a family curse, and a long history of murder and revenge, to raise haunting questions about the nature and the price of justice.In Agamemnon , the Argive king reaches home following his victory in the Trojan War, only to meet his death at the hand of his wife, Clytemnestra. Horrible as this deed is shown to be, we also come to understand in the course of the play how justice has been satisfied by Agamemnon's murder.The second play in the trilogy, The Libation Bearers (Choephoroe), portrays the vengeance of Agamemnon's son Orestes, who returns from exile to exact the price of his father's murder. With the aid of his sister Electra, Orestes kills Clytemnestra, and her lover, Aegisthus. By spilling his mother's blood, however, he invites the wrath of the ancient Erinyes, or Furies, and they begin to pursue him.The Eumenides shows the Furies' pursuit of Orestes, who is protected by the younger god Apollo. Orestes is ultimately tried for his crime in Athens, and Athena, goddess of wisdom, casts the deciding vote on his behalf, and releases him from the ancient familial blood-guilt. Athena persuades the Furies to accept the new legal justice and a new role in the polis, as Kindly Ones, who will bless the city of Athens and its land.In this exciting new translation, at once faithful to the original and as fully alive as a poem in English, Alan Shapiro and Peter Burian showcase the complexity and intricate imagery of this great work of Athenian tragic poetry.

Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. The volume brings together four major works by one of the great classical dramatists: Prometheus Bound, translated by James Scully and C. John Herrington, a haunting depiction of the most famous of Olympian punishments; The Suppliants, translated by Peter Burian, an extraordinary drama of flight and rescue arising from women's resistance to marriage; Persians, translated by Janet Lembke and C. John Herington, a masterful telling of the Persian Wars from the view of the defeated; and Seven Against Thebes, translated by Anthony Hecht and Helen Bacon, a richly symbolic play about the feuding sons of Oedipus. These four tragedies were originally available as single volumes. This new volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.

Contains the Greek texts of the seven extant plays of Aeschylus: "Persae", "Septem contra Thebas", "Supplices", "Agamemnon", "Choephoroe", "Eumenides", and "Prometheus Vinctus".

Aeschylus' Oresteia is a tragedy of inescapable killing within one family, such that each generation must avenge it in kind. Right and wrong are ambiguous in this harsh system. Their conflict is resolved, and the family saved from extinction, in the case of Orestes the latest and matricidal killer. The gods' wisdom and the human process together inaugurate a way of just conduct which will ensure stable families and community; and the exemplary setting for this transition from the mythic to the historical is Aeschylus' own city of Athens.The Oresteia is majestic as theatre and poetry; its recent successful return to the stage has confirmed its very high place in world drama. This new and close translation tries to preserve these qualities: introductory and explanatory matter emphasizes the interconnection of scenes, ideas, and language which distinguishes this unique work, the only trilogy to survive from Greek tragedy.

A new, accurate, and readable translation of four of Aeschylus' plays: Persians, Seven Against Thebes, Suppliants, and Prometheus Bound. It is based upon the most authoritative recent edition of the Greek text and particular care is taken with the many lyric passages. A lengthy introduction sets the plays in their original context, and includes short appreciative essays on them. The explanatory notes treat dramatic issues, structure and form, and theatrical aspects, as well as details of content and language. Major difficulties in the texts themselves, which affect general interpretation, are briefly discussed. The volume as a whole should provide an informative, reliable, and suggestive basis for study and enjoyment.

A major edition of Aeschylus' play, the Septem Contra Thebas or Seven Against Thebes, providing a significantly new text, introduction, and full scale commentary. The book deals comprehensively with every important aspect of the play, both in detail and in overview, and offers a fresh approach to its overall interpretation. An invaluable tool for anyone studying Aeschylus or Greek tragedy more generally.

This paperback edition replaces the hardback first published in 1957.

Produced in 458 BC, Aeschylus' Choephori stands as the second play in the Oresteian trilogy. The bloodshed begun in the first play with the murder of Agamemnon by his wife Clytemnestra is here continued when Agamemnon's son Orestes avenges his father's death by killing Clytemnestra. It is not until the third and final play, Eumenides, that peace is restored to the family of the Atreiadae.This edition (first published in hardback in 1986) takes into account the large amount of recent research on the play and tackles the problems presented by an unusually corrupt text. The introduction discusses the pre-Aeschylean 'Orestes' tradition in literature (from Homer to Pindar) and art (representations on vases and reliefs), as well as the place of Choephori within the Oresteia, its imagery and dramatic structure, the questions of staging the play, and the manuscript tradition. Much of the commentary looks at problems of style, dramatic technique, and interpretation of the play, and before each scene is discussed an analysis of its contribution to the drama as a whole is supplied. The text and critical apparatus reproduced are those of D. L. Page (Oxford Classical Texts).

Agamemnon *Libation Bearers *EumenidesAeschylus' 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 inaugurate a way of just conduct that will ensure stable families and a strong community. The Oresteia is majestic as theatre and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the interconnection of scenes, ideas, and language that distinguishes this unique work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.Aeschylus' Oresteia, the only ancient tragic trilogy to survive, is one of the great foundational texts of Western culture. It begins with Agamemnon, which describes Agamemnon's return from the Trojan War and his murder at the hands of his wife Clytemnestra, continues with her murder by their son Orestes in Libation Bearers, and concludes with Orestes' acquittal at a court founded by Athena in Eumenides. The trilogy thus traces the evolution of justice in human society from blood vengeance to the rule of law, Aeschylus' contribution to a Greek legend steeped in murder, adultery, human sacrifice, cannibalism, and endless intrigue. This new translation is faithful to the strangeness of the original Greek and to its enduring human truth, expressed in language remarkable for poetic intensity, rich metaphorical texture, and a verbal density that modulates at times into powerful simplicity. The translation's precise but complicated rhythms honor the music of the Greek, bringing into unforgettable English the Aeschylean vision of a world fraught with spiritual and political tensions.

Highly acclaimed as translators of Greek and Sanskrit classics, respectively, David Grene and Wendy Doniger O'Flaherty here present a complete modern translation of the three plays comprising Aeschylus' Orestia and, with the assistance of director Nicholas Rudall, an abridged stage adaptation. This blanced and highly successful collaboration of scholars with a theater director solves the contemporary problems of translating and staging the Orestia, which originally was written to be performed in Athens in the first half of the fifth century B.C. While remaning faithful to the original Greek, Grene and O'Flaherty embrace a strong and adventurous English style, vivid and visceral. The language of this extraordinary translation, immediately accessible to a theater audience, speaks across the centuries. Premiered at Chicago's Court Theater in 1986 under Rudall's direction, the stage adaptation of the Orestia proved eminently playable.  This new adaptation of the orestia offers a brilliant demonstration of how clearly defined goals (here, the actor's needs) can inspire translators to produce fresh, genuine, accessible dramatic texts. The resulting work provides complete and accurate texts for those who cannot read the original Greek, and it transforms the Orestia into an effective modern stage play. With interpretive introductions written by the translators and director, this new version will be welcomed by teachers of translation courses, by students of Greek and world drama in general, and by theater professionals.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers".New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeshylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Tourians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers".New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

A stand-alone edition of Aeschylus’s Prometheus Bound taken from Chicago’s renowned translations of the Greek tragedies.In the wake of the Olympian gods’ clash with the Titans, Zeus punishes his former ally and fellow deity, Prometheus, for having dared to bring knowledge to humankind. In this sole surviving play of Aeschylus’s Prometheus trilogy, we find Prometheus chained in a desolate landscape, suffering great cruelty at the hands of his fellow gods. Drawn from the authoritative third edition of the University of Chicago Press’s Complete Greek Tragedies series, David Grene’s searing translation of Prometheus Bound is presented here in a stand-alone edition. An introduction by Glenn W. Most and Mark Griffith provides essential information about the play’s first production, plot, and reception in antiquity.

A new verse translation of Agamemnon, the first play in Aeschylus’s trilogy The Oresteia.Agamemnon, King of Argos, returns to Greece a victor in the Trojan War, bringing with him the seer Cassandra as his war-prize and concubine. Awaiting him is his vengeful wife Clytemnestra, who is angry at Agamemnon’s sacrifice of their daughter Iphigeneia to the gods, jealous of Cassandra, and guilty of taking a lover herself. The events that unfold catch everyone in a bloody net, including their absent son Orestes.Aeschylus was the first of the three great tragic dramatists of ancient Greece, a forerunner of Sophocles and Euripides. His earlier tragedies were largely choral pageants with minimal plots. In Agamemnon, he retains the lyricism of those works, but he infuses this drama with such creativity and energy that the spectator or reader is constantly spellbound. From the speech of the weary watchman on the roof, lying on his forepaws like a dog, to the blood-splattered Clytemnestra who likens herself to a garden in bloom, passage after passage demands to be included in anthologies of Greece’s greatest poems.Translator David Mulroy brings this ancient tragedy to life for modern readers and audiences. Using end rhyme and strict metrics, he combines the buoyant lyricism of the Greek text with a faithful rendering of its meaning in lucid English. The Agamemnon no longer needs to be called a difficult play.

First presented in the spring of 458 B.C.E. at the festival of Dionysus in Athens, Aeschylus' trilogy Oresteia won the first prize. Comprised of three plays—Agamemnon, Libation Bearers, and The Furies—it is the only surviving example of the ancient trilogy form for Greek tragedies.This drama of the House of Atreus catches everyone in a bloody net. Queen Clytaemestra of Argos murders her husband Agamemnon. Their son Orestes avenges his father by killing his mother. The Furies, hideous deities who punish the murder of blood kin, pursue Orestes. Into this horrific cycle steps Athena, goddess of wisdom, who establishes the rule of law to replace fatal vengeance. Orestes is tried in court before a jury of Athenians and found not guilty. Athena transforms the Furies into benevolent goddesses and extols the virtue of mercy.An important historical document as well as gripping entertainment, the Oresteia conveys beliefs and values of the ancient Athenians as they established the world's first great democracy. Aeschylus (525/4–456/5 B.C.E.) was the first of the three great tragic dramatists of ancient Greece, forerunner of Sophocles and Euripides. In this trilogy he created a new dramatic form with characters and plot, infused with spellbinding emotion. David Mulroy's fluid, accessible English translation with its rhyming choral songs does full justice to the meaning and theatricality of the ancient Greek. In an introduction and appendixes, he provides cultural background for modern readers, actors, and students.

First presented in the spring of 458 B.C.E. at the festival of Dionysus in Athens, Aeschylus' trilogy Oresteia won the first prize. Comprised of three plays—Agamemnon, Libation Bearers, and The Furies—it is the only surviving example of the ancient trilogy form for Greek tragedies.This drama of the House of Atreus catches everyone in a bloody net. Queen Clytaemestra of Argos murders her husband Agamemnon. Their son Orestes avenges his father by killing his mother. The Furies, hideous deities who punish the murder of blood kin, pursue Orestes. Into this horrific cycle steps Athena, goddess of wisdom, who establishes the rule of law to replace fatal vengeance. Orestes is tried in court before a jury of Athenians and found not guilty. Athena transforms the Furies into benevolent goddesses and extols the virtue of mercy.An important historical document as well as gripping entertainment, the Oresteia conveys beliefs and values of the ancient Athenians as they established the world's first great democracy. Aeschylus (525/4–456/5 B.C.E.) was the first of the three great tragic dramatists of ancient Greece, forerunner of Sophocles and Euripides. In this trilogy he created a new dramatic form with characters and plot, infused with spellbinding emotion. David Mulroy's fluid, accessible English translation with its rhyming choral songs does full justice to the meaning and theatricality of the ancient Greek. In an introduction and appendixes, he provides cultural background for modern readers, actors, and students.

This Norton Critical Edition includes: Oliver Taplin’s new translation of the fifth-century B.C.E. Greek tragedy—a trilogy of revenge and murder within the royal family of Argos—with explanatory annotations by the editors, ancient backgrounds and responses from Homer, Stesichorus, Pindar, Euripides and Sophocles, fourteen wide-ranging critical essays on the Oresteia, from G. W. F. Hegel and Friedrich Nietzsche to Oliver Taplin and Peter Wilson, a Glossary of Technical Terms and Proper Names and a Selected Bibliography.

Classic plays reissued in the new Methuen Greek Classics series in a new distinctive style The Persians; based on the destruction of the Persian invaders in 480BC, breaks with the Greek tradition of purely dramatising myths to deals with the recent past and with characters who would have been familiar to its first audience in 472BC; Prometheus Bound stages the stand off between the original rebel and hero Prometheus and almighty Zeus; Suppliants, follows the plight of Danaus and his daughters, in flight from a fateful marriage contract with the King of Egypt's sons and shows the triumph of humanity over brute force while Seven Against Thebes dramatises the final battle between the two sons of Oedipus Eteocles and Polynices in the climax of the Oedipus saga. Translated by Kenneth McLeish and Frederic Raphael, these plays are widely studied in schools, colleges and universities.

Four of Aeschylus' greatest plays reissued in the new Classical Greek Dramatists series Includes the Oresteia trilogy, a key sequence of plays within the Western dramatic tradition - widely studied in schools and universities. Agamemnon tells the tale of the king's return from the battle of Troyto find that his wife has laid out a red carpet to welcome him that will, ironically, lead him to his death; The Libation Bearers continues the saga into the next generation with Orestes and Electra seeking justice for their dead father whilst in the Eumenides, the traces of inherited bloodlust are laid to rest by the figure of Athene. Translated with an introduction and notes from J. Michael Walton - the series editor for the Greek classics and reissued in the new Methuen Classical Greek Dramatists series in stylish, new and modern jackets.