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Originally published in 1899 as part of the Pitt Press Series, this book contains the Greek text of Aeschylus' Prometheus Bound. The tragedy is prefaced with a history of Prometheus in Greek myth and an attempted reconstruction of the other two plays in the Prometheus trilogy, of which Prometheus Bound is the only extant piece, with detailed notes following at the end of the text. This book will be of value to anyone with an interest in early Athenian drama.

The Persae is the oldest of surviving plays and its subject matter is unique in ancient drama, since it is concerned with a recent historical event, the defeat of the Persians at Salamis; yet before the publication of this work in 1960, there had been no edition suitable for university students and scholars. This major edition - the first to be attempted on such a scale - incorporated much material that former editions had neglected, including a number of textual suggestions and elucidations. In his introduction, Dr Broadhead assesses the Persae as a work of dramatic art, considers how far Aeschylus' patriotism has coloured his presentation of the tragedy, discusses the possibility that the play is part of a tetralogy, and reviews the evidence for a Sicilian text. He also explains the principles followed in establishing the text, which is accompanied by select critical notes. There is a full-scale commentary, which takes account of the scholarship that was current when this volume was

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.

The myth of fire stolen from the gods appears in many pre-industrial societies. In Greek culture Prometheus the fire-stealer figures prominently in the poems of Hesiod, but in Prometheus Bound Hesiod's morality tale has been transformed into a drama of tragic tone and proportions. In the introduction, Mark Griffith examines how the dramatist has achieved this transformation, looking at the play from all angles - plot and characters, dramatic technique, style and metre. He includes a short section on the production of the play and on the questions of authenticity and date. The commentary guides the reader through problems of language, metre and content. An important feature of this volume is the appendix, which gathers together the existing fragments of the other two plays in the supposed Prometheus trilogy, quoting them in full in the original language and in translation, with short accompanying commentary. This is suitable for undergraduates and students in the upper forms of schools.