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Product details

File Size: 1100 KB

Print Length: 340 pages

Publisher: Penguin Classics; Reprint edition (February 7, 1984)

Publication Date: February 7, 1984

Sold by: Penguin Group (USA) LLC

Language: English

ASIN: B00261OOWG

Text-to-Speech:

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#126,329 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

In short, this is more of an interpretation than a review of the of the play. My interpretation of the play is that it tells the story of how the rule of law was born, of how rage was replaced by reason in the conduct of human affairs.The ancient Greek drama, the Oresteia by Aeschylus, is the story of how the Greeks discovered the rule of law; it tells the story of the transformation of the society from one of tribal loyalties to a polity, from the rule of men and mysterious forces (the gods) to the rule of law and with this, the birth of community solidarity and affinity to an idea (Athens) larger than oneself, one’s group, clan or tribe.Trial by jury with evidence and procedure is the new model for determining guilt and retributive justice. Justice by revenge and personal action is replaced with justice imposed by the community and a new sense of community identity is thus born. The personal rule of men is ended, the rule law begins. With the law there is a brand new sense of community and identity with something more than one’s self, or even one’s tribe or clan. With the rule of law, the State is born, Athens as a polity is born and with it a new sense of patriotism and devotion.The Oresteia announces a new way of being in the world. Reason replaces rage, this is the new Athenian way of being. The play is repeated each year by the Athenians so that they do not forget what Athens stands for and why it is worth defending. This is the basis of the new patriotism and identity with the new polity. The age of heroes and gods is over the age of law and reason begins.

I originally began reading the Vellacott translation and I almost gave up on reading this trilogy. Switching to Fagles made all the difference. I'd highly recommend this translation! The beginning commentary by Fagles, The Serpent and the Eagle, is wonderful as well.

Like Homer's works, ancient Greece's famous tragedies never grow old...although this also depends on the translator's skills Aeschylus's trilogy based on Greek mythology is a powerful story, powerfully (and beautifully) written. We spent several weeks in a study group, comparing and contrasting it with O'Neill's masterful Mourning Becomes Electra ,a post-Civil War re-telling of the same tale.

I am not finished with this book but will continue with a hard copy ... a big minus for me the price they charged and no line numbers in the verse is a no no giving this review a one makes me angry....I am not commenting or reviewing Fagle or the Oresteia...I have and continue to read his work. Its the price of this E-Book and the lack of line numbers in the text and the verse as was in the original.

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.

All drama exists in the shadow of the three great tragedians of Ancient Greece; Aeschylus, Sophocles, and Euripides. They wrote scores of plays apiece, but only scattered works of those survive. Of Aeschylus' body of work survives the least: plays numbering a mere seven. However, Aeschylus was cut a bit of a break, because three of those surviving seven form the only complete trilogy of plays from Ancient Greek theatre: the Oresteia (Sophocles' "Oedipus Rex", "Oedipus at Colonus", and "Antigone" are often grouped together as the "Theban Plays", but they are not a proper trilogy, which, in Greek theatre, was three interlinked plays performed together in one festival, alongside a fourth satyr play; the satyr play that accompanied the Oresteia has been lost.The scene is the aftermath of the Trojan War, where at least 50% of all Greek mythology seems to have its roots; the victorious Agammemnon returns home, taking with him the despoiled Trojan Princess Cassandra, cursed by Apollo to forever speak truth and never be believed. The war is over, but the echoes persist; indeed, the tragedy has its beginnings in the war's beginning, when Agammemnon, in order to facilitate the armada's crossing of the Aegean, sacrificed his daughter Iphigenia. His wife Clytemnestra, understandably, resents this; perhaps less understandably, she has been unfaithful to her husband in his long absence, and, together with her new lover Aegisthus, plots to kill her husband, as well as poor Cassandra. The repercussions of this redound through the next two plays, "The Libation Bearers" and "The Eumenides", as Agammemnon and Clytemnestra's son Orestes, together with his sister Electra, must decide how to avenge their father's murder. Orestes is in a Catch-22, having to reconcile contradictory demands of divine justice: avenging his father means murdering his mother, a crime to the Eumenides, while not avenging his father will offend Apollo.When looking at Greek drama from a modern perspective, the aspect that many people find the most challenging is the use of Choruses. The first play, "Agammemnon", makes the heaviest use of the Chorus, and I consider it the weakest of the three (by virtue of being the first, it also has a lot of setup). The following "The Libation Bearers" and "The Eumenides" are stronger, with more limited Choruses, and, since the crux of the latter, especially, are debates with dialogue, there is no sense that important actions are occurring offscreen (which was a major trope in Greek drama). These types of stories remain an acquired taste, but they are very enjoyable to those who get used to them. Aeschylus here uses the whole trilogy, and particularly the final play, to dramatize the development of current ideas concerning justice; explanations are given here for the existence of the twelve-man jury, for example.While I consider Sophocles to be the greatest of the three tragedians, Aeschylus' magnum opus is well worth the time of fans of classical drama and mythology.

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