Greek Tragedy (Routledge Classics) by H. D. F. Kitto
By H. D. F. Kitto
'Two issues provide Kitto's vintage e-book its enduring freshness: he pioneered the method of Greek drama via inner artistry and thematic shape, and he continually wrote in full of life and readable English.' - Oliver Taplin, collage of Oxford, UK
Why did Aeschylus signify in a different way from Sophocles? Why did Sophocles introduce the 3rd actor? Why did Euripides now not make higher plots? So asks H.D.F Kitto in his acclaimed learn of Greek tragedy, to be had for the 1st time in Routledge Classics.
Kitto argues that during spite of facing colossal ethical and highbrow questions, the Greek dramatist is principally an artist and the foremost to figuring out classical Greek drama is to aim and comprehend the tragic belief of every play. In Kitto’s phrases ‘We shall ask what the dramatist is striving to assert, now not what in reality he does say approximately this or that.’ via an excellent research of Aeschylus’s ‘Oresteia’, the performs of Sophocles together with ‘Antigone’ and ‘Oedipus Tyrannus’; and Euripides’s ‘Medea’ and ‘Hecuba’, Kitto skilfully conveys the long-lasting inventive and literary brilliance of the Greek dramatists.
H.D.F Kitto (1897 – 1982) used to be a well known British classical student. He lectured on the collage of Glasgow from 1920-1944 prior to turning into Professor of Greek at Bristol college, the place he taught until eventually 1962.
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As they were going out we handed them a bit of lip-music: brrrrzzzzrrrr. But, myself, I couldn’t help a bit of disappointment at things as they were those days. Nothing to fight against really. Everything as easy as kiss-my-sharries. Still, the night was still very young. 2 When we got outside of the Duke of New York we viddied by the main bar’s long lighted window, a burbling old pyahnitsa or drunkie, howling away at the filthy songs of his fathers and going blerp blerp in between as though it might be a filthy old orchestra in his stinking rotten guts.