Volume 2 comprises the following tragedies attributed to Seneca: Oedipus, Hercules Mad, Hercules on Oeta, Thyestes, Agamemnon--the guys.

The surviving works of Aeschylus, Sophocles and Euripides have been familiar to readers and theatregoers for centuries; but these works are far outnumbered by their lost plays. Between them these authors wrote around two hundred tragedies, the fragmentary remains of which are utterly fascinating. In this, the second volume of a major new survey of the tragic genre, Matthew Wright offers an authoritative critical guide to the lost plays of the three best-known tragedians. (The other Greek tragedians and their work are discussed in Volume 1: Neglected Authors.) What can we learn about the lost plays of Aeschylus, Sophocles and Euripides from fragments and other types of evidence? How can we develop strategies or methodologies for 'reading' lost plays? Why were certain plays preserved and transmitted while others disappeared from view? Would we have a different impression of the work of these classic authors – or of Greek tragedy as a whole – if a different selection of plays had survived? This book answers such questions through a detailed study of the fragments in their historical and literary context. Making use of recent scholarly developments and new editions of the fragments, The Lost Plays of Greek Tragedy makes these works fully accessible for the first time.

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.

Four plays by the revered Elizabethan dramatist tell of men driven to evil by ambition and jealousy—and of one who escapes the dangers of bad influence. Othello: A powerful general in the Venetian army, Othello the Moor is despised by his scheming ensign, Iago, who devises a plan to destroy him. Newly married to Desdemona, Othello is led to believe she has been unfaithful—and his jealous rage leads to tragic consequences. Macbeth: When three witches foretell that Macbeth will be king of Scotland, he does not wait for destiny to run its course. Instead, he and his wife plot to kill the presiding king, an act that will realize their ambitions—and bring them to ruin. Henry IV Part One: This historical play chronicles the rebellions faced by the medieval king of England Henry IV, as well asthe maturation of his son, Prince Hal.The prince indulges in a carefree life with the comical rogue Falstaff but must eventually cast aside his recklessness and live up to his royal destiny. Henry IV Part Two: As Henry IV’s health grows weaker, Prince Hal’s ability to assume the crown remains in doubt. The prince’s friendship with the drunk and thieving Falstaff threatens to be his undoing. Now he faces a choice that will determine not only his own future, but also that of England

Are there no limits to human cruelty? Is there any divine justice? Do the gods even matter if they do not occupy themselves with rewarding virtue and punishing wickedness? Seneca's plays might be dismissed as bombastic and extravagant answers to such questions—if so much of human history were not "Senecan" in its absurdity, melodrama, and terror. Here is an honest artist confronting the irrationality and cruelty of his world—the Rome of Caligula, Claudius, and Nero—and his art reflects the stress of the encounter. The surprise, perhaps, is that Seneca's world is so like our own.

Herbert Golder also served as General Editor. --Book Jacket.

Irregular, Doubtful, and Emended Accidentals in F1 In the Textual Notes, the lemma is the reading of this edition's text. In these notes, for emendations to F1, the lemma is followed by the siglum or sigla of the edition(s) from which the emendation is taken, and then by the rejected F1 reading and the siglum or sigla of the 17th-c. editions reading differently from the lemma. Where no source is given for the emendation, the adopted reading is not in any of the folios. Doubtful and irregular readings are merely listed. (