From the Iliad to Aristophanes, from the gospel of Matthew to Augustine, Greek and Latin texts are constellated with images of dreams. This cultural history draws on contemporary post-Freudian science and careful critiques of the ancient texts. Harris reminds us of specificities, contexts, and changing attitudes through history.
"The work of the last fifteen years has created new interest in the writings of Luke. The relation of Luke's Gospel to Mark's Gospel and the Logia of Jesus has sharply defined his own critical methods and processes. The researches of Harnack, Hobart, and Ramsay have restored the credit of Luke with many critics who had been carried away by the criticism of Baur, and who looked askance upon the value of Luke as the historian of early Christianity. It has been like mining--digging now here, now there. The items in Luke's books that were attacked have been taken up one by one. The work has been slow and piecemeal, of necessity. But it is now possible to gather together into a fairly complete picture the results. It is a positively amazing vindication of Luke. The force of the argument is cumulative and tremendous. One needs to have the patience to work through the details with candor and a willingness to see all the facts with no prejudice against Luke or against the supernatural origin of Christianity." --From the Preface
The visual effect of the staging of Aeschylus' plays was an essential part of their impact. And yet all that survives today are the scripts. Imagination, helped by anachronistic sources, has played the chief role for those dealing with the dramaturgy of Aeschylus' works, and the result hasusually been stages crowded with extras and equipment.In this book, the author approaches the subject from a completely different angle. He clears the stage and looks for clues of Aeschylus' stagecraft in the texts of the plays themselves. He concentrates his study in an analysis of the exits and entrances in Aeschylus' works with constant reference tothe practice of Sophocles and Euripides as well. His arguments and conclusions are fascinating and thought-provoking, and make the book indispensable for anyone interested in ancient Greek drama and its staging.
