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The Oresteia is permeated with depictions of the afterlife, which have never been examined together. In this book Amit Shilo analyses their intertwined and conflicting implications. He argues for a 'poetics of multiplicity' and 'poetics of the beyond' that inform the ongoing debates over justice, fate, ethics, and politics in the trilogy. The book presents novel, textually-grounded readings of Cassandra's fate, Clytemnestra's ghost scene, mourning ritual, hero cult, and punishment by Hades. It offers a fresh perspective on the political thought of the trilogy by contrasting the ethical focus of the Erinyes and Hades with Athena's insistence on divine unity and warfare. Shedding new light on the trilogy as a whole, this book is crucial reading for students and scholars of classical literature and religion. This title is available as open access on Cambridge Core.
"Afterlives in the Oresteia Similarly, David said to the Holy One, blessed be He, "make me to know my end," that is, he wished to know to which end he was allotted, and his mind was not at rest 'til the good tidings reached him, "Sit at my right hand" (Ps. 110:1). (Zohar Bereshith, 1.63a)1 Dear to the dear ones who nobly died over there, being prominent as an august lord under the earth and an attendant of the greatest chthonic rulers there. For when you lived you were king of those wielding in their hands destined fate and the mortal-persuading scepter. (Choephoroi 354-62) Preoccupation with one's lot after death has been suggested as the starting point of all philosophical thinking and is one of the central concerns of world religions. It is evident in the first quotation from the Zohar, as it is in innumerable other religious texts.2 In Ancient Greece, mystery cults promised a better afterlife - but antiquity's profound silence has segregated them from the mainstream of Greek religion. Unlike the scriptures and commentaries of numerous other religions, the only openly circulating Ancient Greek texts outspoken about the afterlife are philosophical and literary"--
In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions -- Aischylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes, giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. Carson's accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. --from publisher description.
First published in 1938, this book forms part one of a two-volume edition of the Oresteia. This first volume contains the original Greek text of the Oresteia with a facing-page English translation and notes. A detailed introduction is also provided. The second volume is largely composed of a comprehensive textual commentary. This book will be of value to anyone with an interest in the works of Aeschylus and classical literature.
From the Penn Greek Drama Series, this volume offers translations by David Slavitt of the great trilogy of the House of Atreus, telling of Agamemnon's murder at the hands of his wife, Clytemnestra, and her lover, Aegisthus, and of Electra's rebelliousness and Orestes's ultimate revenge.
Written during the long battles with Sparta that were to ultimately destroy ancient Athens, these six plays by Euripides brilliantly utilize traditional legends to illustrate the futility of war. The Children of Heracles holds a mirror up to contemporary Athens, while Andromache considers the position of women in Greek wartime society. In The Suppliant Women, the difference between just and unjust battle is explored, while Phoenician Women describes the brutal rivalry of the sons of King Oedipus, and the compelling Orestes depicts guilt caused by vengeful murder. Finally, Iphigenia in Aulis, Euripides' last play, contemplates religious sacrifice and the insanity of war. Together, the plays offer a moral and political statement that is at once unique to the ancient world, and prophetically relevant to our own.
The sense of difficulty, and indeed of awe, with which a scholar approaches the task of translating the Agamemnon depends directly on its greatness as poetry. It is in part a matter of diction. The language of Aeschylus is an extraordinary thing, the syntax stiff and simple, the vocabulary obscure, unexpected, and steeped in splendour. Its peculiarities cannot be disregarded, or the translation will be false in character. Yet not Milton himself could produce in English the same great music, and a translator who should strive ambitiously to represent the complex effect of the original would clog his own powers of expression and strain his instrument to breaking. But, apart from the diction in this narrower sense, there is a quality of atmosphere surrounding the Agamemnon which seems almost to defy reproduction in another setting, because it depends in large measure on the position of the play in the historical development of Greek literature.
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"Life / Afterlife: Revolution and Reflection in the Ancient Greek Underworld from Homer to Lucian explores the mechanics, function, and impact of ancient Greek Underworld scenes, a unique and ancient form of embedded storytelling appearing across time and genres. This book approaches Underworld scenes as a special register of language that acts as a narrative space outside of chronological time to reflect on important themes and issues in a frame narrative. This book argues that Underworld scenes use hypertextual poetics to embed authorial commentary by creating networks of texts that act as para-narratives, which provide additional information to engage audiences in the interpretative process of a given work. Life / Afterlife traces the development, evolution, and application of Underworld scenes through the works of such authors as Homer, Hesiod, Pindar, Aeschylus, Aristophanes, Plato, Vergil, and Lucian to show how each used afterlife depictions featuring mythic and historical figures as commentaries to communicate a call to action for their audiences in response to cultural, religious, and political changes in their worlds. Using the network of Underworld scenes, authors could reinforce and challenge traditional religious and cultural beliefs and practices by presenting the long-term, cosmic effect of actions in life on an individual's post-death experience. From ancient to modern times, Underworld scenes have helped authors and audiences define the essential qualities of a "good life" for different social, political, and religious groups and their societies"--
This updated translation of the Oresteia trilogy and fragments of the satyr play Proteus includes an extensive historical and critical introduction. In the third edition of The Complete Greek Tragedies, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining their vibrancy for which the Grene and Lattimore versions are famous. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. Each volume also includes an introduction to the life and work of the tragedian and an explanation of how the plays were first staged, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. The result is a series of lively and authoritative translations offering a comprehensive introduction to these foundational works of Western drama.