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Library | Material Type | Call Number | Child Count | Shelf Location | Status | Item Holds |
|---|---|---|---|---|---|---|
Searching... Science | Book | 882.01 C741A 1996 | 1 | Stacks | Searching... Unknown | Searching... Unavailable |
Searching... Science | Book | 882.01 C743A | 1 | Stacks | Searching... Unknown | Searching... Unavailable |
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Summary
Summary
This volume complements D.J. Conacher's two earlier studies of Aeschylus, Aeschylus' `Prometheus Bound' (1980) and Aeschylus' `Oresteia' (1987), and completes his literary commentary on the extant plays of Aeschylus.
In this volume Conacher provides a detailed running commentary on the three earlier plays (The Persians, The Seven against Thebes, and The Suppliants), as well as an analysis of their themes, structure and dramatic techniques and devices. In two more general studies he reviews Aeschylus' dramatic uses of the chorus and of imagery.
Conacher's close readings of the text and sensitive analysis of the main problems in the plays will be of benefit to students, especially those encountering these plays for the first time, either in Greek or in translation. He also provides a thorough overview of the various interpretative and philological problems and opinions encountered in Aeschylean scholarship, which will be of interest to senior scholars as well as students.
Reviews (1)
Choice Review
A longtime Aeschylean critic and commentator on Greek drama, Conacher has produced a study that focuses on Persians, Seven against Thebes, and Suppliant Maidens. Part 1 examines these dramas in individual chapters that assume a general knowledge of the play's development. Taking a conventional approach to verbal imagery and poetic devices, Conacher examines Aeschylus' presentation of the drama or the dramatic expression of the play's basic themes. Although there is little originality here, the book's strength lies in these three chapters, where Conacher lays out the dominant themes(s) of the plays and demonstrates how the tragic artist uses a series of images, expressed through leading and subordinate characters and the chorus, to reflect these themes. Part 2, shorter and more general, is an overview of Aeschylean imagery and chorus that surveys all the surviving plays and is directed more to the first-time reader of Aeschylus. Conacher concludes that these plays differ from the Oresteia inasmuch as their imagistic sequences are not as fully developed as those in the later Oresteia. Recommended for undergraduate and graduate students. C. S. Broeniman; University of Massachusetts at Amherst