The tragic cycle of justice.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

Aeschylus was the dramatist who made Athenian tragedy one of the world's great art-forms. In this completely revised and updated edition of his book Alan H. Sommerstein, analysing the seven extant plays of the Aeschylean corpus (one of them probably in fact the work of another author) and utilising the knowledge we have of the seventy or more whose scripts have not survived, explores Aeschylus' poetic, dramatic, theatrical and musical techniques, his social, political and religious ideas, and the significance of his drama for our own day. Special attention is paid to the "Oresteia" trilogy, and the other surviving plays are viewed against the background of the four-play productions of which they formed part. There are chapters on Aeschylus' theatre, on his satyr-dramas, and on his dramatisations of Homer's "Iliad" and "Odyssey", and a detailed chapter-by-chapter guide to further reading. No knowledge of Greek is assumed, and all texts are quoted in translation.

This book brings together fourteen studies by Alan Sommerstein on Aristophanes and his fellow comic dramatists, some of which have not previously appeared in print. The studies cover almost all the major topics of Sommerstein''s work - the nature and functions of comedy in Aristophanes'' time, its connections with the society and politics of its day, the question of Aristophanes'' own political stances, the light comedy can throw on classical Athenians'' perception of basic social divisions (age, gender, citizen/alien, free/slave), comedy''s exploitation of the expressive resources of the Greek language, the composition and production history of individual plays, and the history of the genre as a whole.

The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside majoracademic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.

The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside majoracademic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.

This book brings together fourteen studies by Alan Sommerstein on Aristophanes and his fellow comic dramatists, some of which have not previously appeared in print. The studies cover almost all the major topics of Sommerstein's work - the nature and functions of comedy in Aristophanes' time, its connections with the society and politics of its day, the question of Aristophanes' own political stances, the light comedy can throw on classical Athenians' perception of basic social divisions (age, gender, citizen/alien, free/slave), comedy's exploitation of the expressive resources of the Greek language, the composition and production history of individual plays, and the history of the genre as a whole.

The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside major academic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.

The comedies of the Athenian dramatist Menander (c. 342-291 BC) and his contemporaries were the ultimate source of a Western tradition of light drama that has continued to the present day. Yet for over a millennium, Menander’s own plays were thought to have been completely lost. Thanks to a long and continuing series of papyrus discoveries, Menander has now been able to take his place among the major surviving ancient Greek dramatists alongside Aeschylus, Sophocles, Euripides and Aristophanes. In this book, sixteen contributors examine and explore the Menander we know today in light of the various literary, intellectual, and social contexts in which his plays can be viewed. Topics covered include: the society, culture, and politics of his generation; the intellectual currents of the period; the literary precursors who inspired Menander (or whom he expected his audiences to recall); and responses to Menander, from his own time to ours. As the first wide-ranging collective study of Menander in English, this book is essential reading for those interested in ancient comedy the world over.

The history of European drama began at the festivals of Dionysus in ancient Athens, where tragedy, satyr-drama and comedy were performed. Understanding this background is vital for students of classical, literary and theatrical subjects, and Alan H. Sommerstein's accessible study is the ideal introduction. The book begins by looking at the social and theatrical contexts and different characteristics of the three genres of ancient Greek drama. It then examines the five main dramatists whose works survive - Aeschylus, Sophocles, Euripides, Aristophanes and Menander - discussing their styles, techniques and ideas, and giving short synopses of all their extant plays. Additional helpful features include succinct coverage of almost sixty other authors, a chronology of significant people and events, and an anthology of translated texts, all of which have been previously inaccessible to students. An up-to-date study bibliography of further reading concludes the volume. Clear, concise and comprehensive, and written by an acknowledged expert in the field, Greek Drama and Dramatists will be a valuable orientation text at both sixth form and undergraduate level.

The history of European drama began at the festivals of Dionysus in ancient Athens, where tragedy, satyr-drama and comedy were performed. Understanding this background is vital for students of classical, literary and theatrical subjects, and Alan H. Sommerstein's accessible study is the ideal introduction. The book begins by looking at the social and theatrical contexts and different characteristics of the three genres of ancient Greek drama. It then examines the five main dramatists whose works survive - Aeschylus, Sophocles, Euripides, Aristophanes and Menander - discussing their styles, techniques and ideas, and giving short synopses of all their extant plays. Additional helpful features include succinct coverage of almost sixty other authors, a chronology of significant people and events, and an anthology of translated texts, all of which have been previously inaccessible to students. An up-to-date study bibliography of further reading concludes the volume. Clear, concise and comprehensive, and written by an acknowledged expert in the field, Greek Drama and Dramatists will be a valuable orientation text at both sixth form and undergraduate level.

The comedies of the Athenian dramatist Menander (c. 342-291 BC) and his contemporaries were the ultimate source of a Western tradition of light drama that has continued to the present day. Yet for over a millennium, Menander’s own plays were thought to have been completely lost. Thanks to a long and continuing series of papyrus discoveries, Menander has now been able to take his place among the major surviving ancient Greek dramatists alongside Aeschylus, Sophocles, Euripides and Aristophanes. In this book, sixteen contributors examine and explore the Menander we know today in light of the various literary, intellectual, and social contexts in which his plays can be viewed. Topics covered include: the society, culture, and politics of his generation; the intellectual currents of the period; the literary precursors who inspired Menander (or whom he expected his audiences to recall); and responses to Menander, from his own time to ours. As the first wide-ranging collective study of Menander in English, this book is essential reading for those interested in ancient comedy the world over.

Professor Sommerstein here presents a freshly constituted text, with introduction and commentary, of Eumenides, the climactic play of the only surviving complete Greek tragic trilogy, the Oresteia of Aeschylus. Eumenides is of all Athenian tragic dramas the one most consciously designed to be relevant to the situation of the Athenian state at the time of its performance (458 BC), and seems to have contained daring innovations both in technique and in ideas. The introduction and commentary to this edition seek to bring out how Aeschylus shaped to his purpose the legends he inherited, and ended the tragic story of Agamemnon's family in a celebration of Athenian civic unity and justice. The commentary also pays detailed attention to the linguistic, metrical and textual problems to be encountered by the reader.

For eight centuries after his death Menander was the third most popular poet in the Greek-speaking world, and his plays, through Roman imitations and adaptations, engendered a tradition of European light drama that extends to our own day. But it is only since 1844 that some of the actual texts of Menander's plays have been rediscovered, mostly in Egyptian papyri. Two of these have given us four-fifths of the script of Samia (The Woman from Samos), a play of deception and misunderstanding in which a marriage that everyone desires almost fails to happen, two women and a baby are almost ruined, and a loving father almost loses his only son, because the people at home and the people abroad have both been doing things behind each other's backs - but somehow everything ends happily after all. This is the first full-scale edition with English commentary and is suitable for upper-level students.

For eight centuries after his death Menander was the third most popular poet in the Greek-speaking world, and his plays, through Roman imitations and adaptations, engendered a tradition of European light drama that extends to our own day. But it is only since 1844 that some of the actual texts of Menander's plays have been rediscovered, mostly in Egyptian papyri. Two of these have given us four-fifths of the script of Samia (The Woman from Samos), a play of deception and misunderstanding in which a marriage that everyone desires almost fails to happen, two women and a baby are almost ruined, and a loving father almost loses his only son, because the people at home and the people abroad have both been doing things behind each other's backs - but somehow everything ends happily after all. This is the first full-scale edition with English commentary and is suitable for upper-level students.

Four unconnected but unforgettable plays from ancient Athens’ first great tragedian.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

Tantalizing quotations from lost tragedies.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

The earliest comic drama to survive, Acharnians is a highly committed play, its message being that Athens war with the Peloponnesians can and should be ended, and that peace will mean the restoration of normal life after six years' separation of the country people from their land. First published in 1980, this scholarly edition has been continuously updated, and presents the Greek text with facing-page English translation, commentary and notes. This volume also contains the general introduction to the complete set of Aristophanes comedies in the Aris & Phillips Classical Texts series.

Knights was the first play to be produced by Aristophanes on his own behalf. In it, he launched a violent attack on Cleon, the leading politician of the day, on the whole style of leadership that he represented and on a system which seemed to guarantee that a bad leader could be displaced by a worse. This edition presents the Greek text with facing-page translation, introduction, commentary and notes.

Clouds is a partly revised version of a play that failed when it was first produced. It has always fascinated (and usually shocked) students of philosophy because of its portrayal of Socrates as an atheist and a teacher of dishonest rhetoric, justly punished by the agents of the gods whom he refuses to recognise. This third edition was published in 1991, and has been reprinted in 2007 with addenda and a new bibliography. [Greek text with facing-page translation, commentary and notes.]

Wasps was first produced at the Lenaea festival of 422 BC. The play is at once a political satire and also, like Clouds and the lost Banqueters, a comedy on the theme of the conflict of generations. The play follows the efforts of a mischievous and mercurial old man to escape the control of a stern and heavy son. In its political aspect it attacks the leading Athenian politician Cleon, as Knights had. But Wasps represents a departure as it concentrates less on Cleon personally, and more on his and his associates’ alleged domination of the law courts and the men who served in them as jurors. First published in 1983, this edition contains addenda and a new bibliography. Greek text with facing-page English translation, commentary and notes.

Birds was produced at the City Dionysia in the spring of 414 BC. It differs from all the other fifth-century plays of Aristophanes that survive in having no strong and obvious connection with a topical question of public interest, whether political (like Acharnians, Knights, Wasps, Peace and Lysistrata), literary-theatrical (like Thesmophoriazusae and Frogs), or intellectual-educational (like Clouds). It has, indeed, in its own way, plenty of topical and satirical content: in particular, as the city of Cloudcuckooville begins to take shape, it proves in many ways to be a replica of Athens, and is soon visited by many of the less desirable elements of the Athenian population. But taking the play as a whole, satire is kept firmly subordinate to fantasy; and as fantasy Birds has no rival in what we possess of Greek literature, until we reach Lucian nearly six centuries later. Alan Sommerstein's celebrated edition, reprinted with revisions in 1991, presents the Greek text with facing-page translation, commentary and notes.

Lysistrata is the third and last of Aristophanes' peace plays. It is a dream of peace, of how the women could help to achieve an honourable settlement, conceived when Athens was going through its blackest, most desperate crisis since the Persian War. Though in modern times this is perhaps the most popular of his works, it has never before had an English translation that aims to be reliable in detail and that is fully annotated. The Greek text is based on a fuller body of evidence than any previous edition. It is astonishing to think that this play was first performed over 2,400 years ago, because of all Aristophanes’ great comedies, Lysistrata seems to speak most clearly to our own age. It could perhaps be described as the world's first, and indeed still the world’s greatest feminist drama. This second edition was published in 1998, and revised with addenda and updated bibliography in 2007. [Text with facing translation, commentary and notes.]

Thesmophoriazusae is perhaps the funniest of all Aristophanes’ comedies, in which gender inversion and transvestism run riot as the tragic dramatist Euripides is made to take part in a hilarious spoof on some of his own favourite plot lines, with his own life at stake as well as that of his loyal and much-put-upon old relative. This edition offers a freshly constituted text making use of recently published papyri, together with the first fully annotated English translation there has been of this play. The volume presents the original Greek text with facing-page translation, commentary and notes.

Aristophanes’ Frogs was produced in 405 BC, shortly after the deaths of the two great veteran Athenian tragic dramatists, Euripides and Sophocles. It was restaged a year later, a few weeks before starving Athens at last accepted defeat in the long Peloponnesian War. Dionysus, the god of drama, wine and joyful celebration, goes down to the underworld to bring his favourite poet, Euripides, back from the dead, and surprises both himself and the audience by bringing back instead Aeschylus, who had died fifty years before, with the mission of saving both Athens and Tragedy from ruin. The contest for the throne of tragedy between Euripides and Aeschylus is the earliest sustained piece of literary criticism in the Western tradition. This edition is the first to combine a reliable English translation of Frogs with a full explanatory commentary; it also includes a freshly constituted Greek text. [Greek text with facing-page translation, commentary and notes.]

Ecclesiazusae, probably produced in 391 BC, is at once a typically Aristophanic fantasy of gender inversion, obscenity and farce, the earliest surviving work in the western Utopian tradition, and the source of a blueprint for a communist society on which Plato may well have drawn in his Republic. This edition attempts to set the play, more closely than has usually been done, against the political background at the time of its production, when Athens has just spurned what proved to be the last opportunity to escape from a war it did not have the resources to fight, and to define the details of staging as precisely as the text will allow. [Greek text with facing-page translation, commentary and notes.]

This volume is the first edition with commentary since 1907 of Aristophanes' last surviving play, in which, as so often before, an audacious and imaginative hero finds a miraculous remedy for the all-too-real ills of the contemporary world in this case the concentration of wealth in the hands of those who don't deserve it at the expense of those who do. To achieve this he needs the aid of no less than three gods, and the play contains the fullest single surviving account of a visit to a sanctuary of the healing god Asclepius.This volume includes the Addenda to all previous plays, but the Indexes proved far more extensive than anticipated and has now been published as a separate volume which completes the Aristophanes series.

This volume completes the twelve-volume series The Comedies of Aristophanes , begun in 1980, and is comprised of comprehensive indexes to the preceding eleven volumes. The book is divided into three parts: I Texts and Passages, II Persons, and III General.

This volume completes the twelve-volume series The Comedies of Aristophanes , begun in 1980, and is comprised of comprehensive indexes to the preceding eleven volumes. The book is divided into three parts: I Texts and Passages, II Persons, and III General.

Produced in 421 B.C., Peace is, in one respect, unique among Aristophanes’ plays. The typical Aristophanic plot takes its start from something that is wrong with the current state of Athenian life and which, while it may be capable in principle of being corrected, stands next to no chance of ever being put right in practice except by the methods of comic fantasy. Peace likewise takes its start from something that is wrong with the current situation – namely, as in Acharnians and Lysistrata, the continuing war against the Peloponnesians; but on this occasion the wrong was one that was actually on the point of being set right in the hard world of reality. Aristophanes celebrates in anticipation of the conclusion of the great war with Sparta. Peace, we are made to see, is within the grasp of the Greek peoples; let them make one final effort, and all difficulties and dangers will evaporate in the joys of feasting and rustic leisure. This volume presents the Greek text with facing-page translation, commentary and notes. The second edition has been substantially updated with extensive addenda to the Notes and Bibliography.

The tragic cycle of justice.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

Aeschylus was the dramatist who made Athenian tragedy one of the world's great art-forms. In this completely revised and updated edition of his book Alan H. Sommerstein, analysing the seven extant plays of the Aeschylean corpus (one of them probably in fact the work of another author) and utilising the knowledge we have of the seventy or more whose scripts have not survived, explores Aeschylus' poetic, dramatic, theatrical and musical techniques, his social, political and religious ideas, and the significance of his drama for our own day. Special attention is paid to the "Oresteia" trilogy, and the other surviving plays are viewed against the background of the four-play productions of which they formed part. There are chapters on Aeschylus' theatre, on his satyr-dramas, and on his dramatisations of Homer's "Iliad" and "Odyssey", and a detailed chapter-by-chapter guide to further reading. No knowledge of Greek is assumed, and all texts are quoted in translation.

This book brings together fourteen studies by Alan Sommerstein on Aristophanes and his fellow comic dramatists, some of which have not previously appeared in print. The studies cover almost all the major topics of Sommerstein''s work - the nature and functions of comedy in Aristophanes'' time, its connections with the society and politics of its day, the question of Aristophanes'' own political stances, the light comedy can throw on classical Athenians'' perception of basic social divisions (age, gender, citizen/alien, free/slave), comedy''s exploitation of the expressive resources of the Greek language, the composition and production history of individual plays, and the history of the genre as a whole.

The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside majoracademic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.

The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside majoracademic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.

This book brings together fourteen studies by Alan Sommerstein on Aristophanes and his fellow comic dramatists, some of which have not previously appeared in print. The studies cover almost all the major topics of Sommerstein's work - the nature and functions of comedy in Aristophanes' time, its connections with the society and politics of its day, the question of Aristophanes' own political stances, the light comedy can throw on classical Athenians' perception of basic social divisions (age, gender, citizen/alien, free/slave), comedy's exploitation of the expressive resources of the Greek language, the composition and production history of individual plays, and the history of the genre as a whole.

The Tangled Ways of Zeus is a collection of studies written over the last twenty years by the distinguished classicist Alan Sommerstein about various aspects of ancient Greek tragedy (and, in some cases, other related genres). It complements his recent collection of studies in Greek comedy, Talking about Laughter (OUP, 2009). Some of the essays have not been published previously, others have appeared in books or journals hard to find outside major academic libraries. Each chapter deals with its own topic, but between them they build up a multifaceted picture of the dramatists (especially Aeschylus and Sophocles), the genre, and its interactions with the society, culture, and religion of classical Athens.

The comedies of the Athenian dramatist Menander (c. 342-291 BC) and his contemporaries were the ultimate source of a Western tradition of light drama that has continued to the present day. Yet for over a millennium, Menander’s own plays were thought to have been completely lost. Thanks to a long and continuing series of papyrus discoveries, Menander has now been able to take his place among the major surviving ancient Greek dramatists alongside Aeschylus, Sophocles, Euripides and Aristophanes. In this book, sixteen contributors examine and explore the Menander we know today in light of the various literary, intellectual, and social contexts in which his plays can be viewed. Topics covered include: the society, culture, and politics of his generation; the intellectual currents of the period; the literary precursors who inspired Menander (or whom he expected his audiences to recall); and responses to Menander, from his own time to ours. As the first wide-ranging collective study of Menander in English, this book is essential reading for those interested in ancient comedy the world over.

The history of European drama began at the festivals of Dionysus in ancient Athens, where tragedy, satyr-drama and comedy were performed. Understanding this background is vital for students of classical, literary and theatrical subjects, and Alan H. Sommerstein's accessible study is the ideal introduction. The book begins by looking at the social and theatrical contexts and different characteristics of the three genres of ancient Greek drama. It then examines the five main dramatists whose works survive - Aeschylus, Sophocles, Euripides, Aristophanes and Menander - discussing their styles, techniques and ideas, and giving short synopses of all their extant plays. Additional helpful features include succinct coverage of almost sixty other authors, a chronology of significant people and events, and an anthology of translated texts, all of which have been previously inaccessible to students. An up-to-date study bibliography of further reading concludes the volume. Clear, concise and comprehensive, and written by an acknowledged expert in the field, Greek Drama and Dramatists will be a valuable orientation text at both sixth form and undergraduate level.

The history of European drama began at the festivals of Dionysus in ancient Athens, where tragedy, satyr-drama and comedy were performed. Understanding this background is vital for students of classical, literary and theatrical subjects, and Alan H. Sommerstein's accessible study is the ideal introduction. The book begins by looking at the social and theatrical contexts and different characteristics of the three genres of ancient Greek drama. It then examines the five main dramatists whose works survive - Aeschylus, Sophocles, Euripides, Aristophanes and Menander - discussing their styles, techniques and ideas, and giving short synopses of all their extant plays. Additional helpful features include succinct coverage of almost sixty other authors, a chronology of significant people and events, and an anthology of translated texts, all of which have been previously inaccessible to students. An up-to-date study bibliography of further reading concludes the volume. Clear, concise and comprehensive, and written by an acknowledged expert in the field, Greek Drama and Dramatists will be a valuable orientation text at both sixth form and undergraduate level.

The comedies of the Athenian dramatist Menander (c. 342-291 BC) and his contemporaries were the ultimate source of a Western tradition of light drama that has continued to the present day. Yet for over a millennium, Menander’s own plays were thought to have been completely lost. Thanks to a long and continuing series of papyrus discoveries, Menander has now been able to take his place among the major surviving ancient Greek dramatists alongside Aeschylus, Sophocles, Euripides and Aristophanes. In this book, sixteen contributors examine and explore the Menander we know today in light of the various literary, intellectual, and social contexts in which his plays can be viewed. Topics covered include: the society, culture, and politics of his generation; the intellectual currents of the period; the literary precursors who inspired Menander (or whom he expected his audiences to recall); and responses to Menander, from his own time to ours. As the first wide-ranging collective study of Menander in English, this book is essential reading for those interested in ancient comedy the world over.

Professor Sommerstein here presents a freshly constituted text, with introduction and commentary, of Eumenides, the climactic play of the only surviving complete Greek tragic trilogy, the Oresteia of Aeschylus. Eumenides is of all Athenian tragic dramas the one most consciously designed to be relevant to the situation of the Athenian state at the time of its performance (458 BC), and seems to have contained daring innovations both in technique and in ideas. The introduction and commentary to this edition seek to bring out how Aeschylus shaped to his purpose the legends he inherited, and ended the tragic story of Agamemnon's family in a celebration of Athenian civic unity and justice. The commentary also pays detailed attention to the linguistic, metrical and textual problems to be encountered by the reader.

For eight centuries after his death Menander was the third most popular poet in the Greek-speaking world, and his plays, through Roman imitations and adaptations, engendered a tradition of European light drama that extends to our own day. But it is only since 1844 that some of the actual texts of Menander's plays have been rediscovered, mostly in Egyptian papyri. Two of these have given us four-fifths of the script of Samia (The Woman from Samos), a play of deception and misunderstanding in which a marriage that everyone desires almost fails to happen, two women and a baby are almost ruined, and a loving father almost loses his only son, because the people at home and the people abroad have both been doing things behind each other's backs - but somehow everything ends happily after all. This is the first full-scale edition with English commentary and is suitable for upper-level students.

For eight centuries after his death Menander was the third most popular poet in the Greek-speaking world, and his plays, through Roman imitations and adaptations, engendered a tradition of European light drama that extends to our own day. But it is only since 1844 that some of the actual texts of Menander's plays have been rediscovered, mostly in Egyptian papyri. Two of these have given us four-fifths of the script of Samia (The Woman from Samos), a play of deception and misunderstanding in which a marriage that everyone desires almost fails to happen, two women and a baby are almost ruined, and a loving father almost loses his only son, because the people at home and the people abroad have both been doing things behind each other's backs - but somehow everything ends happily after all. This is the first full-scale edition with English commentary and is suitable for upper-level students.

Four unconnected but unforgettable plays from ancient Athens’ first great tragedian.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

Tantalizing quotations from lost tragedies.Aeschylus (ca. 525–456 BC), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens, fought against the Persians at Marathon and probably also at Salamis, and had one of his productions sponsored by the young Pericles. He was twice invited to visit Sicily, and it was there that he died. At Athens he competed for the tragic prize at the City Dionysia about nineteen times between circa 499 and 458, and won it on thirteen occasions; in his later years he was probably victorious almost every time he put on a production, though Sophocles beat him at least once. Of his total of about eighty plays, seven survive complete. The first volume of this new Loeb Classical Library edition contains fresh texts and translations by Alan H. Sommerstein of Persians (472), on the recent war, the only surviving Greek historical drama; Seven against Thebes (467), the third play of a trilogy, on the conflict between Oedipus’ sons which ends when they kill each other; Suppliants, the first or second play of a trilogy, on the successful appeal by the daughters of Danaus to the king and people of Argos for protection against a forced marriage to their cousins (whom they will later murder, all but one); and Prometheus Bound (of disputed authenticity), on the terrible punishment of Prometheus for giving fire to humans in defiance of Zeus (with whom he will later be reconciled after preventing his overthrow). The second volume contains the complete Oresteia trilogy (458), comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.This edition’s third volume offers all the major fragments of lost Aeschylean plays, with brief headnotes explaining what is known, or can be plausibly inferred, about their content, and bibliographies of recent studies.

The earliest comic drama to survive, Acharnians is a highly committed play, its message being that Athens war with the Peloponnesians can and should be ended, and that peace will mean the restoration of normal life after six years' separation of the country people from their land. First published in 1980, this scholarly edition has been continuously updated, and presents the Greek text with facing-page English translation, commentary and notes. This volume also contains the general introduction to the complete set of Aristophanes comedies in the Aris & Phillips Classical Texts series.

Knights was the first play to be produced by Aristophanes on his own behalf. In it, he launched a violent attack on Cleon, the leading politician of the day, on the whole style of leadership that he represented and on a system which seemed to guarantee that a bad leader could be displaced by a worse. This edition presents the Greek text with facing-page translation, introduction, commentary and notes.

Clouds is a partly revised version of a play that failed when it was first produced. It has always fascinated (and usually shocked) students of philosophy because of its portrayal of Socrates as an atheist and a teacher of dishonest rhetoric, justly punished by the agents of the gods whom he refuses to recognise. This third edition was published in 1991, and has been reprinted in 2007 with addenda and a new bibliography. [Greek text with facing-page translation, commentary and notes.]

Wasps was first produced at the Lenaea festival of 422 BC. The play is at once a political satire and also, like Clouds and the lost Banqueters, a comedy on the theme of the conflict of generations. The play follows the efforts of a mischievous and mercurial old man to escape the control of a stern and heavy son. In its political aspect it attacks the leading Athenian politician Cleon, as Knights had. But Wasps represents a departure as it concentrates less on Cleon personally, and more on his and his associates’ alleged domination of the law courts and the men who served in them as jurors. First published in 1983, this edition contains addenda and a new bibliography. Greek text with facing-page English translation, commentary and notes.

Birds was produced at the City Dionysia in the spring of 414 BC. It differs from all the other fifth-century plays of Aristophanes that survive in having no strong and obvious connection with a topical question of public interest, whether political (like Acharnians, Knights, Wasps, Peace and Lysistrata), literary-theatrical (like Thesmophoriazusae and Frogs), or intellectual-educational (like Clouds). It has, indeed, in its own way, plenty of topical and satirical content: in particular, as the city of Cloudcuckooville begins to take shape, it proves in many ways to be a replica of Athens, and is soon visited by many of the less desirable elements of the Athenian population. But taking the play as a whole, satire is kept firmly subordinate to fantasy; and as fantasy Birds has no rival in what we possess of Greek literature, until we reach Lucian nearly six centuries later. Alan Sommerstein's celebrated edition, reprinted with revisions in 1991, presents the Greek text with facing-page translation, commentary and notes.

Lysistrata is the third and last of Aristophanes' peace plays. It is a dream of peace, of how the women could help to achieve an honourable settlement, conceived when Athens was going through its blackest, most desperate crisis since the Persian War. Though in modern times this is perhaps the most popular of his works, it has never before had an English translation that aims to be reliable in detail and that is fully annotated. The Greek text is based on a fuller body of evidence than any previous edition. It is astonishing to think that this play was first performed over 2,400 years ago, because of all Aristophanes’ great comedies, Lysistrata seems to speak most clearly to our own age. It could perhaps be described as the world's first, and indeed still the world’s greatest feminist drama. This second edition was published in 1998, and revised with addenda and updated bibliography in 2007. [Text with facing translation, commentary and notes.]

Thesmophoriazusae is perhaps the funniest of all Aristophanes’ comedies, in which gender inversion and transvestism run riot as the tragic dramatist Euripides is made to take part in a hilarious spoof on some of his own favourite plot lines, with his own life at stake as well as that of his loyal and much-put-upon old relative. This edition offers a freshly constituted text making use of recently published papyri, together with the first fully annotated English translation there has been of this play. The volume presents the original Greek text with facing-page translation, commentary and notes.

Aristophanes’ Frogs was produced in 405 BC, shortly after the deaths of the two great veteran Athenian tragic dramatists, Euripides and Sophocles. It was restaged a year later, a few weeks before starving Athens at last accepted defeat in the long Peloponnesian War. Dionysus, the god of drama, wine and joyful celebration, goes down to the underworld to bring his favourite poet, Euripides, back from the dead, and surprises both himself and the audience by bringing back instead Aeschylus, who had died fifty years before, with the mission of saving both Athens and Tragedy from ruin. The contest for the throne of tragedy between Euripides and Aeschylus is the earliest sustained piece of literary criticism in the Western tradition. This edition is the first to combine a reliable English translation of Frogs with a full explanatory commentary; it also includes a freshly constituted Greek text. [Greek text with facing-page translation, commentary and notes.]

Ecclesiazusae, probably produced in 391 BC, is at once a typically Aristophanic fantasy of gender inversion, obscenity and farce, the earliest surviving work in the western Utopian tradition, and the source of a blueprint for a communist society on which Plato may well have drawn in his Republic. This edition attempts to set the play, more closely than has usually been done, against the political background at the time of its production, when Athens has just spurned what proved to be the last opportunity to escape from a war it did not have the resources to fight, and to define the details of staging as precisely as the text will allow. [Greek text with facing-page translation, commentary and notes.]

This volume is the first edition with commentary since 1907 of Aristophanes' last surviving play, in which, as so often before, an audacious and imaginative hero finds a miraculous remedy for the all-too-real ills of the contemporary world in this case the concentration of wealth in the hands of those who don't deserve it at the expense of those who do. To achieve this he needs the aid of no less than three gods, and the play contains the fullest single surviving account of a visit to a sanctuary of the healing god Asclepius.This volume includes the Addenda to all previous plays, but the Indexes proved far more extensive than anticipated and has now been published as a separate volume which completes the Aristophanes series.

This volume completes the twelve-volume series The Comedies of Aristophanes , begun in 1980, and is comprised of comprehensive indexes to the preceding eleven volumes. The book is divided into three parts: I Texts and Passages, II Persons, and III General.

This volume completes the twelve-volume series The Comedies of Aristophanes , begun in 1980, and is comprised of comprehensive indexes to the preceding eleven volumes. The book is divided into three parts: I Texts and Passages, II Persons, and III General.

Produced in 421 B.C., Peace is, in one respect, unique among Aristophanes’ plays. The typical Aristophanic plot takes its start from something that is wrong with the current state of Athenian life and which, while it may be capable in principle of being corrected, stands next to no chance of ever being put right in practice except by the methods of comic fantasy. Peace likewise takes its start from something that is wrong with the current situation – namely, as in Acharnians and Lysistrata, the continuing war against the Peloponnesians; but on this occasion the wrong was one that was actually on the point of being set right in the hard world of reality. Aristophanes celebrates in anticipation of the conclusion of the great war with Sparta. Peace, we are made to see, is within the grasp of the Greek peoples; let them make one final effort, and all difficulties and dangers will evaporate in the joys of feasting and rustic leisure. This volume presents the Greek text with facing-page translation, commentary and notes. The second edition has been substantially updated with extensive addenda to the Notes and Bibliography.