What do you think?
Rate this book
Oresteia #1
Αγαμέμνων
Πρόκειται για το πρώτο δράμα της Τριλογίας «Ορέστεια» κι αναφέρεται στην δολοφονία του Αγαμέμνονα από την σύζυγο του Κλυταιμνήστρα και τον εραστή της Αίγισθο. Η σκηνή της προφήτιδος Κασσάνδρας, που οδύρεται για την αιχμαλωσία της, ανήκει στις τραγικώτερες του παγκοσμίου Θεάτρου. Μετάφραση σε στίχους, του Γρυπάρη.
ebook
First published January 1, 473
202 people are currently reading
13.4k people want to read
About the author
Aeschylus
1,568 books1,062 followersGreek
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.
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.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 732 reviews
August 13, 2016
These Ancient Greeks never learn do they?
What do you honestly think would happen if you sacrificed your own daughter to the Gods? Yes you may appease their wrath for the war crimes you committed in Troy; yes, you may insure a safe return across the sea for your men; yes, you may have bought yourself some temporary time. But at what cost?
The Gods are abated but you’ve unleashed anger just as frightening, that of your wife. You just can’t go round killing your family and expect to get away with it. Silly, silly, Agamemnon. You were in an impossible situation and you made the impossible choice, and it’s your doom: “And once he slipped his neck in the strap of fate” it was all over. You signed your own execution order. You could expect no different.
It’s a great tragedy though.
What do you honestly think would happen if you sacrificed your own daughter to the Gods? Yes you may appease their wrath for the war crimes you committed in Troy; yes, you may insure a safe return across the sea for your men; yes, you may have bought yourself some temporary time. But at what cost?
The Gods are abated but you’ve unleashed anger just as frightening, that of your wife. You just can’t go round killing your family and expect to get away with it. Silly, silly, Agamemnon. You were in an impossible situation and you made the impossible choice, and it’s your doom: “And once he slipped his neck in the strap of fate” it was all over. You signed your own execution order. You could expect no different.
It’s a great tragedy though.
March 20, 2020
Book Review
3 out of 5 stars to Agamemnon, the first of the Orestia plays written in 458 BC by Aeschylus. Peter Arnott, a noted scholar and critic, has stated that, “The Agamemnon is a bitter indictment of war, of the folly of bloodshed, of the hardships of fighting, of the misery at home.” I couldn't agree more...
The Trojan War began when Paris and the married Helen ran back to Troy because Helen belonged to Menelaus. For over ten years Menelaus, Agamemnon, and their troops fought the Trojans to recapture Helen and punish her. However, when the war ended and Menelaus captured Helen, he looked at her and forgave her for the adultery. The whole Trojan War, caused by the adulterous Helen, only contributed to ten years of senseless murders, foolish bloodshed, and built up anger. As a result, Agamemnon gave up ten years of his life to help his brother. Upon his return to Argos, Agamemnon’s wife killed him for sacrificing Iphigenia, which he only did to leave for Troy. Thousands of men and woman suffered and lost their lives just so Menelaus could have his wife back. There must have been some kind of misery at home to make her need more love, lust and passion. If there wasn’t, she would not have run off with the handsome prince Paris. However, Helen did help make The Agamemnon a folly of bloodshed among innocent citizens. Adulterous Helen was a major element that also supports Arnott’s beliefs that The Agamemnon was an act of misery at home.
Although Helen was the primary cause of the Trojan War, the curse on the house of Atreus helped make The Agamemnon a bitter indictment of war. Ever since Atreus and Thyestes battled to inherit the throne from their father the family suffered at the hands of reciprocity. It was a game of one-up-mans-ship. It began when Atreus banished Thyestes from Argos and most recently ended when Thyestes’ son Aegisthus slept with Agamemnon’s wife Clytemnestra. Between these events were affairs, phony banquets of reconciliation, and the consumption of human children. In The Agamemnon, when Agamemnon returns, his wife Clytemnestra brutally murders him carrying on the family curse. This misery at home is because of the curse. Each generation of the house of Atreus murders another member and is then murdered himself. This offers support to Arnott’s claim that The Agamemnon is a bitter indictment of war and the folly of bloodshed. Again, the brutal murder of Agamemnon contributes to the folly of bloodshed. If Agamemnon did not help Menelaus, he would not have gone off to fight the war and then come home to suffer at the hands of a senseless curse. This curse also protrudes from misery at home. Each family member must have been miserable enough, angry enough, and vengeful enough to kill another.
However, the most contributing factor that supports Arnott’s claim is the sacrifice of Iphigenia at Aulis. When all the troops met at Aulis to set sail for Troy, the winds were not in their favor. In a rush to win back Helen, Agamemnon realized that he had to sacrifice his innocent daughter Iphigenia to get favorable winds from Strymon. He was forced to make a decision between killing his daughter and losing his respect and the war. This supports Arnott’s commentary that there were many hardships of fighting the war in The Agamemnon. It also shows that the shedding of Iphigenia’s blood was a foolish act only destined to happen for the sake of winning the war.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
3 out of 5 stars to Agamemnon, the first of the Orestia plays written in 458 BC by Aeschylus. Peter Arnott, a noted scholar and critic, has stated that, “The Agamemnon is a bitter indictment of war, of the folly of bloodshed, of the hardships of fighting, of the misery at home.” I couldn't agree more...
The Trojan War began when Paris and the married Helen ran back to Troy because Helen belonged to Menelaus. For over ten years Menelaus, Agamemnon, and their troops fought the Trojans to recapture Helen and punish her. However, when the war ended and Menelaus captured Helen, he looked at her and forgave her for the adultery. The whole Trojan War, caused by the adulterous Helen, only contributed to ten years of senseless murders, foolish bloodshed, and built up anger. As a result, Agamemnon gave up ten years of his life to help his brother. Upon his return to Argos, Agamemnon’s wife killed him for sacrificing Iphigenia, which he only did to leave for Troy. Thousands of men and woman suffered and lost their lives just so Menelaus could have his wife back. There must have been some kind of misery at home to make her need more love, lust and passion. If there wasn’t, she would not have run off with the handsome prince Paris. However, Helen did help make The Agamemnon a folly of bloodshed among innocent citizens. Adulterous Helen was a major element that also supports Arnott’s beliefs that The Agamemnon was an act of misery at home.
Although Helen was the primary cause of the Trojan War, the curse on the house of Atreus helped make The Agamemnon a bitter indictment of war. Ever since Atreus and Thyestes battled to inherit the throne from their father the family suffered at the hands of reciprocity. It was a game of one-up-mans-ship. It began when Atreus banished Thyestes from Argos and most recently ended when Thyestes’ son Aegisthus slept with Agamemnon’s wife Clytemnestra. Between these events were affairs, phony banquets of reconciliation, and the consumption of human children. In The Agamemnon, when Agamemnon returns, his wife Clytemnestra brutally murders him carrying on the family curse. This misery at home is because of the curse. Each generation of the house of Atreus murders another member and is then murdered himself. This offers support to Arnott’s claim that The Agamemnon is a bitter indictment of war and the folly of bloodshed. Again, the brutal murder of Agamemnon contributes to the folly of bloodshed. If Agamemnon did not help Menelaus, he would not have gone off to fight the war and then come home to suffer at the hands of a senseless curse. This curse also protrudes from misery at home. Each family member must have been miserable enough, angry enough, and vengeful enough to kill another.
However, the most contributing factor that supports Arnott’s claim is the sacrifice of Iphigenia at Aulis. When all the troops met at Aulis to set sail for Troy, the winds were not in their favor. In a rush to win back Helen, Agamemnon realized that he had to sacrifice his innocent daughter Iphigenia to get favorable winds from Strymon. He was forced to make a decision between killing his daughter and losing his respect and the war. This supports Arnott’s commentary that there were many hardships of fighting the war in The Agamemnon. It also shows that the shedding of Iphigenia’s blood was a foolish act only destined to happen for the sake of winning the war.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
April 20, 2015
The First Strike
Each of the plays that make up The Oresteia tetralogy are supposed to be stand alone pieces as well as perfect complements to each other. All the themes that The Oresteia is to explore later are planted and ready for internal development at the end of Agamemnon. Aeschylus works magic with the triadic structure of the plays and of greek rituals (the fourth was probably a conventional satyr play and is lost to us) by going for a feeling of tit-for-tat of conventional revenge stories in the first two and a ‘third and final’ resolution in the third (though I feel game-theory wise a tit-for-two-tats additional play would have made for a good thought experiment!).
So in Agamemnon we are presented with the first strike -- and the tit-for-tat is ready, prophesied and waiting inevitably for the reader/viewer in the next part. It is the bleakest and most ominous ending to a play that I have witnessed because unlike a Hamlet, here there is no cosmic meaning to give us solace either. Agamemnon ends ominously and without significance-in-itself, leaving us with the feeling that the tragedy has just begun and there is a long road yet to be traversed before we can glimpse any possibility of a resolution.
A Note on the Translations
I have over the past several months read the whole play (only Agamemnon) in multiple translations. A few thoughts on each:
The Richmond Lattimore Translation: is sonorous and grand — quite impressive. You feel like you are really reading an ancient master, unlike in the Fagles version. However, it uses complex structures and hence the reading is not quite smooth. With Fagles you can just read on and on and never stop due to a complex phrasing or unclear meaning, but with lattimore you have to pause and rewind often to catch the exact drift.
The Robert Fagles Translation: is immediate and easy on the ear. It is also quite easy to grasp as the words do not form confusing structures as it does in the Lattimore translation. However I felt a certain something missing and couldn’t put my finger on it. I prefer the Lattimore version.
E.D.A Morshead Translation: Rhythmic but compromises on ease of reading to achieve the metric scheme. Could hardly grasp a thing on first reading of most verses. Has the advantage that it demarcates the Strophe, Antistrophe & Epode of each choral ode and that helps the reader visualize better. None of the other translations do this and I felt it was very useful.
The Alan Shapiro Translation: Written in beautiful blank verse, this is probably the best placed to merit first rank as a poetic work. Shapiro injects new power into the verse by his poetic take and provides a fresh perspective on almost all important scenes and imagery. But needs to be a supplementary read since it departs often from the other translations in sometimes subtle and sometimes significant ways. It tries to be an improvement on the Lattimore version but in my opinion it can at best be read as an additional indulgence by the reader already well acquainted with Lattimore.
The Headlam Translation: is bilingual and gives the Greek text on the facing page. This is useful in clarifying doubts arising from conflicting translations or interpretations. The translation itself is slightly long winded and pompous and does not strike the fine balance that Lattimore strikes between majesty and simplicity. Does provide the most elaborate stage directions and that is a plus as an aid to accurate visualization (which in my opinion can make or break your reading of almost-exotic plays).
The Denniston Commentary, the edition under which this review appears: is one which I have not read (and do not have access to) and in the interests of neutrality I have selected it — since it has no translation and is in fact the Greek text itself with english commentary, which seems to be widely accepted as some of the best scholastic commentary on the play.
I will add notes on other translations if and when I track them down.
April 18, 2022
"In war, the first casualty is truth."
Aeschylus's Oresteia trilogy examines revenge, retribution, and fate in the house of Atreus. Agamemnon, the trilogy's first play, depicts the murder of the King and his trophy slave Cassandra, daughter of the King of Troy, on his return to Mycenae from the Trojan War.
Ten years earlier, before setting out for war, Agamemnon offended the goddess Artemis, and she stopped the winds, keeping his fleet of 100 ships from sailing to battle. He learned from the prophet, Calchas, that the only way to appease Artemis was to sacrifice his oldest daughter Iphigenia. He had to decide between his duties to his family or his city-state. He chose his polis and lured Iphigenia and his wife Clytemnestra by promising his daughter's marriage to Achilles. The play begins ten years later with Agamemnon's homecoming as Clytemnestra enacts her revenge with her lover Aegisthus's help.
Agamemnon is a powerful poetic play filled with fear and rage. I listened to Audible's outstanding performance, which brought it to life. I highly recommend this production to anyone interested in the classical world or theater.
Aeschylus's Oresteia trilogy examines revenge, retribution, and fate in the house of Atreus. Agamemnon, the trilogy's first play, depicts the murder of the King and his trophy slave Cassandra, daughter of the King of Troy, on his return to Mycenae from the Trojan War.
Ten years earlier, before setting out for war, Agamemnon offended the goddess Artemis, and she stopped the winds, keeping his fleet of 100 ships from sailing to battle. He learned from the prophet, Calchas, that the only way to appease Artemis was to sacrifice his oldest daughter Iphigenia. He had to decide between his duties to his family or his city-state. He chose his polis and lured Iphigenia and his wife Clytemnestra by promising his daughter's marriage to Achilles. The play begins ten years later with Agamemnon's homecoming as Clytemnestra enacts her revenge with her lover Aegisthus's help.
Agamemnon is a powerful poetic play filled with fear and rage. I listened to Audible's outstanding performance, which brought it to life. I highly recommend this production to anyone interested in the classical world or theater.
October 26, 2024
why is everyone in greek tragedies so damn expressive😭jus suffer quietly like the rest of us shhh
November 13, 2021
I’m assuming no one cares about spoilers in this well-known tale, the first in the Oresteia trilogy about revenge killings.
A pre-story event sets this tale in motion. Agamemnon had the ships all ready to go to Troy for the war, but massive winds came to prevent them from sailing. Of course, these were brought on by the goddess Artemis, who was angry at Agamemnon for something, and of course, Agamemnon had to do something about it, so he sacrificed his daughter Iphigeneia. Of course!
“Her pleas, her cries of ‘father!’, and her maiden years, were set at naught by the war-loving chieftains. After a prayer, her father told his attendants to lift her right up over the altar with all their strength, like a yearling goat, face down, so that her robes fell around her …”
This didn’t sit well with her mom, Clytemnestra, who stewed over it until Agamemnon returned from the war. She took up with another man, his cousin Aegisthus. Together they plotted to kill Agamemnon, but in this telling, Clytemnestra is the villain.
“…she is--what loathsome beast’s name can I call her by, to hit the mark? An amphisbaena, or some Scylla dwelling among the rocks, the bane of sailors, a raging hellish mother, breathing out truceless war against her nearest and dearest?”
What I found most interesting was the way the Chorus stands for the trial we might have today. I suppose the gods are the judge, but the Chorus argues with the victims and the murderers, pointing out their mistakes and scolding them for their wrongs. Thinking of current trials, this made me wonder what would happen if, instead of a carefully controlled courtroom, we had a Greek chorus to reflect the thoughts of the people?
A fun read. I’ve seen the Mask of Agamemnon in the museum in Athens, and it’s a power experience. I’m giving this rating an extra star for giving me even more to think about when I look at the impression of that tragic face.
A pre-story event sets this tale in motion. Agamemnon had the ships all ready to go to Troy for the war, but massive winds came to prevent them from sailing. Of course, these were brought on by the goddess Artemis, who was angry at Agamemnon for something, and of course, Agamemnon had to do something about it, so he sacrificed his daughter Iphigeneia. Of course!
“Her pleas, her cries of ‘father!’, and her maiden years, were set at naught by the war-loving chieftains. After a prayer, her father told his attendants to lift her right up over the altar with all their strength, like a yearling goat, face down, so that her robes fell around her …”
This didn’t sit well with her mom, Clytemnestra, who stewed over it until Agamemnon returned from the war. She took up with another man, his cousin Aegisthus. Together they plotted to kill Agamemnon, but in this telling, Clytemnestra is the villain.
“…she is--what loathsome beast’s name can I call her by, to hit the mark? An amphisbaena, or some Scylla dwelling among the rocks, the bane of sailors, a raging hellish mother, breathing out truceless war against her nearest and dearest?”
What I found most interesting was the way the Chorus stands for the trial we might have today. I suppose the gods are the judge, but the Chorus argues with the victims and the murderers, pointing out their mistakes and scolding them for their wrongs. Thinking of current trials, this made me wonder what would happen if, instead of a carefully controlled courtroom, we had a Greek chorus to reflect the thoughts of the people?
A fun read. I’ve seen the Mask of Agamemnon in the museum in Athens, and it’s a power experience. I’m giving this rating an extra star for giving me even more to think about when I look at the impression of that tragic face.
June 26, 2017
The Homecoming of Agamemnon
02 July 2012
This is the first part of the only Greek trilogy that we have. The play is set after the Trojan War in the city of Argos, of which Agamemnon is the ruler. Agamemnon's wife learns of the defeat of the Trojans and the imminent return of her husband through the use of a series of beacons. However while she is eagerly awaiting her husband's return, it is a different scenario from Odysseus' wife Penelope, who remained faithful to her husband for the twenty years he was away. Instead, while Agamemnon was away, she took a lover, Aegisthus, and is plotting her revenge for the murder of her daughter at Aulis.
There is a lot of background to this play, but that is not uncommon for Greek drama in that they are set within a complex historical context that has a lot of past events that all tie in together and also provide the precursor to a lot of other events. This is probably why the trilogy was so popular in that it enabled the playwright to look to the events that arose within the play (and also that Greek plays tend to be quite short).
Agamemnon is a man with a lot of enemies, but then that is to be expected in relation to a man that had set himself up as overlord of Greece. However, his father had tricked Aegisthus' father, Thyestes, into eating his children, but Aegisthus managed to escape, and by allowing Clytemnestra (Agamemnon's wife) to take him as her lover puts him in the best position to extract his revenge. However, Clytemnestra did not need much encouraging to murder Agamemnon, as prior to the war, he sacrificed his daughter, Iphagenia, so that the war would be successful (actually it was so that the winds would change to enable the fleet to sail to Troy). This is going to upset most mothers, though to add insult to injury, he brought Cassandra back as his prize, so he effectively arrives in Argos to face an angry wife with a woman that he picked up to take her place when she was not around. However, it is clear that Clytemnestra's actions were not looked upon all that well. While revenge is acceptable to the Greeks, it does not seem to be the case where it is the woman seeking revenge.
As with a lot of Aeschylus' plays, it seems to be very little on the action, and a lot on the storytelling. While Clytaemnestra does appear at the beginning of the play, it is not until a quarter of the way through that she first speaks. In fact, most of the major characters only appear for a short time. The only major character that is on the stage for an extended period of time is Cassandra, and she is trying to warn the Chorus of what is to come, but due to her curse nobody believes her. It seems that a majority of the play actually revolves around Cassandra and her prophecies, and also the curse that has been placed upon her to be able to predict the future, but is never listened to. In fact, she is treated like the barbarian that she is.
Clytaemnestra and Penelope are two contrasting women in Greek mythology. Penelope is seen as the epitome of female honour however Clytaemnestra is portrayed as the complete opposite. Penelope waits patiently for her husband to return, and uses every trick that she can think of to outwit the suitors who are eating her out of house and home. Throughout all that time she rebukes the advances of all of the man that come, and also resists the social pressure that she is under to remarry. Clytaemenstra is the opposite as she is a very proud and hot headed individual who is seeking revenge against her husband. She takes a lover, and then lays a trap for her husband for when she returns.
The play concludes with the idea that Argos has now become a tyranny. This is odd because it never was anything other than a tyranny. Agamemnon is actually not a very nice guy. The best portrayal of him would have been in the movie Troy, where he is portrayed as a vicious imperialist who is looking for any excuse to expand his power. We don't see that here, but rather see a man who has returned from ten years of war to find his house not only in shambles but also turned against him. In a way, this play is another example of returning from war and the difficulties of returning to one's previous life. I suspect that there are a lot of soldiers out there that could sympathise with the plight of Agamemnon, though these days, with much better communication systems, the breakdown of the family unit due to war is evident much sooner, but happens all too often.
02 July 2012
This is the first part of the only Greek trilogy that we have. The play is set after the Trojan War in the city of Argos, of which Agamemnon is the ruler. Agamemnon's wife learns of the defeat of the Trojans and the imminent return of her husband through the use of a series of beacons. However while she is eagerly awaiting her husband's return, it is a different scenario from Odysseus' wife Penelope, who remained faithful to her husband for the twenty years he was away. Instead, while Agamemnon was away, she took a lover, Aegisthus, and is plotting her revenge for the murder of her daughter at Aulis.
There is a lot of background to this play, but that is not uncommon for Greek drama in that they are set within a complex historical context that has a lot of past events that all tie in together and also provide the precursor to a lot of other events. This is probably why the trilogy was so popular in that it enabled the playwright to look to the events that arose within the play (and also that Greek plays tend to be quite short).
Agamemnon is a man with a lot of enemies, but then that is to be expected in relation to a man that had set himself up as overlord of Greece. However, his father had tricked Aegisthus' father, Thyestes, into eating his children, but Aegisthus managed to escape, and by allowing Clytemnestra (Agamemnon's wife) to take him as her lover puts him in the best position to extract his revenge. However, Clytemnestra did not need much encouraging to murder Agamemnon, as prior to the war, he sacrificed his daughter, Iphagenia, so that the war would be successful (actually it was so that the winds would change to enable the fleet to sail to Troy). This is going to upset most mothers, though to add insult to injury, he brought Cassandra back as his prize, so he effectively arrives in Argos to face an angry wife with a woman that he picked up to take her place when she was not around. However, it is clear that Clytemnestra's actions were not looked upon all that well. While revenge is acceptable to the Greeks, it does not seem to be the case where it is the woman seeking revenge.
As with a lot of Aeschylus' plays, it seems to be very little on the action, and a lot on the storytelling. While Clytaemnestra does appear at the beginning of the play, it is not until a quarter of the way through that she first speaks. In fact, most of the major characters only appear for a short time. The only major character that is on the stage for an extended period of time is Cassandra, and she is trying to warn the Chorus of what is to come, but due to her curse nobody believes her. It seems that a majority of the play actually revolves around Cassandra and her prophecies, and also the curse that has been placed upon her to be able to predict the future, but is never listened to. In fact, she is treated like the barbarian that she is.
Clytaemnestra and Penelope are two contrasting women in Greek mythology. Penelope is seen as the epitome of female honour however Clytaemnestra is portrayed as the complete opposite. Penelope waits patiently for her husband to return, and uses every trick that she can think of to outwit the suitors who are eating her out of house and home. Throughout all that time she rebukes the advances of all of the man that come, and also resists the social pressure that she is under to remarry. Clytaemenstra is the opposite as she is a very proud and hot headed individual who is seeking revenge against her husband. She takes a lover, and then lays a trap for her husband for when she returns.
The play concludes with the idea that Argos has now become a tyranny. This is odd because it never was anything other than a tyranny. Agamemnon is actually not a very nice guy. The best portrayal of him would have been in the movie Troy, where he is portrayed as a vicious imperialist who is looking for any excuse to expand his power. We don't see that here, but rather see a man who has returned from ten years of war to find his house not only in shambles but also turned against him. In a way, this play is another example of returning from war and the difficulties of returning to one's previous life. I suspect that there are a lot of soldiers out there that could sympathise with the plight of Agamemnon, though these days, with much better communication systems, the breakdown of the family unit due to war is evident much sooner, but happens all too often.
August 10, 2024
“Zeus who put men on wisdom’s road,
Who gave ‘Suffer and learn‘
Authority.“
This sentiment, expressed by the Chorus, has a dark and a bright side, the dark side being the conviction that suffering is the seed of wisdom, the bright one being that at the end, there is some wising up after all. In the case of the Atrides, who go back to the arrogant Tantalus, however, this saying may prove wishful thinking at the most, because the family curse incurred by Tantalus seems to blind the members of the family to all kind of better understanding and drives them to murder of their kin.
Aeschylus’s tragedy Agamemnon is named for the king of Argos, who helped his brother Menelaos wage war against Troy in retribution of Paris’s exploiting the latter’s hospitality in order to elope with his wife Helen. Now, Artemis was backing the Trojans and that is why she tried to stop the Greek fleet with a lull, which could only be ended by Agamemnon sacrificing his beloved daughter Iphigenia.
For us moderns, the dilemma in which Agamemnon saw himself, might not seem comprehensible, and luckily so, but in Agamemnon’s eyes, there was the dictum of the seer urging him to placate the goddess, there were the men growing restive and impatient, and there was that vow of retribution to fulfil … And even for us moderns, there may be situations that make us exclaim, “What is there without evil here?” Eventually, Agamemnon takes one ghastly decision, leaving the other ghastly decision undone, estranging his wife Clytemnestra from him and setting her on a course of plotting revenge, of playing the “fawning dog” and uniting, in more ways than one, with Aegisthus to make Agamemnon get his comeuppance.
The story is well-known, but the way Aeschylus presents the basic conflict, makes use of the Chorus both as an omniscient narrator and as vox populi interacting with the characters, is simply breathtaking. Fate reigns supreme and seems to leave no alternative but to do and die, and when the Chorus interacts with Cassandra, who knowingly goes into death, there is even a moment of bitter irony which foreshadows the western genre:
All in all, however, Cassandra leaves little doubt that humans are never much more than the straw dogs of the gods or of Fate no matter whether they seem to succeed or to fail in their plans:
This play is also remarkable for the character of Clytemnestra, because she holds her own against the Chorus, who thinks that as a woman her place should be one of subjection to the will and power of her husband, whereas she herself cannot forgive the sacrifice of her daughter and, maybe, thinks that it is not only ”right to honour the lady of a ruler, when the man leaves his throne empty”, as the Chorus thinks, but that such a lady should be honoured in her own right.
I read the play in the translation by Christopher Collard, which seems to me very meticulous with regard to the original text but also indebted to legibility.
Who gave ‘Suffer and learn‘
Authority.“
This sentiment, expressed by the Chorus, has a dark and a bright side, the dark side being the conviction that suffering is the seed of wisdom, the bright one being that at the end, there is some wising up after all. In the case of the Atrides, who go back to the arrogant Tantalus, however, this saying may prove wishful thinking at the most, because the family curse incurred by Tantalus seems to blind the members of the family to all kind of better understanding and drives them to murder of their kin.
Aeschylus’s tragedy Agamemnon is named for the king of Argos, who helped his brother Menelaos wage war against Troy in retribution of Paris’s exploiting the latter’s hospitality in order to elope with his wife Helen. Now, Artemis was backing the Trojans and that is why she tried to stop the Greek fleet with a lull, which could only be ended by Agamemnon sacrificing his beloved daughter Iphigenia.
”The senior lord spoke,
‘Fate will be heavy if I do not obey, heavy as well
If I hew my child, my house’s own darling,
Polluting her father’s hands
With slaughter streaming from a maiden
At the altar: what is there without evil here? […]’”
For us moderns, the dilemma in which Agamemnon saw himself, might not seem comprehensible, and luckily so, but in Agamemnon’s eyes, there was the dictum of the seer urging him to placate the goddess, there were the men growing restive and impatient, and there was that vow of retribution to fulfil … And even for us moderns, there may be situations that make us exclaim, “What is there without evil here?” Eventually, Agamemnon takes one ghastly decision, leaving the other ghastly decision undone, estranging his wife Clytemnestra from him and setting her on a course of plotting revenge, of playing the “fawning dog” and uniting, in more ways than one, with Aegisthus to make Agamemnon get his comeuppance.
The story is well-known, but the way Aeschylus presents the basic conflict, makes use of the Chorus both as an omniscient narrator and as vox populi interacting with the characters, is simply breathtaking. Fate reigns supreme and seems to leave no alternative but to do and die, and when the Chorus interacts with Cassandra, who knowingly goes into death, there is even a moment of bitter irony which foreshadows the western genre:
“Cassandra: There is no further escape, no, none, strangers, through time.
Chorus: Yet the final part of one’s time is the most valued.
Cassandra: That day is here; I shall gain little by flight.
Chorus: Your resolution is from a brave heart, I tell you.
Cassandra: None of the truly fortunate hears that said.
Chorus: But a famous death is welcome to a mortal.“
All in all, however, Cassandra leaves little doubt that humans are never much more than the straw dogs of the gods or of Fate no matter whether they seem to succeed or to fail in their plans:
“ Oh! Mortal men and their dealings! When they succeed, a shadow may turn them round; if they fail, the wipe of a wet sponge destroys the picture. I pity the second much more than the first.“
This play is also remarkable for the character of Clytemnestra, because she holds her own against the Chorus, who thinks that as a woman her place should be one of subjection to the will and power of her husband, whereas she herself cannot forgive the sacrifice of her daughter and, maybe, thinks that it is not only ”right to honour the lady of a ruler, when the man leaves his throne empty”, as the Chorus thinks, but that such a lady should be honoured in her own right.
I read the play in the translation by Christopher Collard, which seems to me very meticulous with regard to the original text but also indebted to legibility.
October 31, 2019
Don't mess with the mama bear.
"Perched over his body like a hateful raven, in hoarse notes she chants her song of triumph."
Agamemnon and his brother Menelaus with their women are property attitudes have never been favs. Not sure what Aggy was thinking would happen when he got back after the whole Iphigenia incident. Of course, the whole Aegisthus sidebar is a fun twist, and I see where Shakespeare got his inspiration for Titus Andronicus.
All Hail the Hero!
Sucks to be Cassandra.
Clytaemestra gets two thumbs up!
"Perched over his body like a hateful raven, in hoarse notes she chants her song of triumph."
Agamemnon and his brother Menelaus with their women are property attitudes have never been favs. Not sure what Aggy was thinking would happen when he got back after the whole Iphigenia incident. Of course, the whole Aegisthus sidebar is a fun twist, and I see where Shakespeare got his inspiration for Titus Andronicus.
All Hail the Hero!
Sucks to be Cassandra.
Clytaemestra gets two thumbs up!
July 3, 2018
Συγκλονιστική η ευχαρίστηση που πήρε η Κλυταιμνήστρα μόλις σκότωσε τον Αγαμέμνονα!
October 20, 2023
I mean, I kind of get it, but after reading this I would expect more people to name their daughter Clytemnestra.
That ending, though. Dang.
That ending, though. Dang.
November 29, 2020
God of the long road,
Apollo Apollo my destroyer-
you destroy me once, destroy me twice -
A classic Greek tragedy- haunting, beautifully written, and telling of the pitfalls of cyclical vengeance. It definitely builds up a sense of foreboding. Themes surrounding power, sacrifice, revenge and righteousness.
For their mad outrage of a queen we raped their city - we were right.
September 8, 2024
Prima tragedia della trilogia dell'”Orestea”, l'”Agamennone” narra una parte cruciale dei miti riguardanti la sanguinaria stirpe degli Atridi. Agamennone, da cui l’opera prende il nome, fu sovrano di Micene e la tragedia si apre con il suo ritorno in patria, dopo la vittoria trionfale sui Troiani. La casata degli Atridi è segnata da un passato di violenza e fratricidi, che ha condotto i suoi discendenti a peccare di hybris, la stessa colpa di cui si macchierà il re, sacrificando la figlia Ifigenia ad Artemide per ottenere venti favorevoli. Sebbene la tragedia porti il nome di un uomo, il vero protagonista della vicenda è una donna: sua moglie Clitemnestra, figura femminile radicalmente fuori dagli schemi della società greca. Quest’ultima non è affatto passiva o sottomessa al marito ma, al contrario, è astuta, determinata e pronta a tutto pur di vendicare la figlia ingiustamente sacrificata. Sangue chiama sangue: a quello innocente di Ifigenia, sparso per volontà di Agamennone, segue quello del sovrano stesso, ucciso brutalmente dalla moglie in un impeto di vendetta. La sua morte è il compimento di una giustizia privata, guidata da un inarrestabile desiderio di riparazione. Questo atto, tuttavia, condanna ulteriormente la stirpe degli Atridi, già profondamente segnata dal crimine e dalla maledizione, e inaugura per Micene un nuovo regno, che si proclama fondato sulla giustizia ma è, in realtà, forgiato col sangue del legittimo re. Fondamentale è il ruolo di Cassandra, la giovane sacerdotessa di Troia, dolce e innocente, ma condannata a prevedere il futuro, senza essere mai creduta. Sebbene il pubblico conosca la verità grazie alle sue profezie, Agamennone la ignora, condannandosi al più tragico e crudele dei finali.
April 27, 2024
پرناله ترین نمایشنامهای که خوندم😭😂همسرایان بیشترین دیالوگها رو داشتن.
۳۰درصد آخرش بهتر بود.
|تکه کتاب|
▪︎اکنون آن دشمنی که سالها در دل میپروردم به پایان آمده است.
▪︎او که به هوای زنی سالیان دراز در آن سوی دریا نبرد کرد
اکنون در خانه خود به دست زنی از پای درآمده است.
هلن، ای فریب خورده به نادانی
تنها یکی، یکی زن که هزاران جان در خاک تروا به تباهی افکندی
کار تو اکنون به انجام آمد.
[خندهام گرفت سر این تیکه😂]
۳۰درصد آخرش بهتر بود.
|تکه کتاب|
▪︎اکنون آن دشمنی که سالها در دل میپروردم به پایان آمده است.
▪︎او که به هوای زنی سالیان دراز در آن سوی دریا نبرد کرد
اکنون در خانه خود به دست زنی از پای درآمده است.
هلن، ای فریب خورده به نادانی
تنها یکی، یکی زن که هزاران جان در خاک تروا به تباهی افکندی
کار تو اکنون به انجام آمد.
[خندهام گرفت سر این تیکه😂]
December 7, 2019
تعتبر هذه المسرحية التي كتبها أسخولوس من أوائل المسرحيات في الأدب اليوناني، مسرحية بدائية وخصبة تستدعي الهلع التراجيدي الأول عند الأدباء الأغريق، تتجسد فيها شخصية البطل والصراع من أجل الدولة وسنوات من الحرب والانتظار، مسرحية مليئة بالعنف والعاطفة الشديدة والمكر وكيف أن الحقد لا يمكن أن تمحوه السنوات ولا حتى الغياب ولا النصر، تتجلى في المسرحية أصوات الحرب والأمواج التي تحطم أعتى السفن والإنهاك الواضح للجنود والقادة، تتمتلئ جنبات هذا المسرح بالعويل والصراخ والجُمل المركبة والتشبيهات البليغة والشعارات والأساطير وآلهة اليونان القديمة ..
هذه المسرحية هي الجزء الأول من ثلاثية (أوريستيا) والتي تبدأ بعودة أجاممنون إلى أراجوس بعد حربه الطويلة في طروادة وعودته من النصر المظفر الذي حققه بعد عشر سنوات كاملة من الحرب مع الطراوديين ..
نلتمس هنا الكثير من ملحمتي هوميروس من حيث اللغة الشعرية العاطفية التي تسود جو المسرح والصخب الهائل والروح الأغريقية العريقة، للأسف كثر أستخدام الكورس في المسرحية مما أدى إلى ضعف ظهور الشخصيات بل ومحو بعضها تماماً، وكأنك أمام جمهور يتحدث بلا توقف بدل أن تتحاور الشخصيات وتعبر عن ذاتها، على كل حال، المسرحية صادمة وغريبة، قرأتها بترجمة لويس عوض وهي ترجمة فذة وتعطيك الأحساس بقوة المسرحية وقدمها ..
هذه المسرحية هي الجزء الأول من ثلاثية (أوريستيا) والتي تبدأ بعودة أجاممنون إلى أراجوس بعد حربه الطويلة في طروادة وعودته من النصر المظفر الذي حققه بعد عشر سنوات كاملة من الحرب مع الطراوديين ..
نلتمس هنا الكثير من ملحمتي هوميروس من حيث اللغة الشعرية العاطفية التي تسود جو المسرح والصخب الهائل والروح الأغريقية العريقة، للأسف كثر أستخدام الكورس في المسرحية مما أدى إلى ضعف ظهور الشخصيات بل ومحو بعضها تماماً، وكأنك أمام جمهور يتحدث بلا توقف بدل أن تتحاور الشخصيات وتعبر عن ذاتها، على كل حال، المسرحية صادمة وغريبة، قرأتها بترجمة لويس عوض وهي ترجمة فذة وتعطيك الأحساس بقوة المسرحية وقدمها ..
Read
July 14, 2016Πολύ δυνατό έργο. Το διάβασα χωρίς διακοπή και πραγματικά ο λόγος του Αισχύλου είναι μεγαλειώδης και συνεπαίρνει τους θεατές και τους αναγνώστες. Ακολουθούν οι Χοηφόροι.
ΚΛΥΤΑΙΜΝΗΣΤΡΑ: Έτσι πεσμένος καταγής ξερνά την ψυχή του
και ξεφυσώντας με ορμή το αίμα απ' την πληγή
με καταβρέχει με μελανές ψιχάλες φονικής δροσιάς,
και πήρα χαρά όχι λιγότερη απ' όση δίνει στο σιτάρι
η θεόσταλτη βροχή όταν αρχίζει να δένει. [1388-1392] (μτφρ. Δημήτρης Δημητριάδης).
ΚΛΥΤΑΙΜΝΗΣΤΡΑ: Έτσι πεσμένος καταγής ξερνά την ψυχή του
και ξεφυσώντας με ορμή το αίμα απ' την πληγή
με καταβρέχει με μελανές ψιχάλες φονικής δροσιάς,
και πήρα χαρά όχι λιγότερη απ' όση δίνει στο σιτάρι
η θεόσταλτη βροχή όταν αρχίζει να δένει. [1388-1392] (μτφρ. Δημήτρης Δημητριάδης).
January 1, 2016
على هذه الأرض ما يستحق الحياة .. كتابات أسخيليوس ...
شكرا محمود درويش :)
دايما كان رأيي أنو الترجمة بتشوّه الشعر ، بهاد الكتاب الترجمة كانت مذهلة لدرجة فيني اعتبرا عمل متفرّد مو مجرّد ترجمة (ترجمة لويس عوض ) ..
هي تجربتي الأولى مع التراجيديا اليونانية وصرت متحمسة كررا ♡
شكرا محمود درويش :)
دايما كان رأيي أنو الترجمة بتشوّه الشعر ، بهاد الكتاب الترجمة كانت مذهلة لدرجة فيني اعتبرا عمل متفرّد مو مجرّد ترجمة (ترجمة لويس عوض ) ..
هي تجربتي الأولى مع التراجيديا اليونانية وصرت متحمسة كررا ♡
January 27, 2021
Trojanski rat je završen i Agamemnon se vraća u Arg. Jeste zbog sujete u Maloj Aziji izgubio desetine hiljada života, uz to mu je na povratku potonulo 99 od 100 brodova, ali vraća se pobednik. Klitemestra, supruga mu, dočekuje ga nakon tih deset godina odsustva ("Ta koji dan bi ženi slađi svanuo no kad joj muža kući s vojske vrati bog"). To je ujedno i dan kad ga vidi prvi put otkako je bogovima žrtvovao ćerku Ifigeniju, kako bi uopšte mogao otploviti za Troju.
Agamemnon je početak jedine sačuvane antičke trilogije, a kao i brojne druge tragedije, u centar postavlja ženu. Klitemestra je ta koja iznosi glavnu temu - šta je pravda? Da li je iskustvo pravde uvek povezano sa ispravljanjem velike nepravde? Da li pravda bez nepravde postoji? Oko za oko - da li je pravda samo osveta ili još nešto drugo?
U svakoj grčkoj tragediji izgleda postoji trenutak kad nam autor slama srce. Ovde je to strašan trenutak žrtvovanja Ifigenije.
(nastavlja se još tužnije)
Klitemestra naravno ubija Agamemnona. Poželiš da se ta pravda izvrši pred tvojim očima, nasred scene, ali možda je ovako i bolje. Znamo da ga ubija krvnički, sekirom, iza scene u kupatilu. Ipak, ne bi rekao da to donosi osećaj pravde prisutnima. Niko ne spominje Ifigeniju ili druge gadosti koje je ovaj počinio. Da li ubistvo ćerke nije nepravda, pošto je to njegovo dete? A i, na kraju krajeva, tu žrtvu su tražili bogovi?
Tekst je gust, stilski sjajan, zbog toga ponekad i nerazumljiv.
Agamemnon je početak jedine sačuvane antičke trilogije, a kao i brojne druge tragedije, u centar postavlja ženu. Klitemestra je ta koja iznosi glavnu temu - šta je pravda? Da li je iskustvo pravde uvek povezano sa ispravljanjem velike nepravde? Da li pravda bez nepravde postoji? Oko za oko - da li je pravda samo osveta ili još nešto drugo?
U svakoj grčkoj tragediji izgleda postoji trenutak kad nam autor slama srce. Ovde je to strašan trenutak žrtvovanja Ifigenije.
"Dok ćerka moli: 'Babo, babo!'
na devojačku mladost njenu
bes vojvoda ne osvrće se.
Kad molitvu pred žrtvu svrše,
tad na znak očev sluge počnu:
k'o jagnje dignu je nad oltar,
s ramena oklizne se veo,
pa snažno pomaknu je napred
i lepa zatisnu joj usta
da kletvu kući ne krikne."
(nastavlja se još tužnije)
Klitemestra naravno ubija Agamemnona. Poželiš da se ta pravda izvrši pred tvojim očima, nasred scene, ali možda je ovako i bolje. Znamo da ga ubija krvnički, sekirom, iza scene u kupatilu. Ipak, ne bi rekao da to donosi osećaj pravde prisutnima. Niko ne spominje Ifigeniju ili druge gadosti koje je ovaj počinio. Da li ubistvo ćerke nije nepravda, pošto je to njegovo dete? A i, na kraju krajeva, tu žrtvu su tražili bogovi?
Tekst je gust, stilski sjajan, zbog toga ponekad i nerazumljiv.
February 16, 2017
I have not read a lot of Greek plays so it took me awhile to understand what was happening. I should have read the introduction first, which would have made events clearer.
However, I'm also glad I didn't because it allowed me to arrive at my own conclusions.
For those of you who don't know, Agamemnon was Commander-in-Chief of the Greeks who fought at Troy. He sacrifices his daughter to appease Artemis. This play is one of vengeance and also intrigue.
Agamemnon comes home with Cassandra, his prize by lot. Cassandra is a prophetess who has been doomed by Apollo for refusing him. Therefore, she prophesies but is not believed.
In this play she prophecies her own doom and also Agamemnon's.
I won't tell more because some readers might not know the story as I didn't so found the development contained a couple of surprising twists.
But what one really enjoys in reading Greek plays is the form. I found that very interesting.
The dialogue carried on back and forth between a person speaking a monologue and the chorus. Soloist, Chorus, Soloist, Chorus.
This is very much how classical concerto form is structured. As a musician I recognized this. Look at Handel's Messiah. Every chorus is preceded by a soloist. Or a piano or violin concerto, it is the same form. The same is true for Opera.
Even in a Mozart Piano Sonata the melodic line starts with a "soloist", then a chorus.
So my greatest interest in this play was the form more so than the substance, since the storyline was quite simple and also told in the Odyssey.
If you don't already know the story there are some unexpected twists.
However, I'm also glad I didn't because it allowed me to arrive at my own conclusions.
For those of you who don't know, Agamemnon was Commander-in-Chief of the Greeks who fought at Troy. He sacrifices his daughter to appease Artemis. This play is one of vengeance and also intrigue.
Agamemnon comes home with Cassandra, his prize by lot. Cassandra is a prophetess who has been doomed by Apollo for refusing him. Therefore, she prophesies but is not believed.
In this play she prophecies her own doom and also Agamemnon's.
I won't tell more because some readers might not know the story as I didn't so found the development contained a couple of surprising twists.
But what one really enjoys in reading Greek plays is the form. I found that very interesting.
The dialogue carried on back and forth between a person speaking a monologue and the chorus. Soloist, Chorus, Soloist, Chorus.
This is very much how classical concerto form is structured. As a musician I recognized this. Look at Handel's Messiah. Every chorus is preceded by a soloist. Or a piano or violin concerto, it is the same form. The same is true for Opera.
Even in a Mozart Piano Sonata the melodic line starts with a "soloist", then a chorus.
So my greatest interest in this play was the form more so than the substance, since the storyline was quite simple and also told in the Odyssey.
If you don't already know the story there are some unexpected twists.
May 11, 2022
نسبت به آثار سوفوکل و اوریپید ضعیفتر بود به نظرم. البته آیسخولوس اولین نفریه که ازش نمایشنامه باقی مونده و درام هنوز در حال آزمایش و خطا بوده. نقش همسرایان تو این نمایش خیلی پررنگتر از شخصیتهای اصلی بود و فقط همسرایان حرف میزدن و شرایط رو توصیف میکردند. به هر حال خوندنش خالی از لطف نبود.
February 16, 2018
This first play of this trilogy opens up with what happened to Agamemnon when he returned home from Troy. Read this to have a bloody good time 😉
January 21, 2022
Screaming crying rending my garments
March 20, 2021
"Να καλοτυχίζεις κάποιον, όταν πεθάνει μ’ ευχάριστο τέλος της ζωής του.
Οι μαύρες Ερινύες με του καιρού το πέρασμα
αυτόν που άδικα είναι τυχερός
μ’ ένα άλλο της τύχης γύρισμα τον αφανίζουν.
Και για όποιον αφανίζεται δεν υπάρχει διόλου γιατρειά.
*
Αυτός ο πόθος που για αίμα διψά τρέφεται απ’ τα σπλάχνα μας.
Πριν τελειώσει η παλιά πληγή, βγαίνει απόστημα καινούριο."
(εκδ. ΖΗΤΡΟΣ, μετάφραση Θ. ΜΑΥΡΟΠΟΥΛΟΣ)
Οι μαύρες Ερινύες με του καιρού το πέρασμα
αυτόν που άδικα είναι τυχερός
μ’ ένα άλλο της τύχης γύρισμα τον αφανίζουν.
Και για όποιον αφανίζεται δεν υπάρχει διόλου γιατρειά.
*
Αυτός ο πόθος που για αίμα διψά τρέφεται απ’ τα σπλάχνα μας.
Πριν τελειώσει η παλιά πληγή, βγαίνει απόστημα καινούριο."
(εκδ. ΖΗΤΡΟΣ, μετάφραση Θ. ΜΑΥΡΟΠΟΥΛΟΣ)
February 19, 2021
Este é primeiro livro da trilogia Oresteia (que é seguida por Coéforas e Eumênides) de Ésquilo o mais antigo dos três grandes dramaturgos gregos.
Agamêmnon é o comandante da expedição dos gregos contra Tróia para vingar o irmão Menelau que teve sua esposa Helena raptada por Páris.
A fim de obter o favor dos deuses sobre o vento Agamêmnon oferece sua filha Ifigênia em sacrifício o que provocou a ira e rancor da sua esposa Clitemnestra.
Depois de 10 anos de guerra Agamêmnon retorna vitorioso e sua esposa que ja havia tramado seu assassinato com o amante Egisto mata-o em vingança pela morte da filha.
Agamêmnon é o comandante da expedição dos gregos contra Tróia para vingar o irmão Menelau que teve sua esposa Helena raptada por Páris.
A fim de obter o favor dos deuses sobre o vento Agamêmnon oferece sua filha Ifigênia em sacrifício o que provocou a ira e rancor da sua esposa Clitemnestra.
Depois de 10 anos de guerra Agamêmnon retorna vitorioso e sua esposa que ja havia tramado seu assassinato com o amante Egisto mata-o em vingança pela morte da filha.
February 26, 2017
It's interesting how the Chorus used to enjoy a more elaborate function in Aeschylus than in the later Sophocles. Not really a passive, detached "omniscient narrator" here; the Chorus takes on the characters head on, getting involved in the action of the play. Which was slightly hilarious during the row with Aegisthus but never mind. :P
I began with George C. W. Warr's translation: Astoundingly thorough, amazing illustrations, meticulously explained notes, but too challenging for the beginner. The most annoying bit was that the commentaries are sandwiched between the actual translation which ruins the reading experience. Would actually be great for the scholar but does nothing for the beginner.
Moved on to the "much recommended" Fagles translation but found it a bit too droll after Warr's version. Very easy but very prosaic.
Finally came across Morshead's version which strikes a perfect balance between the above-mentioned translations. The rhyming thing gets annoying but it's readable and you get through.
Began Aeschylus as complementary reading to O'Neill's Mourning Becomes Electra. One gets confounded in the abundance of translations that not really sure I'd be continuing with this trilogy anytime soon. One shouldn't be so ridiculously ambitious, anyway. :P
I began with George C. W. Warr's translation: Astoundingly thorough, amazing illustrations, meticulously explained notes, but too challenging for the beginner. The most annoying bit was that the commentaries are sandwiched between the actual translation which ruins the reading experience. Would actually be great for the scholar but does nothing for the beginner.
Moved on to the "much recommended" Fagles translation but found it a bit too droll after Warr's version. Very easy but very prosaic.
Finally came across Morshead's version which strikes a perfect balance between the above-mentioned translations. The rhyming thing gets annoying but it's readable and you get through.
Began Aeschylus as complementary reading to O'Neill's Mourning Becomes Electra. One gets confounded in the abundance of translations that not really sure I'd be continuing with this trilogy anytime soon. One shouldn't be so ridiculously ambitious, anyway. :P
Read
June 16, 201632. The Persians by Aeschylus
translated from Ancient Greek by George Theodoridis, 2009
performed: 472 bce
format: 39 page length webpage: https://bacchicstage.wordpress.com/ae...
read: Jun 6
rating: ?? stars
This is apparently the oldest surviving Greek tragedy and also the only of the surviving plays on a contemporary subject. The battle of Salamis, where the Greeks destroyed the Persian navy and essentially ruined any hope of Persian expansion through Greece, occurred in 480 bce. This play is about the aftermath.
It's very simple. People in the Persian capital, including the the king's mother, await word on the battle. They share their hopes...and then get the real news and express their woe in response.
The speeches are kind of moving and memorable, but my main response is mostly curiosity. It was interesting to me to see how simple these plays could be. And it's interesting that the victorious Greeks were willing to think through the Persian perspective, albeit there is an element of gloating in there somewhere.
As a side note on the Greek plays. I think only 33 plays exist. There were hundreds. There was apparently even a play on the Persians that preceded Aeschylus. We just have these scraps left.
translated from Ancient Greek by George Theodoridis, 2009
performed: 472 bce
format: 39 page length webpage: https://bacchicstage.wordpress.com/ae...
read: Jun 6
rating: ?? stars
This is apparently the oldest surviving Greek tragedy and also the only of the surviving plays on a contemporary subject. The battle of Salamis, where the Greeks destroyed the Persian navy and essentially ruined any hope of Persian expansion through Greece, occurred in 480 bce. This play is about the aftermath.
It's very simple. People in the Persian capital, including the the king's mother, await word on the battle. They share their hopes...and then get the real news and express their woe in response.
The speeches are kind of moving and memorable, but my main response is mostly curiosity. It was interesting to me to see how simple these plays could be. And it's interesting that the victorious Greeks were willing to think through the Persian perspective, albeit there is an element of gloating in there somewhere.
As a side note on the Greek plays. I think only 33 plays exist. There were hundreds. There was apparently even a play on the Persians that preceded Aeschylus. We just have these scraps left.
February 1, 2010
Best Greek play I have read so far. Excellent use of the Greek chorus (better than I've seen in any other Greek play). The symbolism is precise and well written/used.
I think this book should be taught for Women's Literature classes because of the interesting roles of Cassandra and Clytaemestra. Each in their own are complex characters that steal the play.
Definitely a must read of Greek literature.
I think this book should be taught for Women's Literature classes because of the interesting roles of Cassandra and Clytaemestra. Each in their own are complex characters that steal the play.
Definitely a must read of Greek literature.
February 1, 2025
the five stars are more for the experience of performance than for the text itself - at this point, i've become far too emotionally attached to this play to give it anything less. perhaps you could say that i, too, have been caught in the trap-net of the unforgetting furies of the atreidae, singing praise for the house even as it falls into a rainstorm of blood
May 3, 2022
Αξεπέραστο έργο. Ίσως εκ των σπουδαιότερων που γράφηκαν ποτέ.
Displaying 1 - 30 of 732 reviews