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In the Oresteia Aeschylus addressed the bloody chain of murder and revenge within the royal family of Argos. As they move from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration. In Agamemnon, a king's decision to sacrifice his daughter and turn the tide of war inflicts lasting damage on his family, culminating in a terrible act of retribution; The Libation Bearers deals with the aftermath of Clytemnestra's regicide, as her son Orestes sets out to avenge his father's death; and in The Eumenides, Orestes is tormented by supernatural powers that can never be appeased. Forming an elegant and subtle discourse on the emergence of Athenian democracy out of a period of chaos and destruction, The Oresteia is a compelling tragedy of the tensions between our obligations to our families and the laws that bind us together as a society.
The only trilogy in Greek drama that survives from antiquity, Aeschylus' The Oresteia is translated by Robert Fagles with an introduction, notes and glossary written in collaboration with W.B. Stanford in Penguin Classics.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
- Sales Rank: #31754 in Books
- Published on: 1984-02-07
- Released on: 1984-02-07
- Original language: Ancient Greek
- Number of items: 1
- Dimensions: 7.80" h x .60" w x 5.10" l, .51 pounds
- Binding: Paperback
- 336 pages
Review
"Conveys more vividly and powerfully than any of the ten competitors I have consulted the eternal power of this masterpiece ... a triumph." —Bernard Levin
"How satisfying to read at last a modern translation which is rooted in Greek feeling and Greek thought ... both the stature and the profound instinctive genius of Aeschylus are recognised." —Mary Renault, author of The King Must Die
Language Notes
Text: English, Greek (translation)
From the Back Cover
This book is a play that has been translated into English. 'The Oresteia'
Most helpful customer reviews
1 of 1 people found the following review helpful.
Another View
By Ron Braithwaite
As a great classic 'The Oresteia' by Aeschylus merits a full 5 stars. I will, however, question Aeschylus logic and motive in creating this play. Aeschylus was an Athenian who participated in the war with Persia and stated that he fought in the battle on the plain of Marathon. He is a patriot who promotes the glory and happy existence of Athens, the City of Athena.
At the same time, the basic concept for this play is drawn from the Odyssey. In Homer's great work Odysseus [Ulysses] learns that Agammemnon, following the destruction of Troy, manages to successfully get home to Mycenae. He arrives with much loot and with his sexual slave, Cassandra, recently princess of Troy. Agammemnon receives quite a homecoming. He and Cassandra are slaughtered by Agammemnon's wife, Clytaemnestra, and her lover, Aegisthus. The motive for the killings are apparently multiple. Clytaemnestra is quite understandably outraged that Agammemnon, immediately prior to sailing away to Troy, sacrificed their daughter, Iphigeneia, for favorable winds. Clytaemnestra, perhaps in revenge, takes a lover and, along with him, plots Agammemnon's death. When Agammemnon actually does arrive, another motive arrives in the form of helpless Cassandra. Paradoxically, Clytaemnestra seems to be jealous. Another stated motive is power. Both Aegisthus and Clytemnestra supposedly want to be King and Queen of Mycenae--BUT--Clytemnestra is already Queen so this can't be her motive.
She and her lover, Aegisthus, do both Agammemnon and Cassandra to death. Clytaemnestra's son by Agammemnon, Orestes, complicit with his sister, Electra, and egged on by the God, Apollo, kill both mother and lover.
These are the bare bones of the story as told to Odysseus. Aeschylus, himself, can't deviate from the 'facts' as delivered in the Odyssey because virtually everyone in the Greek World knows the story by heart. Aeschylus, quite aware of the complexities and ironies of the situation, decides to use the story for his own purposes but it is a bit of a stretch. Interestingly, In Aeschylus' Play, Clytaemnestra facing death at the hands of her own son and arguing for her life, never once uses her strongest argument i.e. that Agammemnon had slaughtered Iphigeneia, Orestes' own sister. Later, when guilt-plagued [Furies-attacked] Orestes is tried for matricide in a trial presided over by Athena--including 10 wise Athenian judges--the prosecuting Furies don't once use their strongest prosecutorial point which is, again, Agammemnon's sacrifice of Iphigeneia.
Instead, Apollo, working for the defense, says that he ordered/influenced Orestes to perform the act, therefore Orestes is innocent. Athena, who'd showed marked preference for the Greeks led by Agammemnon on the Plains of Troy, throws in her vote in favor of Orestes which apparently creates a 50-50 split, which by Athenian Law means that Orestes is freed of the Furies curse. This may be a minor point but with Athena acting as an 11th Juror there can be no 50-50 split. The play ends with Athena convincing the Furies to be 'good' and to bring only happiness to Athens. There is a lyrical paen to the benefit of glorious Athens.
Several problems: There is a 50-50 split, therefore half of the judges regard Orestes as a criminal and matricide. An extension of this is that these jurors recognize the specious nature of the defense argument. Also, Cassandra, one of the more symphathetic figures of the Trojan War and, arguably, the most sympathetic figure of this play, is also murdered. Cassandra is entirely guiltless of any crime yet her murder is never laid at Clytaemnestra's feet. Apparently the murder of a slave, even a slave of Blood Royal, isn't regarded as much of a crime. Agammemnon, however, actually is guilty of a 'crime' against Clytaemnestra by sacrificing their daughter. On the other hand, Agammemnon's defense must surely be that it was a necessary sacrifice to the benefit of the Gods and the Gods, themselves, would probably praise rather than condemn Agammemnon for this otherwise loathesome act. At the same time, Clytaemnestra does loathe Agammemnon for it and this hatred likely directs her hand. This fact is lightly skimmed over in the play. In a sense, Orestes is not only a matricide but, in killing his mother, is indirectly complicit in his own sister's sacrifice. All this is skimmed over although neither Aeschylus nor his audience can be ignorant of these facts.
I'll repeat. The major crime committed here is the murder of Cassandra, not Agammemnon or Clytemnestra. Either because of custom or because facts can be inconvenient, Aeschylus glosses over this almost entirely.
In this light, 'The Orestia', for all its strength and beauty, becomes no more than a vehicle for Athenian propaganda. It wasn't enough. Fifty years later Athens was occupied by triumphant Spartans.
0 of 0 people found the following review helpful.
Classic for Good Reasons
By jdl
The parameters of a standard mystery novel review simply do not fit. Aeschylus has been a classic for well over 2500 years. There are good reasons. "The Libation Bearers", while less well-known than "Agamemnon" is filled with the same significance and intent; and is a necessary link to "The Eumenides" with its wonderfully satisfying ending.
0 of 0 people found the following review helpful.
Great read!
By A. Nash
This is actually a really good read! I got this for a college assignment so I expected it to be somewhat boring but it really held my interest. The actual scene part of the book is a bit hard to understand but they give a translated story version at the beginning that really clears up any confusion.
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