Oresteia #1

Agamemnon

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Treating ancient plays as living drama. Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including0 suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Agamemnon is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Agamemnon is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

144 pages, Paperback

First published January 1,-0472

Series
Places
greece

This edition

Format
144 pages, Paperback
Published
March 1, 2004 by Cambridge University Press
ISBN
9780521010757
ASIN
0521010756
Language
English
Characters More characters
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About the author

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Greek Αισχύλος, Esquilo in Spanish, Eschyle in French, Eschilo in Italian, Эсхил in Russian.

Aeschylus (c. 525/524 BC – c. 456 BC) was an ancient Greek tragedian often described as the father of tragedy. Academic knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus.
Only seven of Aeschylus's estimated 70 to 90 plays have survived. There is a long-standing debate regarding the authorship of one of them, Prometheus Bound, with some scholars arguing that it may be the work of his son Euphorion. Fragments from other plays have survived in quotations, and more continue to be discovered on Egyptian papyri. These fragments often give further insights into Aeschylus' work. He was likely the first dramatist to present plays as a trilogy. His Oresteia is the only extant ancient example. At least one of his plays was influenced by the Persians' second invasion of Greece (480–479 BC). This work, The Persians, is one of very few classical Greek tragedies concerned with contemporary events, and the only one extant. The significance of the war with Persia was so great to Aeschylus and the Greeks that his epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright.


Community Reviews

Rating(4 / 5.0, 100 votes)
5 stars
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100 reviews All reviews
April 1,2025
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"You try me out as if I were a woman and vain; but my heart is not fluttered as I speak before you."

I was impressed by encountering such a proud and strong image of women in a Greek tragedy. The main two characters are nothing like the stereotype of women today or through history, Clytemnestra and Cassandra are extremely the oppsite extremes of the female possible personalities.

The first is the wife of Agamemnon and queen of Mycenae, she is the powerful precursor of today's femme fetale. She is brave, wicked, vengeful and unyielding. She feels no regret for the treachery and carnal sin in her alarming fearlessness and awareness that she has finally fulfilled her destiny.
The chorus declares her attitude as unwomanly, yet she is proof that there is nothing woman cannot do and that nothing may be labeled as ladylike or not.

Cassandra on the otherhand is just, fair and like many women today, although she is peaking the truth she is not being listened to. Her divine prophecies are subjected to the lowly mansplaining of the troians. This effect is out of her control and ironically inflicted on her by a self-righteous all-powerful god.
Cassandra is the icon of all the ignored women, whose wisdom and wit is ignored as lunacy or disregarded as lies.

Oresteia is not meant as a myth about women but their representation is quite remarkable so early in the day and a beautiful addition to the wonders of epic tragedy.
April 1,2025
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In this play, Eschyle is grandiose. It's a longer play, but it had my full attention. Clytemnestre, Agamemnon's wife has been waiting ten years to avenge her daughter's sacrifice at the hands of her husband who'd believed an oracle saying that the winds would only pick up and bring his men to Troy is he shed the blood of his young daughter. The brilliance of the play lies in the way Eschyle slowly reveals Agamennon's fate.
At first it seems that Clytemnestre is thrilled hear the tales of victory and pillage by the newly returned unnamed soldier and when it is announced that the king is well and on his way back, sacrifices and offerings begin in his honor. All around the palace, there is fires and rirual slaughtering and it is against this already frenzied backdrop that the play unfolds.
Cassandra, bound in a chariot, Agamennon's prize, makes for a thrilling character. She foretells her own violent end to a chorus of old men who don't believe her.... Of course.

Clytemnestre murders her husband in his bath and axes Cassandra to death.

She blames the genius of the age.

It's a bloody, haunting and beautiful piece. Now we all know what happens next. Electra waits for her brother Orestre's return so they may avenge their slain father.

Talk about Greek Tragedy. To be continued...
April 1,2025
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“I think, neither was this man’s death ignoble, for did he not also bring ruin on the house through treachery?”

More than five years since I first read it for my Greek drama class and it still hits! There’s something liberating about reading the ancients for fun rather than for study. Anyway, sometimes I support women’s wrongs. I could go on about Clytemnestra (and Cassandra) for ages
April 1,2025
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Although a highly paganistic work, this trilogy nevertheless is on point with vengeance and redemption: both belong to God and both can only be given by God.

I highly recommend this to any literature nerd and anyone interested in Greek tragedies! The writing style is beautiful, the characters are real, the setting and gods are creepy, and the overarching theme of redemption is a welcome twist to tragedies.

I also strongly suggest watching Peter Hall's 1983 staging of the plays (link below to "Agamemnon"). It truly captures every element of how the Greeks performed their plays and gives us readers a better understanding of how the play is supposed to work. I found it particularly helpful in understanding the parts the chorus sings. While they are eerie on their own, hearing the voices and the music accompanying them really accentuates the power of this role.

Overall, at least go forth and watch this if you don't want to spend the time reading it.

https://www.youtube.com/watch?v=mdv3v...

April 1,2025
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sad! well theres other guys. (review of the full oresteia here)
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