Aeschylus

The Oresteia

Oliver Taplin

The most renowned of Aeschylus' tragedies and one of the foundational texts of Western literature, the Oresteia trilogy is about cycles of deception and brutality within the ruling family of Argos. In Agamemnon, afflicted queen Clytemnestra awaits her husband's return from war to commit a terrible act of retribution for the murder of her daughter. The next two plays, radically retitled here as The Women at the Graveside and Orestes in Athens, deal with the aftermath of the regicide, Orestes' search to avenge his father's death, and the ceaseless torment of the young prince. A powerful discourse on the formation of democracy after a period of violent chaos, The Oresteia has long illuminated the tensions between loyalty to one's family and to the greater community. Now, Oliver Taplin's "vivid and accessible translation" (Victoria Mohl) captures the lyricism of the original, in what is sure to be a classic for generations to come.

Agamemnon, Women at the Graveside, Orestes in Athens

Paige Leitner

"Well, I shall never give up harrying that man."

"Go on, pursue him; make more trouble for yourselves."

"Don't you attempt to whittle down my rights."

"I wouldn't want your rights, not even as a gift."

"Because you stand secure beside the throne of Zeus: but I am drawn on by a mother's blood, and shall pursue this man until I have exacted justice."

You patronize me like some little woman with no mind to call her own. I speak with heart devoid of fear to those with wit to understand, and you can praise me or condemn me as you like, it's all the same to me. This man is Agamemnon, yes, my spouse, and yes, a corpse, the work of this right hand of mine, this architect of justice. And that is that.

A really good translation of Aeschylus' plays- Agememnon, Women at the Graveside, and Orestes at Athens. These plays focus on a different perspective than that of modern retellings (like Electra by Jennifer Saint, for example) and mainly focus on Orestes and his vengeance for his father. There is some humor in these plays, as well, which is a nice juxtaposition compared to its dark nature. 

Ceej Manaloto

Black and white and everything in between!

Would've loved to have witnessed Aeschylus' plays (esp this) at firsthand.

The Oresteia (Everyman Paperback Classics)

Zeke Taylor

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.

Agamemnon; The Libation Bearers; The Eumenides

vera

reread (220622)  /  how do you even rate greek tragedies? simply, you don't, so i will not (five stars in my heart). anyway, the oresteia: what did i just read and why does it resonate with me so much? do we ever have a choice in our fates or are they really so predetermined? if my father's father is cursed, what does that mean for my own bloodline? are we able to make our own choices or do we live as the gods demand us to? thinking of u, aeschylus. 

Euripides

Sophocles

A Bold, Iconoclastic New Look at One of the Great Works of Greek Tragedy 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. After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law. 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. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson's Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides

An Oresteia

madina

my ENAMOR...something with this play gradually lessened each play because damn that agamemnon translation will never top any of the other two. i will forever remember poor kassandra, ugh, im so.

"Where I come from people say bad shit
happening
when they mean death.
Another quaint barbarian idiom is real bad
shit happenin--
that covers blood on the floors
and a houseful of swords."

Christine Joelle Valisno Manaloto

Liam Holbrook

peyton mckenzie

Taylor Lapeyre

Lotus

Ethan Evans

louise

ghost girl in satin

Will Vunderink

Michael Springer

Maite Alarcon Leon

Cat Josephson

Ana Hein

Jesse Morley

Amanda

Orestes' parents are at war. A family drama spanning several decades, a huge, moving, bloody saga, Aeschylus' greatest and final play asks whether justice can ever be done - and continues to resonate more than two millennia after it was written. Following Mr Burns and 1984, Almeida Associate Director Robert Icke radically reimagines Oresteia for the modern stage, in its first major London production in more than a decade. Lia Williams returns to the Almeida as Klytemnestra.

The Oresteia

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