(2)This reprint (with updated 'Suggestions for Further Reading') of the Houghton Mifflin edition makes David Bevington's classic anthology of medieval drama available again at an affordable price.
This is the first edition for students and general readers of this pro-woman reply to Shakespeare's The Taming of the Shrew by a playwright (John Fletcher) who was more admired than Shakespeare in the seventeenth century. A unique and essential companion to the numerous textbook editions of Shakespeare's play, The Tamer Tamed provides exciting new material for current debates about the history of gender, marriage, and drama.
An examination of Sophocles' "Antigone" in the context of its setting in 5th century Athens. The authors attempt to create an interpretive environment that is true to the issues and interests of 5thcentury Athenians, as opposed to those of modern scholars and philosophers. As they contextualize the play in the dynamics of ancient Athens, the authors discuss the text of Antigone in light of developments in the study of Greek antiquity and tragedy, and they turn to modern Greek rituals of lamentation to suggest analogies.
(10)Plautus's broad humor, reflecting Roman manners and contemporary life, is revealed in these five plays: The Pot of Gold (Aulularia), The Prisoners (Captivi), The Brothers Menaechmus (Menaechmi), The Swaggering Soldier (Miles Gloriosus), and Pseudolus.
(3)Ahl's translations of three Senecan tragedies will gratify and challenge readers and performers. With stage performance specifically in mind, Ah1 renders Seneca's dramatic force in a modern idiom and style that move easily between formality and colloquialism as the text demands, and he strives to reproduce the richness of the original Latin, to retain the poetic form, images, wordplays, enigmas, paradoxes, and dark humor of Seneca's tragedies.
Here is a moving and accomplished translation of this complex play dealing the the violent passions stirred by innocence and beauty and the terrible power of ideology, hatred, and misunderstanding.
(1)Aeschylus is a towering figure in western literature, the first of the great Greek playwrights, a dramatist whose work still has the power to inspire and terrify readers and theatre-goers alike. The four plays in this volume demonstrate the full range and depth of Aeschylus's genius. Persians is the only surviving tragedy to draw on contemporary history, the Greeks' extraordinary victory over Persia in 480 BC. 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. And in the hugely influential 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; by comprehensive explanatory notes on the language, structure, and content of the plays, and by an up-to-date bibliography, five maps, and an index.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum 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, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
The Taggers is a swash buckling tale set in Medieval Times about Emily, a teenage princess set to marry Townsely, the son of a wealthy man. Emily’s father, King Walter is a selfish and cruel ruler who refuses to listen to Emily when she tells him that she does not wish to marry Townsley. Instead, King Walter punishes Emily and sentences her to a night in prison.
Once out of prison, Emily’s nurse tells her the story of The Taggers, a secret society of dead men brought back to do the evil work of their leader, Parduce. Each Tagger can be brought back if they sacrifice the first born son of poor families.
The night of her Coming of Age Party, Princess Emily is raped by Townsley and becomes pregnant. Outraged at Emily, King Walter banishes her from his kingdom. Months later, Emily gives birth to her son and manages just fine with what very little she has until the season changes and the weather turns cold. What happens next sets Emily on a course for confrontation with the evil men of her nurse’s story, The Taggers.
Author Bio
Janel Lee currently resides in Texas with her two children. She has written poems and short stories all her life, but her first published work as an author was the ebook, Something So Perfect.
(9)Aristophanes, the greatest of comic writers in Greek and in the opinion of many, in any language, is the only one of the Attic comedians any of whose works has survived in complete form He was born in Athens about the middle of the fifth century B C, and had his first comedy produced when he was so young that his name was withheld on account of his youth. He is credited with over forty plays, eleven of which survive, along with the names and fragments of some twenty-six others. His satire deal with political, religious, and literary topics, and with all its humor and fancy is evidently the outcome of profound conviction and a genuine patriotism. The Attic comedy was produced at the festivals of Dionysus, which were marked by great license, and to this, rather than to the individual taste of the poet, must be ascribed the undoubted coarseness of many of the jests. Aristophanes seems, indeed, to have been regarded by his contemporaries as a man of noble character. He died shortly after the production of his "Plutus," in 388 B. C. "The Frogs" was produced the year after the death of Euripides, and laments the decay of Greek tragedy which Aristophanes attributed to that writer. It is an admirable example of the brilliance of his style, and of that mingling of wit and poetry with rollicking humor and keen satirical point which is his chief characteristic. Here, as elsewhere, he stands for tradition against innovation of all kinds, whether in politics, religion, or art. The hostility to Euripides displayed here and in several other plays, like his attacks on Socrates, is a result of this attitude of conservatism. The present play is notable also as a piece of elaborate if not over-serious literary criticism from the pen of a great poet.
