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L'Orestea

de Aeschylus

Altres autors: Mira la secció altres autors.

Sèrie: The Oresteia

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10,36169712 (3.99)174
One of the founding documents of Western culture and the only surviving ancient Greek trilogy, the Oresteia of Aeschylus is one of the great tragedies of all time. The three plays of the Oresteia portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War, at the start of which he had sacrificed his daughter Iphigeneia to secure divine favor. After Iphi-geneia's mother, Clytemnestra, kills her husband in revenge, she in turn is murdered by their son Orestes with his sister Electra's encouragement. Orestes is pursued by the Furies and put on trial, his fate decided by the goddess Athena. Far more than the story of murder and ven-geance in the royal house of Atreus, the Oresteia serves as a dramatic parable of the evolution of justice and civilization that is still powerful after 2,500 years. The trilogy is presented here in George Thomson's classic translation, renowned for its fidelity to the rhythms and richness of the original Greek.… (més)
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» Mira també 174 mencions

Es mostren 1-5 de 69 (següent | mostra-les totes)
I enjoyed reading these plays, and imagining how they would be staged. The theme of revenge vs. justice is still a timely one today, and I thought the layers of old gods vs. new gods, and to a lesser extent, gender politics, added psychological depth to the story.

I can imagine the characters as actual people, with their messy motivations and emotions. Clytemnestra, left alone for over a decade as her husband is off at Troy, her oldest daughter killed by this same man. I honestly can't really blame her for wanting to kill Agamemnon herself, especially since he tricked both of them by saying he had found a husband for Iphigenia in order to get his daughter to come to where he was. To then turn a celebration into a murder is really evil. But "an eye for an eye" really does just cause an endless trail of tragedy.

It's fascinating to see the Furies turned into some kind of auxiliary for the Fates. I wonder why Aeschylus did that, or if that was already an accepted mythology that he capitalized on. It contains aspects of karma for me, the idea that these beings who demand payment for crimes should morph into beings who deal out destiny. So interesting. ( )
  TheGalaxyGirl | Mar 21, 2024 |
Compelling meditations on vengeance and justice, intermixed with visions of destiny and gender. Also highly lyrical. ( )
  JasonMehmel | Feb 9, 2024 |
I read Robert Fagles translation; it is accessible while retaining the powerful and subtle language and imagery of Aeschylus’ work. This (Penguin Classics) edition includes a well-written and very useful introductory essay, The Serpent and the Eagle – A Reading of 'The Oresteia', written in collaboration with W. B. Stanford (as are the notes). The introduction, about 75 pages long, gives a wealth of background information to complement the reading experience of the dramatic trilogy itself – this particular reading employs a Hegelian approach, though not too obtrusively. – "The Oresteia is our rite of passage from savagery to civilization," as Fagles/Stanford aptly puts it in the introduction. It is also one of the most fascinating works of drama I have ever read; impressive both in its breadth of scope and depth of detail. I wouldn't hesitate to call it a work of genius, and to my mind, here Aeschylus in many ways dwarfs even a younger giant such as Shakespeare. The fact that this is the only trilogy that has survived since antiquity, makes me mournful for all that has been lost – including the satyr play that originally accompanied the performances of this trilogy, Proteus. From the introductory essay: "For all its optimism [in the final part of the Oresteia], the Proteus may have reminded the Athenians that their lives were based on conflict, indeed that Athena had prevailed over Poseidon for possession of their city. So in the trilogy we reach an accommodation with the earth, but the sea, like Poseidon in the Odyssey, may remain to be placated." It's an intriguing thought - and for sure, I can easily see the use of a bit of comedy, as well as the presence of the more uncultivated and rustic satyrs, after the intense and bloody rite of passage - from a self-perpetuating cycle of vengeance to the rule of law - from chaos to order - of the Oresteia.




This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. ( )
  saltr | Feb 15, 2023 |
Agamênon mostra sua volta da guerra de Troia, na qual saiu-se bem após matar a própria filha, Ifigênia, em sacrifício aos deuses. A morte de Ifigênia não é bem recebida pela mãe, Clitemnestra, esposa de Agamênon, que a vinga assassinando o próprio marido com a ajuda de seu amante, Egisto.
A segunda parte, Coéforas, narra a volta de Orestes, filho de Agamênon, orientado pelo deus Apolo, para vingar a morte do pai. Ele é ajudado pela irmã, Electra, que era mantida como serviçal no sótão do castelo por sua mãe, Clitemnestra. O amante dela também é morto por Orestes com a ajuda de Electra e do deus Apolo.
A terceira parte, Eumênides, traz a ira de Clitemnestra, já morta, materializada nas Fúrias, que são vistas somente por Orestes e responsáveis pela sua loucura. Narra também a a nálise do crime de Orestes: o assassinato da própria mãe, julgado pela deusa Atena.
Se há uma palavra que pode descrever estas tragédias, é transcendental. Catártica seria uma outra boa palavra e suficiente. Não sei se as traduções captam toda a profundidade dos diálogos insanos, mas há em Esquilo uma vocação universal que todo leitor ou espectador sente enquanto o lê ou assiste, encenado, e isso porque estas são 3 histórias tão universais, unidas pela fábula, isto é, a efabulação mitológica. ( )
  jgcorrea | Oct 3, 2022 |
I found this cycle of plays to be quite profound for what it has to say about breaking a cycle of violence and revenge. The exploration of what justice is can also be seen as the plays progress. I think this is a classic that I will be revisiting again. ( )
  psalva | Apr 20, 2022 |
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» Afegeix-hi altres autors (261 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
AeschylusAutorautor primaritotes les edicionsconfirmat
Albini, UmbertoIntroduccióautor secundarialgunes edicionsconfirmat
Allman, SylviaIl·lustradorautor secundarialgunes edicionsconfirmat
Altena, HermanTraductorautor secundarialgunes edicionsconfirmat
Aryton, MichaelIl·lustradorautor secundarialgunes edicionsconfirmat
Ayres, RosalindNarradorautor secundarialgunes edicionsconfirmat
Østbye, PeterTraductorautor secundarialgunes edicionsconfirmat
Baldick, RobertEditorautor secundarialgunes edicionsconfirmat
Battezzato, LuigiTraductorautor secundarialgunes edicionsconfirmat
Bolognese, DonIl·lustradorautor secundarialgunes edicionsconfirmat
Boutens, P.C.Traductorautor secundarialgunes edicionsconfirmat
Brandes, PeterIl·lustradorautor secundarialgunes edicionsconfirmat
Burian, PeterTraductorautor secundarialgunes edicionsconfirmat
Canfora, LucianoPrefaciautor secundarialgunes edicionsconfirmat
Cantarella, RaffaeleTraductorautor secundarialgunes edicionsconfirmat
Cardó, CarlesTraductorautor secundarialgunes edicionsconfirmat
Collard, ChristopherTraductorautor secundarialgunes edicionsconfirmat
Corrigan, Robert WilloughbyEditorautor secundarialgunes edicionsconfirmat
d'Hane-Scheltema, M.Traductorautor secundarialgunes edicionsconfirmat
Del Corno, DarioIntroduccióautor secundarialgunes edicionsconfirmat
Di Benedetto, VincenzoIntroduccióautor secundarialgunes edicionsconfirmat
Doniger, WendyTraductorautor secundarialgunes edicionsconfirmat
Droysen, Johann GustavTraductorautor secundarialgunes edicionsconfirmat
Due, Otto SteenTraductorautor secundarialgunes edicionsconfirmat
Ebener, DietrichTraductorautor secundarialgunes edicionsconfirmat
Eichman, RichardFrontispieceautor secundarialgunes edicionsconfirmat
Fagles, RobertTraductorautor secundarialgunes edicionsconfirmat
Fagles, RobertEditorautor secundarialgunes edicionsconfirmat
Foley, Helene P.Introduccióautor secundarialgunes edicionsconfirmat
Foxworth, BoNarradorautor secundarialgunes edicionsconfirmat
García Valdés, ManuelaTraductorautor secundarialgunes edicionsconfirmat
Gerbrandy, PietEpílegautor secundarialgunes edicionsconfirmat
Grene, DavidEditorautor secundarialgunes edicionsconfirmat
Hughes, TedTraductorautor secundarialgunes edicionsconfirmat
Koolschijn, GerardTraductorautor secundarialgunes edicionsconfirmat
Lattimore, RichmondTraductorautor secundarialgunes edicionsconfirmat
Lattimore, RichmondEditorautor secundarialgunes edicionsconfirmat
Levi, PeterIntroduccióautor secundarialgunes edicionsconfirmat
Lowell, RobertTraductorautor secundarialgunes edicionsconfirmat
Medda, EnricoTraductorautor secundarialgunes edicionsconfirmat
Morshead, E. D. A.Traductorautor secundarialgunes edicionsconfirmat
Murray, GilbertTraductorautor secundarialgunes edicionsconfirmat
Nash-Williams, A. H.Editorautor secundarialgunes edicionsconfirmat
O'Flaherty, Wendy DonigerTraductorautor secundarialgunes edicionsconfirmat
Padel, RuthIntroduccióautor secundarialgunes edicionsconfirmat
Palli Bonet, JulioTraductorautor secundarialgunes edicionsconfirmat
Pattoni, Maria PiaTraductorautor secundarialgunes edicionsconfirmat
Perea Morales, BernardoTraductorautor secundarialgunes edicionsconfirmat
Pontani, Filippo MariaTraductorautor secundarialgunes edicionsconfirmat
Preece, LaurenceIl·lustradorautor secundarialgunes edicionsconfirmat
Purl, LindaNarradorautor secundarialgunes edicionsconfirmat
Radice, BettyEditorautor secundarialgunes edicionsconfirmat
Raphael, ElaineIl·lustradorautor secundarialgunes edicionsconfirmat
Raphael, FredericTraductorautor secundarialgunes edicionsconfirmat
Ricci, DomenicoTraductorautor secundarialgunes edicionsconfirmat
Roche, PaulTraductorautor secundarialgunes edicionsconfirmat
Salvatierra, FernandoTraductorautor secundarialgunes edicionsconfirmat
Savino, EzioTraductorautor secundarialgunes edicionsconfirmat
Seaford, RichardIntroduccióautor secundarialgunes edicionsconfirmat
Shapiro, H. A.Traductorautor secundarialgunes edicionsconfirmat
Simonsuuri, KirstiTraductorautor secundarialgunes edicionsconfirmat
Slavitt, David R.Traductorautor secundarialgunes edicionsconfirmat
Sommerstein, Alan H.Traductorautor secundarialgunes edicionsconfirmat
Stanford, William BedellIntroduccióautor secundarialgunes edicionsconfirmat
Stanford, William BedellEditorautor secundarialgunes edicionsconfirmat
Stern, ErnstIl·lustradorautor secundarialgunes edicionsconfirmat
Stoneman, RichardConsultant Editorautor secundarialgunes edicionsconfirmat
Thomson, George DerwentTraductorautor secundarialgunes edicionsconfirmat
Traverso, LeoneTraductorautor secundarialgunes edicionsconfirmat
Untersteiner, MarioTraductorautor secundarialgunes edicionsconfirmat
Vaara, ElinaTraductorautor secundarialgunes edicionsconfirmat
Valgimigli, ManaraTraductorautor secundarialgunes edicionsconfirmat
Vallacott, PhilipTraductorautor secundarialgunes edicionsconfirmat
Vanderpool Jr., EugeneFotògrafautor secundarialgunes edicionsconfirmat
Vellacott, PhilipTraductorautor secundarialgunes edicionsconfirmat
Vellacott, Philip HumphreyTraductorautor secundarialgunes edicionsconfirmat
Vollmoeller, Karl GustavTraductorautor secundarialgunes edicionsconfirmat
Vos, ErikTraductorautor secundarialgunes edicionsconfirmat
Walton, J. MichaelTraductorautor secundarialgunes edicionsconfirmat
Warner, RexTraductorautor secundarialgunes edicionsconfirmat
Wilson, AdrianDissenyadorautor secundarialgunes edicionsconfirmat
Young, DouglasTraductorautor secundarialgunes edicionsconfirmat
Zilliacus, EmilTraductorautor secundarialgunes edicionsconfirmat

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Now is the strong prayer folded in thine arms,
The serpent with the eagle in the boughs.

HART DAVIES, The Dance.

Penguin Classics edition (1977).
Dedicatòria
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FOR MY MOTHER AND FATHER

Be like me! - amid the incessant flux
of appearences, eternally creating,
eternally driving into life, in this
rushing, whirling flux eternally seizing
satisfaction - I am the Great Mother!

NIETZSCHE, The birth of tragedy

Agememnon (Penguin Classics edition, 1977).
FOR MY WIFE

... in my heart there was a kind of fighting
That would not let me sleep. Methought I lay
Worse than the mutines in the bilboes. Rashly -
And prais'd be rashness for it; let us know,
Our indiscretion sometime serves us well
When our deep plots do pall; and that should learn us
There's a divinity that shapes our ends,
Rough-hew them how we will -

SHAKESPEARE, Hamlet

The libation bearers (Penguin Classics edition, 1977).
FOR MY DAUGHTERS

What climbs the stair?
Nothing that common women ponder on
If you are worth my hope! Neither Content
Nor satisfied Conscience, but that great family
Some ancient famous authors misrepresent,
The Proud Furies each with her torch on high.

W. B. YEATS, 'To Dorothy Wellesley'

The Eumenides (Penguin Classics edition, 1977).
Primeres paraules
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My thanks to Aeschylus for his companionship, his rigours and his kindness. I found him a burly, eloquent ghost, with more human decency and strength than I could hope to equal.

Foreword (Robert Fagles, 1976).
Aeschylus was forty-five in 480 B.C. when the Persians sacked Athens and destroyed the shrines of the gods on the Acropolis.

Introduction ('A reading of 'The Oresteia', Robert Fagles & W. B. Stanford, 1977).
I ask the gods some respite from the weariness / of this watchtime measured by years I lie awake / elbowed upon the Atreidaes' roof dogwise to mark / the grand processionals of all the stars of night / burdened with winter and again with heat for men, / dynasties in their shining blazoned on the air, / these stars, upon their wane and when the rest arise.

Agememnon (Lattimore translation, 1953).
WATCHMAN:
Dear gods, set me free from all the pain,
from the watch I keep, one whole year awake ...
propped on my arms, crouched on the roofs of Atreus
like a dog.

Agememnon (Fagles translation, 1977).
Watchman:
Dear gods, set me free from all the pain,
the long watch I keep, one whole year awake..
propped on my arms, crouched on the roofs of Atreus
like a dog.

Agememnon (Fagles translation, 1984).
Citacions
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(Clica-hi per mostrar-ho. Compte: pot anticipar-te quin és el desenllaç de l'obra.)
(Clica-hi per mostrar-ho. Compte: pot anticipar-te quin és el desenllaç de l'obra.)
(Clica-hi per mostrar-ho. Compte: pot anticipar-te quin és el desenllaç de l'obra.)
Nota de desambiguació
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This LT Work is the complete Oresteia trilogy of plays by Aeschylus, comprising:

Agamemnon,
Choephori (a/k/a, The Libation Bearers), and
Eumenides (a/k/a, The Furies).

Please do not combine this trilogy with any of the individual plays, or with any other collection. Specifically, do not combine this work with any edition that also includes Aeschylus' Prometheus Bound. Thank you.
Editor de l'editorial
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Wikipedia en anglès (1)

One of the founding documents of Western culture and the only surviving ancient Greek trilogy, the Oresteia of Aeschylus is one of the great tragedies of all time. The three plays of the Oresteia portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War, at the start of which he had sacrificed his daughter Iphigeneia to secure divine favor. After Iphi-geneia's mother, Clytemnestra, kills her husband in revenge, she in turn is murdered by their son Orestes with his sister Electra's encouragement. Orestes is pursued by the Furies and put on trial, his fate decided by the goddess Athena. Far more than the story of murder and ven-geance in the royal house of Atreus, the Oresteia serves as a dramatic parable of the evolution of justice and civilization that is still powerful after 2,500 years. The trilogy is presented here in George Thomson's classic translation, renowned for its fidelity to the rhythms and richness of the original Greek.

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