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Aristocrats and Servitors: The Boyar Elite in Russia, 1613-1689 (PDF)
by Robert O. CrummeyRobert O. Crummey uses the methods of collective biography to provide the first modern study of the elite group that dominated Russian government and society in the seventeenth century--the members of the Boyar Duma or royal council between 1613 and 1689. This book examines their careers in governmental service, their position in networks of family relationships and factional groupings, their values and attitudes, and their economic activities.Originally published in 1983.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Aristocrat's Lady (Mills And Boon Love Inspired Historical Ser.)
by Mary MooreAn Unexpected Encounter
Aristophanes: A Verse Translation, with Introduction and Notes
by Stephen HalliwellAristophanes is the only surviving representative of Greek Old Comedy, an exuberant form of festival drama which flourished in Athens during the fifth century BC. One of the most original playwrights in the entire Western tradition, his comedies are remarkable for their brilliant combination of fantasy and satire, their constantly inventive manipulation of language, and their use of absurd characters and plots to expose his society's institutions and values to the bracing challenge of laughter. This vibrant collection of verse translations of Aristophanes' works combines historical accuracy with a sensitive attempt to capture the rich dramatic and literary qualities of Aristophanic comedy. The volume presents Clouds, with its famous caricature of the philosopher Socrates; Women at the Thesmophoria (or Thesmophoriazusae), a work which mixes elaborate parody of tragedy with a great deal of transvestite burlesque; and Frogs, in which the dead tragedians Aeschylus and Euripides engage in a vituperative contest of 'literary criticism' of each other's plays. Featuring expansive introductions to each play and detailed explanatory notes, the volume also includes an illuminating appendix, which provides information and selected fragments from the lost plays of Aristophanes.
Aristophanes: A Verse Translation, with Introduction and Notes
by Stephen HalliwellAristophanes is the only surviving representative of Greek Old Comedy, an exuberant form of festival drama which flourished in Athens during the fifth century BC. One of the most original playwrights in the entire Western tradition, his comedies are remarkable for their brilliant combination of fantasy and satire, their constantly inventive manipulation of language, and their use of absurd characters and plots to expose his society's institutions and values to the bracing challenge of laughter. This vibrant collection of verse translations of Aristophanes' works combines historical accuracy with a sensitive attempt to capture the rich dramatic and literary qualities of Aristophanic comedy. The volume presents Clouds, with its famous caricature of the philosopher Socrates; Women at the Thesmophoria (or Thesmophoriazusae), a work which mixes elaborate parody of tragedy with a great deal of transvestite burlesque; and Frogs, in which the dead tragedians Aeschylus and Euripides engage in a vituperative contest of 'literary criticism' of each other's plays. Featuring expansive introductions to each play and detailed explanatory notes, the volume also includes an illuminating appendix, which provides information and selected fragments from the lost plays of Aristophanes.
Aristophanes: An Introduction
by James RobsonThis accessible introduction to the work of one of the world's greatest comic writers tackles key questions posed by Aristophanes' plays, such as staging, humour, songs, obscene language, politics and the modern translation and performance of Aristophanic comedy. The book opens up exciting and contentious areas of Aristophanic scholarship in a way that is engaging and readily comprehensible to a non-specialist audience, never losing sight of the fact that Aristophanes' plays are vibrant literary texts, designed primarily to appeal to a classical Athenian audience as pieces of living drama. Key to the book's appeal is that James Robson conceives of the plays as dynamic texts, containing a treasure trove of information not only about how they might have been performed and received in classical Athens, but also how they might be read and understood today. Most importantly, readers are given the tools and information to make their own minds up about the debates that still rage about Aristophanic comedy in the modern world.
Aristophanes: An Introduction
by James RobsonThis accessible introduction to the work of one of the world's greatest comic writers tackles key questions posed by Aristophanes' plays, such as staging, humour, songs, obscene language, politics and the modern translation and performance of Aristophanic comedy. The book opens up exciting and contentious areas of Aristophanic scholarship in a way that is engaging and readily comprehensible to a non-specialist audience, never losing sight of the fact that Aristophanes' plays are vibrant literary texts, designed primarily to appeal to a classical Athenian audience as pieces of living drama. Key to the book's appeal is that James Robson conceives of the plays as dynamic texts, containing a treasure trove of information not only about how they might have been performed and received in classical Athens, but also how they might be read and understood today. Most importantly, readers are given the tools and information to make their own minds up about the debates that still rage about Aristophanic comedy in the modern world.
Aristophanes: An Author for the Stage
by Carlo Ferdinando RussoCarlo Ferdinando Russo's book has been a seminal work on Aristophanes since its publication in Italy in 1962. In his detailed analysis, Russo considers the plays as libretti for actors and singers rather than as mere texts, and never loses sight of the stage. This is the classic book about Aristophanes. Now finally available in English and much-updated, it is essential reading for any student of Athenian comedy.
Aristophanes: An Author for the Stage
by Carlo Ferdinando RussoCarlo Ferdinando Russo's book has been a seminal work on Aristophanes since its publication in Italy in 1962. In his detailed analysis, Russo considers the plays as libretti for actors and singers rather than as mere texts, and never loses sight of the stage. This is the classic book about Aristophanes. Now finally available in English and much-updated, it is essential reading for any student of Athenian comedy.
Aristophanes: Peace (Bloomsbury Ancient Comedy Companions)
by Ian C. StoreyThis is the first volume dedicated to Aristophanes' comedy Peace that analyses the play for a student audience and assumes no knowledge of Greek. It launches a much-needed new series of books each discussing a comedy that survives from the ancient world. Six chapters highlight the play's context, themes, staging and legacy including its response to contemporary wartime politics and the possible staging options for flying. It is ideal for students, but helpful also for scholars wanting a quick introduction to the play.Peace was first performed in 421 BC, perhaps only days before the signing of a peace treaty that ended ten years of fighting between Athens and Sparta (the Archidamian War). Aristophanes celebrates this prospect with an imaginative fantasy involving his hero's flight on a gigantic dung-beetle to Olympus, the rescue of the goddess Peace from her imprisonment in a cave, and her return to a Greece weary of ten years of war. Like most of the poet's comedies, this play is heavy on fantasy and imagination, light on formal structure, being an exuberant farce that champions the opponents of War and celebrates the delights of the return to country life with its smells, food and drink, its many pleasures and none of the complications that war brings in its wake.
Aristophanes: Peace (Bloomsbury Ancient Comedy Companions)
by Ian C. StoreyThis is the first volume dedicated to Aristophanes' comedy Peace that analyses the play for a student audience and assumes no knowledge of Greek. It launches a much-needed new series of books each discussing a comedy that survives from the ancient world. Six chapters highlight the play's context, themes, staging and legacy including its response to contemporary wartime politics and the possible staging options for flying. It is ideal for students, but helpful also for scholars wanting a quick introduction to the play.Peace was first performed in 421 BC, perhaps only days before the signing of a peace treaty that ended ten years of fighting between Athens and Sparta (the Archidamian War). Aristophanes celebrates this prospect with an imaginative fantasy involving his hero's flight on a gigantic dung-beetle to Olympus, the rescue of the goddess Peace from her imprisonment in a cave, and her return to a Greece weary of ten years of war. Like most of the poet's comedies, this play is heavy on fantasy and imagination, light on formal structure, being an exuberant farce that champions the opponents of War and celebrates the delights of the return to country life with its smells, food and drink, its many pleasures and none of the complications that war brings in its wake.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and Women (Routledge Revivals)
by Lauren K. TaaffeAristophanes and Women, first published in 1993, investigates the workings of the great Athenian comedian’s ‘women plays’ in an attempt to discern why they were in fact probably quite funny to their original audiences. It is argued that modern students, scholars, and dramatists need to consider much more closely the conditions of the plays’ ancient productions when evaluating their ostensible themes. Three plays are focused upon: Lysistrata, Thesmophoriazusae, and Ecclesiazusae. All seem to speak quite eloquently to contemporary concerns about women’s rights, the value of women’s work, and the relationships between women and war, literary representation and politics. On the one hand, Professor Taaffe tries to retrieve what an ancient Athenian audience may have l appreciated about these plays and what their central theses may have meant within that culture. On the other hand, Aristophanes is discussed from the perspective of a late twentieth-century, specifically female, reader.
Aristophanes: Cavalry (Bloomsbury Ancient Comedy Companions)
by Professor Robert TordoffOffering for the first time a student introduction to Aristophanes' most explosive political satire, this volume is an essential guide to the context, themes and later reception of Cavalry. The ancient comedy is a fascinating insight into demagoguery and political rhetoric in classical Athens. These are subjects that resonate with a modern audience more now than ever before.Originally performed in 424 BCE, Cavalry was the first play Aristophanes directed himself and it was awarded first prize. It targets the Athenian demagogue, Cleon, who had risen to prominence since the death of Pericles and to pre-eminence after an audacious victory over Sparta in 425 BCE. In Cavalry, Aristophanes attacks Cleon's popularity with the masses, but also criticises the democracy itself as guilty of gullibility, self-interest and political shortsightedness. As the play shows, the only hope of escape from the crisis is for Athens to find a leader even more popular Cleon. And who better to be more foul-mouthed, depraved and shameless than a sausage-seller, if only because he turns out in the end to have a good heart and a true love of traditional Athenian values?
Aristophanes: Cavalry (Bloomsbury Ancient Comedy Companions)
by Professor Robert TordoffOffering for the first time a student introduction to Aristophanes' most explosive political satire, this volume is an essential guide to the context, themes and later reception of Cavalry. The ancient comedy is a fascinating insight into demagoguery and political rhetoric in classical Athens. These are subjects that resonate with a modern audience more now than ever before.Originally performed in 424 BCE, Cavalry was the first play Aristophanes directed himself and it was awarded first prize. It targets the Athenian demagogue, Cleon, who had risen to prominence since the death of Pericles and to pre-eminence after an audacious victory over Sparta in 425 BCE. In Cavalry, Aristophanes attacks Cleon's popularity with the masses, but also criticises the democracy itself as guilty of gullibility, self-interest and political shortsightedness. As the play shows, the only hope of escape from the crisis is for Athens to find a leader even more popular Cleon. And who better to be more foul-mouthed, depraved and shameless than a sausage-seller, if only because he turns out in the end to have a good heart and a true love of traditional Athenian values?
Aristophanes' Frogs (Oxford Approaches to Classical Literature)
by Mark GriffithAristophanes is widely credited with having elevated the classical art of comedy to the level of legitimacy and recognition that only tragedy had hitherto achieved, and producing some of the most intriguing works of literature to survive from classical Greece in the process. Among them, Frogs has a unique appeal; written and performed in 405 BCE, the comedy won first prize in that year's Lenaea festival competition and was re-performed soon thereafter--a rare occurrence for comedies at the time. Frogs has been admired and quoted by readers and critics ever since, a testament to its timeless appeal; it remains among the most approachable of Aristophanes' plays, as well as perhaps the richest of all in insights it provides into ancient Greek cultural attitudes and values. Mark Griffith's study of the Frogs is the first single book to offer a reliable and sophisticated account of this play in light of modern notions of culture, performance, democracy, religion, and aesthetics. After placing the work in its original historical, cultural, and biographical context, Griffith goes on to underscore the originality of Frogs in relation to parallel developments in the tragedies of Aeschylus and Euripides, among others. He highlights the play's unique portrayal of the figure of Dionysus, the Eleusinian mystery cult, and the question of life after death. This title provides not only a detailed analysis of the play and a concise account of its reception, but also a succinct introduction to ancient Greek comedy, exploring the extraordinary range of theatrical conventions, moral and aesthetic assumptions, and religious beliefs that underlie the action of Aristophanes' play. The book provides an invaluable companion to Aristophanes and the theater of classical Greece for students and general readers alike.
Aristophanes' Frogs (Oxford Approaches to Classical Literature)
by Mark GriffithAristophanes is widely credited with having elevated the classical art of comedy to the level of legitimacy and recognition that only tragedy had hitherto achieved, and producing some of the most intriguing works of literature to survive from classical Greece in the process. Among them, Frogs has a unique appeal; written and performed in 405 BCE, the comedy won first prize in that year's Lenaea festival competition and was re-performed soon thereafter--a rare occurrence for comedies at the time. Frogs has been admired and quoted by readers and critics ever since, a testament to its timeless appeal; it remains among the most approachable of Aristophanes' plays, as well as perhaps the richest of all in insights it provides into ancient Greek cultural attitudes and values. Mark Griffith's study of the Frogs is the first single book to offer a reliable and sophisticated account of this play in light of modern notions of culture, performance, democracy, religion, and aesthetics. After placing the work in its original historical, cultural, and biographical context, Griffith goes on to underscore the originality of Frogs in relation to parallel developments in the tragedies of Aeschylus and Euripides, among others. He highlights the play's unique portrayal of the figure of Dionysus, the Eleusinian mystery cult, and the question of life after death. This title provides not only a detailed analysis of the play and a concise account of its reception, but also a succinct introduction to ancient Greek comedy, exploring the extraordinary range of theatrical conventions, moral and aesthetic assumptions, and religious beliefs that underlie the action of Aristophanes' play. The book provides an invaluable companion to Aristophanes and the theater of classical Greece for students and general readers alike.
Aristophanes: Frogs (Bloomsbury Ancient Comedy Companions)
by C. W. MarshallA comedy about tragedy and a play about playmaking, Aristophanes' Frogs (405 BCE) is perhaps the most popular of ancient comedies. This new introduction guides students through the play, its themes and contemporary contexts, and its reception history. Frogs offers sustained engagement with the Athenian literary scene, with the politics of Athens at the end of the Peloponnesian War, and with the religious understanding of the fifth-century city. It presents the earliest direct criticism of theatre and a detailed description of the Underworld, and also dramatizes the place of Mystery cults in the religious life of Athens and shows the political concerns that galvanized the citizens. It is also genuinely funny, showcasing a range of comic techniques, including literary and musical parody, political invective, grotesque distortion, wordplay, prop comedy, and funny costumes. Frogs has inspired literary works by Henry Fielding, George Bernard Shaw, and Tom Stoppard. This book explores all of these features in a series of short chapters designed to be accessible to a new reader of ancient comedy. It proceeds linearly through the play, addressing a range of issues, but paying particular attention to stagecraft and performance. It also offers a bold new interpretation of the play, suggesting that the action of Frogs was not the first time Euripides and Aeschylus had competed against each other.
Aristophanes: Frogs (Bloomsbury Ancient Comedy Companions)
by C. W. MarshallA comedy about tragedy and a play about playmaking, Aristophanes' Frogs (405 BCE) is perhaps the most popular of ancient comedies. This new introduction guides students through the play, its themes and contemporary contexts, and its reception history. Frogs offers sustained engagement with the Athenian literary scene, with the politics of Athens at the end of the Peloponnesian War, and with the religious understanding of the fifth-century city. It presents the earliest direct criticism of theatre and a detailed description of the Underworld, and also dramatizes the place of Mystery cults in the religious life of Athens and shows the political concerns that galvanized the citizens. It is also genuinely funny, showcasing a range of comic techniques, including literary and musical parody, political invective, grotesque distortion, wordplay, prop comedy, and funny costumes. Frogs has inspired literary works by Henry Fielding, George Bernard Shaw, and Tom Stoppard. This book explores all of these features in a series of short chapters designed to be accessible to a new reader of ancient comedy. It proceeds linearly through the play, addressing a range of issues, but paying particular attention to stagecraft and performance. It also offers a bold new interpretation of the play, suggesting that the action of Frogs was not the first time Euripides and Aeschylus had competed against each other.
Aristophanes: Lysistrata (Bloomsbury Ancient Comedy Companions)
by James RobsonLysistrata is the most notorious of Aristophanes' comedies. First staged in 411 BCE, its action famously revolves around a sex strike launched by the women of Greece in an attempt to force their husbands to end the war. With its risqué humour, vibrant battle of the sexes, and themes of war and peace, Lysistrata remains as daring and thought-provoking today as it would have been for its original audience in Classical Athens. Aristophanes: Lysistrata is a lively and engaging introduction to this play aimed at students and scholars of classical drama alike. It sets Lysistrata in its social and historical context, looking at key themes such as politics, religion and its provocative portrayal of women, as well as the play's language, humour and personalities, including the formidable and trailblazing Lysistrata herself. Lysistrata has often been translated, adapted and performed in the modern era and this book also traces the ways in which it has been re-imagined and re-presented to new audiences. As this reception history reveals, Lysistrata's appeal in the modern world lies not only in its racy subject matter, but also in its potential to be recast as a feminist, pacifist or otherwise subversive play that openly challenges the political and social status quo.
Aristophanes: Lysistrata (Bloomsbury Ancient Comedy Companions)
by James RobsonLysistrata is the most notorious of Aristophanes' comedies. First staged in 411 BCE, its action famously revolves around a sex strike launched by the women of Greece in an attempt to force their husbands to end the war. With its risqué humour, vibrant battle of the sexes, and themes of war and peace, Lysistrata remains as daring and thought-provoking today as it would have been for its original audience in Classical Athens. Aristophanes: Lysistrata is a lively and engaging introduction to this play aimed at students and scholars of classical drama alike. It sets Lysistrata in its social and historical context, looking at key themes such as politics, religion and its provocative portrayal of women, as well as the play's language, humour and personalities, including the formidable and trailblazing Lysistrata herself. Lysistrata has often been translated, adapted and performed in the modern era and this book also traces the ways in which it has been re-imagined and re-presented to new audiences. As this reception history reveals, Lysistrata's appeal in the modern world lies not only in its racy subject matter, but also in its potential to be recast as a feminist, pacifist or otherwise subversive play that openly challenges the political and social status quo.
Aristophanes' Wasps (Oxford Greek and Latin College Commentaries)
by Kenneth RothwellAristophanes' Wasps (422 B.C.) is an entertaining comedy that plunges us into the life of a family in classical Athens, while treating themes that readers of any time and place can appreciate. A father and son argue about politics, household servants try to please their master, a disruptive gang of the father's friends decide to intervene, a dog becomes a lightning-rod for his antics in the kitchen, attempts are made at reform and reconciliation, and it all ends with a drinking party that goes disastrously wrong. The father, Philocleon, and his friends, the chorus of wasp-like old men for whom the play is named, are some of the great creations of comic drama. The characters of the Wasps make constant references to the everyday world they are living in: its political demagogues, court system, religious rituals, social niceties, class distinctions, diseases, clothes, food, toilets, paychecks, geography, weather, household items, literary and mythological allusions, military experiences, and much more. These references give the play its immediacy, but their unfamiliarity to modern students can pose a challenge. This edition provides a full introduction devoted to the political, social, and literary background of the play, as well as notes to the text explaining historical details.
ARISTOPHANES' WASPS OGLCC C (Oxford Greek and Latin College Commentaries)
by Kenneth RothwellAristophanes' Wasps (422 B.C.) is an entertaining comedy that plunges us into the life of a family in classical Athens, while treating themes that readers of any time and place can appreciate. A father and son argue about politics, household servants try to please their master, a disruptive gang of the father's friends decide to intervene, a dog becomes a lightning-rod for his antics in the kitchen, attempts are made at reform and reconciliation, and it all ends with a drinking party that goes disastrously wrong. The father, Philocleon, and his friends, the chorus of wasp-like old men for whom the play is named, are some of the great creations of comic drama. The characters of the Wasps make constant references to the everyday world they are living in: its political demagogues, court system, religious rituals, social niceties, class distinctions, diseases, clothes, food, toilets, paychecks, geography, weather, household items, literary and mythological allusions, military experiences, and much more. These references give the play its immediacy, but their unfamiliarity to modern students can pose a challenge. This edition provides a full introduction devoted to the political, social, and literary background of the play, as well as notes to the text explaining historical details.