The Oresteia of Aeschylus

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You are amazing! Thank you so much for doing this class. I really appreciate the enthusiasm, caring, and patience that you showed our kids. I really hope to keep my child engaged in theatre. I am so thankful her first taste was through your organization and with you in particular.” Taplin’s is probably the best contemporary English rendition of the Oresteia in its evocation of Aeschylus’ poetic range, dramatic power and moving awareness of pain, grief, confusion and rage. His rhythmical, alliterative, sometimes rhyming but often very direct language conveys real emotional power. I felt goosebumps at Cassandra’s exchange with the Chorus, as she faces her death open-eyed: ‘This is the day, today. To run away would gain me nothing.’ Taplin recreates the incantatory music of Cassandra’s prophecies, Electra’s laments and the Furies’ enraged prayers. His language is rich in Aeschylean imagery and sound patterning without becoming impenetrable: ‘We saw/the plain of the Aegean waters blossoming/with corpses of Greek men and debris of their ships.’ The metaphorical images – dead bodies in the water resembling water-flowers blooming, and these young men were also the ‘flower’ of Greece – are clear but not ponderous, conveying the horror of the large-scale loss of life. Thérèse Radic. "Agamemnon", Grove Music Online ed. L. Macy (Accessed October 15, 2015), (subscription access) a b c d Porter, David (2005). "Aeschylus' "Eumenides": Some Contrapuntal Lines". The American Journal of Philology. 126 (3): 301–331. doi: 10.1353/ajp.2005.0044. JSTOR 3804934. S2CID 170134271. GreekMythology.com editors write, review and revise subject areas in which they have extensive knowledge

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a b Mace, Sarah (2004). "Why the Oresteia's Sleeping Dead Won't Lie, Part II: "Choephoroi" and "Eumenides" ". The Classical Journal. The Classical Association of the Middle West and South, Inc. (CAMWS). 100 (1): 39–60. JSTOR 4133005. The only extant fragment that has been definitively attributed to Proteus was translated by Herbert Weir Smyth: Orestes goes to the ceremony of the dead, where the angry souls are released by Aegisthus for one day where they are allowed out to roam the town and torment those who have wronged them. The townspeople have to welcome the souls by setting a place at their tables and welcoming them into their beds. The townspeople have seen their purpose in life as constantly mourning and being remorseful of their "sins". Electra, late to the ceremony, dances on top the cave in a white gown to symbolize her youth and innocence. She dances and yells to announce her freedom and denounce the expectation to mourn for deaths not her own. The townspeople begin to believe and think of freedom until Zeus sends a contrary sign to deter them, and to deter Orestes from confronting the present King. Oresteia, trilogy of tragic dramas by the ancient Greek dramatist Aeschylus, first performed in 458 bce. It is his last work and the only complete trilogy of Greek dramas that has survived. The following year, in 2016, playwright Zinnie Harris premiered her adaptation, This Restless House, at the Citizen's Theatre to five-star critical acclaim. [31] Chronology of adaptations [ edit ]

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Blush at’ makes the queen sound weirdly prudish. Ruden’s rendering, also in iambic pentameter, is far more direct, and appropriately aggressive: The Furies accuse Orestes of the ultimate horror in shedding his mother’s blood; no matter his justification, they insist that he is polluted and cannot return to Argos or belong to any religious or family community. Apollo speaks in his defence, arguing that matricide does not count as the murder of a family member, because, according to one of several competing medical theories circulating in Aeschylus’ time, women’s bodies provide only a container for the embryo, which is formed solely of material from the father’s body. The jury is split, and Athena breaks the tie in favour of Orestes. Whatever may be true of human biology, she at least is entirely her father’s daughter, born from his head: ‘And so in every way I’m for the male.’ Clytemnestra was accused of having a heart like a man. Electra, in desperate grief, obsessed over her dead father and absent brother, and resented her mother. Athena takes the pattern of female male-sympathisers even further: she has the militaristic, dominant heart of her father Zeus, and insists that the sunlit, male-dominated world of politics will, from now on, prevail over the underground, ancestral blood-rights of the female Furies. The Furies are, understandably, furious. But Athena restrains their anger by promising them a permanent, if subordinate place in the ritual life of the city – something analogous to the political status that resident aliens (‘metics’) had in real-life Athens. The trilogy This Restless House by British playwright and director Zinnie Harris revisits the Oresteia, putting women in the center. Part one is Agamemnon's Return, a play of its own premiered in Scotland, followed by The Bough Breaks and Electra And Her Shadow. [42]

‘Oresteia’ Review: Family Trauma That’s Not Greek to Us - WSJ

Theatre credits include: Jersey Boys (Norwegian Cruise Line), Songs for a New World (Electric Theatre, Guildford), Disco Inferno (UK Tour), Thursford Christmas Spectacular (Thursford, Norfolk), Chess (The Union Theatre, London). But appearing in defence of Orestes are Apollo and more significantly Athena, the presiding deity of Athens. She establishes a court, with a democratic jury to sit in judgement: Jill Sharp was an Open University tutor for many years. Her poems have appeared this year in Prole, Stand and Acumen, and are forthcoming in Envoi, Under the Radar and Poetry Salzburg. Her pamphlet Ye gods was published by Indigo Dreams in 2015 and she was one of 6 women poets included in the volume Vindication, from Arachne Press, 2018. The first play in the trilogy is called the Agamemnon and it centers around Agamemnon’s homecoming from the Trojan War and his subsequent death at the hands of his wife. Agamemnon has been gone for ten years and all that time his wife, Clytemnestra, has been angrily plotting her revenge on her husband for sacrificing their daughter, Iphigenia [see Agamemnon and Iphigenia]. Clytemnestra has taken a lover, Agamemnon’s cousin Aegisthus, who also wants revenge on Agamemnon. Clytemnestra has sent her ten-year-old son, Orestes, away, so he will not get involved in the inter-family feud. Aeschylus makes several changes to the story of Agamemnon’s death from the way that it is told in the Odyssey. In the Agamemnon, it is Clytemnestra, not Aegisthus, who kills her husband.a b H., R. (1928). "Orestes Sarcophagus and Greek Accessions". The Bulletin of the Cleveland Museum of Art. Cleveland Museum of Art. 15 (4): 90–87. JSTOR 25137120.

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Alan Sommerstein, Aeschylus, Loeb Classical Library, 3 vols. Greek text with facing translations, 2008

The Oresteia of Aeschylus

The only trilogy in Greek drama that survives from antiquity, Aeschylus' The Oresteiais translated by Robert Fagles with an introduction, notes and glossary written in collaboration with W.B. Stanford in Penguin Classics.

Bernstein The Oresteia of Aeschylus (Paperback Jeffrey Scott Bernstein The Oresteia of Aeschylus (Paperback

Chemam, Melissa (October 9, 2014). " "Agamemnon": Faire renaître la tragédie grecque par le chœur, un chœur de notre époque". Toute la culture . Retrieved May 31, 2023.Sartre's idea of freedom specifically requires that the being-for-itself be neither a being-for-others nor a being-in-itself. A being-for-others occurs when human beings accept morals thrust onto them by others. A being-in-itself occurs when human beings do not separate themselves from objects of nature. Zeus represents both a moral norm, the Good, and Nature. Freedom is not the ability to physically do whatever one wants. It is the ability to mentally interpret one's own life for oneself—to define oneself and create one's own values. Even the slave can interpret his or her life in different ways, and in this sense the slave is free.