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Oresteia #1-3
The Oresteia: Agamemnon, The Libation Bearers, The Eumenides
Alternate covers of this ISBN here, here, here, here. Most recent cover is here.
In the Oresteia—the only trilogy in Greek drama which survives from antiquity—Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos.
Moving 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 the Oresteia—the only trilogy in Greek drama which survives from antiquity—Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos.
Moving 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.
336 pages, Paperback
First published January 1, 459
About the author
Aeschylus
1,377 books1,160 followersGreek
Αισχύλος
, Esquilo in Spanish, Eschyle in French, Èsquil in Catalan, 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.
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Displaying 1 of 1 review
March 4, 2018
“ . . . зовлон хүний ганц багш.
Унтах нойронд ч гашуун дурсамж
дусал дуслаар сэтгэлд хурна,
дуртай дургүй ухаан сууна.
Дээд тэнгэрээс бидэнд
энэрэл хүчээр бууна.”
(3-ын эхнийх нь жүжиг, Агамемнон)
гээд өөрийнхөөрөө буулгаад үзэхээр илүү ойлгогдох юм шиг. Эртний Грек хэл мэдэхгүй хүнд англи орчуулгууд нь хоорондоо зөрөөд ч ер нь жаахан төвөгтэй, ганцхан орчуулгыг нь барьж аваад уншъя гэхээр хангалтгүй ч юм шиг. Lattimore дэндүү хуучны маягаар бичсэн, Hackett-ийн Meineck нь орчин үеийн хэллэгтэй, зарим мөрийг нь хэт хялбарчилсан юм болов уу гэсэн сэжиг төрүүлмээр, г.м. Sarah Ruden-ийх гоё байх болов уу гэж их найдсан, гэтэл мэдэхгүй, дараа дахиж нэг харъя.
Унтах нойронд ч гашуун дурсамж
дусал дуслаар сэтгэлд хурна,
дуртай дургүй ухаан сууна.
Дээд тэнгэрээс бидэнд
энэрэл хүчээр бууна.”
(3-ын эхнийх нь жүжиг, Агамемнон)
гээд өөрийнхөөрөө буулгаад үзэхээр илүү ойлгогдох юм шиг. Эртний Грек хэл мэдэхгүй хүнд англи орчуулгууд нь хоорондоо зөрөөд ч ер нь жаахан төвөгтэй, ганцхан орчуулгыг нь барьж аваад уншъя гэхээр хангалтгүй ч юм шиг. Lattimore дэндүү хуучны маягаар бичсэн, Hackett-ийн Meineck нь орчин үеийн хэллэгтэй, зарим мөрийг нь хэт хялбарчилсан юм болов уу гэсэн сэжиг төрүүлмээр, г.м. Sarah Ruden-ийх гоё байх болов уу гэж их найдсан, гэтэл мэдэхгүй, дараа дахиж нэг харъя.
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