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A poetic new interpretation of the ancient dramatic trilogy about the house of Atreus describes how King Agamemnon is murdered by his wife Clytemnestra and the efforts of their son, Orestes, to kill his mother and avenge the crime, bringing upon himself the wrath of the Furies and the judgment of Athens.

Aeschylus (ca. 525–456 BCE), the dramatist who made Athenian tragedy one of the world’s great art forms, witnessed the establishment of democracy at Athens and fought against the Persians at Marathon. He won the tragic prize at the City Dionysia thirteen times between ca. 499 and 458, and in his later years was probably victorious almost every time he put on a production, though Sophocles beat him at least once.Of his total of about eighty plays, seven survive complete. The second volume contains the complete Oresteia trilogy, comprising Agamemnon, Libation-Bearers, and Eumenides, presenting the murder of Agamemnon by his wife, the revenge taken by their son Orestes, the pursuit of Orestes by his mother’s avenging Furies, his trial and acquittal at Athens, Athena’s pacification of the Furies, and the blessings they both invoke upon the Athenian people.

Meineck's translation is faithful and supple; the language employed is modern without betraying the grandeur and complexity--particularly the images--of the Aeschylean text. After reading this translation, one has but one further wish: to see it and hear it at Delphi, Epidaurus or Syracuse. --Herman Van Looy, L'Antiquite Classique

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.

Text: English, Greek (translation)

Highly acclaimed as translators of Greek and Sanskrit classics, respectively, David Grene and Wendy Doniger O'Flaherty here present a complete modern translation of the three plays comprising Aeschylus' Orestia and, with the assistance of director Nicholas Rudall, an abridged stage adaptation. This blanced and highly successful collaboration of scholars with a theater director solves the contemporary problems of translating and staging the Orestia, which originally was written to be performed in Athens in the first half of the fifth century B.C. While remaning faithful to the original Greek, Grene and O'Flaherty embrace a strong and adventurous English style, vivid and visceral. The language of this extraordinary translation, immediately accessible to a theater audience, speaks across the centuries. Premiered at Chicago's Court Theater in 1986 under Rudall's direction, the stage adaptation of the Orestia proved eminently playable.  This new adaptation of the orestia offers a brilliant demonstration of how clearly defined goals (here, the actor's needs) can inspire translators to produce fresh, genuine, accessible dramatic texts. The resulting work provides complete and accurate texts for those who cannot read the original Greek, and it transforms the Orestia into an effective modern stage play. With interpretive introductions written by the translators and director, this new version will be welcomed by teachers of translation courses, by students of Greek and world drama in general, and by theater professionals.

First presented in the spring of 458 B.C.E. at the festival of Dionysus in Athens, Aeschylus' trilogy Oresteia won the first prize. Comprising three plays—Agamemnon, Libation Bearers, and The Furies—it is the only surviving example of the ancient trilogy form for Greek tragedies. This drama of the House of Atreus catches everyone in a bloody net. Queen Clytaemestra of Argos murders her husband Agamemnon. Their son Orestes avenges his father by killing his mother. The Furies, hideous deities who punish the murder of blood kin, pursue Orestes. Into this horrific cycle steps Athena, goddess of wisdom, who establishes the rule of law to replace fatal vengeance. Orestes is tried in court before a jury of Athenians and found not guilty. Athena transforms the Furies into benevolent goddesses and extols the virtue of mercy. An important historical document as well as gripping entertainment, the Oresteia conveys beliefs and values of the ancient Athenians as they established the world's first great democracy. Aeschylus (525/4–456/5 B.C.E.) was the first of the three great tragic dramatists of ancient Greece, forerunner of Sophocles and Euripides. In this trilogy he created a new dramatic form with characters and plot, infused with spellbinding emotion. David Mulroy's fluid, accessible English translation with its rhyming choral songs does full justice to the meaning and theatricality of the ancient Greek. In an introduction and appendixes, he provides cultural background for modern readers, actors, and students.

Text: English, Greek (translation)

The most famous series of ancient Greek plays, and the only surviving trilogy, is the Oresteia of Aeschylus, consisting of Agamemnon, Choephoroe, and Eumenides. These three plays recount the murder of Agamemnon by his queen Clytemnestra on his return from Troy with the captive Trojan princess Cassandra; the murder in turn of Clytemnestra by their son Orestes; and Orestes' subsequent pursuit by the Avenging Furies (Eumenides) and eventual absolution. Hugh Lloyd-Jones's informative notes elucidate the text, and introductions to each play set the trilogy against the background of Greek religion as a whole and Greek tragedy in particular, providing a balanced assessment of Aeschylus's dramatic art. This superior translation should be read by every student of Greek civilization, classical literature, and drama.

“This vivid and accessible translation captures the drama of Aeschylus’ poetry and the excitement of the action in performance.” ―VICTORIA WOHL, University of Toronto“This critical edition provides a lavish and fulsome picture of ancient Greek tragedy’s most significant surviving document.” ―JOHANNA HANINK, Brown UniversityRanked #2 Translation of 2018 by Open Letters ReviewThis Norton Critical Edition includes:         Oliver Taplin’s new translation of the fifth-century B.C.E. Greek tragedy―a trilogy of revenge and murder within the royal family of Argos―with explanatory annotations by the editors.       Ancient backgrounds and responses from Homer, Stesichorus, Pindar, Euripides, and Sophocles. ·        Fourteen wide-ranging critical essays on the Oresteia, from G. W. F. Hegel and Friedrich Nietzsche to Oliver Taplin and Peter Wilson.     A Glossary of Technical Terms and Proper Names and a Selected Bibliography.About the Series  Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format―annotated text, contexts, and criticism―helps students to better understand, analyze, and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

The most famous series of ancient Greek plays, and the only surviving trilogy, is the Oresteia of Aeschylus, consisting of Agamemnon, Choephoroe, and Eumenides. These three plays recount the murder of Agamemnon by his queen Clytemnestra on his return from Troy with the captive Trojan princess Cassandra; the murder in turn of Clytemnestra by their son Orestes; and Orestes' subsequent pursuit by the Avenging Furies (Eumenides) and eventual absolution.Hugh Lloyd-Jones's informative notes elucidate the text, and introductions to each play set the trilogy against the background of Greek religion as a whole and Greek tragedy in particular, providing a balanced assessment of Aeschylus's dramatic art.

Book by Aeschylus, Fagles, Robert

First presented in the spring of 458 B.C.E. at the festival of Dionysus in Athens, Aeschylus' trilogy Oresteia won the first prize. Comprising three plays—Agamemnon, Libation Bearers, and The Furies—it is the only surviving example of the ancient trilogy form for Greek tragedies. This drama of the House of Atreus catches everyone in a bloody net. Queen Clytaemestra of Argos murders her husband Agamemnon. Their son Orestes avenges his father by killing his mother. The Furies, hideous deities who punish the murder of blood kin, pursue Orestes. Into this horrific cycle steps Athena, goddess of wisdom, who establishes the rule of law to replace fatal vengeance. Orestes is tried in court before a jury of Athenians and found not guilty. Athena transforms the Furies into benevolent goddesses and extols the virtue of mercy. An important historical document as well as gripping entertainment, the Oresteia conveys beliefs and values of the ancient Athenians as they established the world's first great democracy. Aeschylus (525/4–456/5 B.C.E.) was the first of the three great tragic dramatists of ancient Greece, forerunner of Sophocles and Euripides. In this trilogy he created a new dramatic form with characters and plot, infused with spellbinding emotion. David Mulroy's fluid, accessible English translation with its rhyming choral songs does full justice to the meaning and theatricality of the ancient Greek. In an introduction and appendixes, he provides cultural background for modern readers, actors, and students.

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.

This book is the first publication for over 170 years of a forgotten masterpiece of translation, done by Percy Bysshe Shelley and his friend and cousin, Thomas Medwin. For four months in 1820-1821 Medwin lived with Shelley in Pisa, where the two of them intensely studied and translated the works of Aeschylus. In his Foreword, Editor John Lauritsen shows, on the basis of biographical and textual evidence, that Shelley was at least a full collaborator in the Oresteia translation. Medwin and Shelley were not concerned with servile, word-for-word translation, but with re-creating the full and entire sense -- the energy, wit, irony and pathos -- of the original. Shelley was the master of more verse forms than any other English poet, and the translation abounds in intricate verse forms: some are as familiar as the sonnet, the Spenserian stanza or the ode, while others are original. Highly acclaimed when published under Medwin's name in the 1830s (long after Shelley's death), the Oresteia translation has been unjustly neglected. Although not without flaws (some due to faulty Greek texts of the time), it surpasses modern translations for dramatic power and beauty of language. Above all the translation shows Shelley's gift for writing dialogue, which he showed in his novels, his translations of Plato and Goethe, his dramas Cenci and Prometheus Unbound, and such poems as Julian and Maddalo. While maintaining an Aeschylean formality, the language is idiomatic, and the lines can effectively be spoken. Given actors and an audience accustomed to Shakespeare, Oresteia: The Medwin-Shelley Translation could successfully be put on the stage.

Meineck's translation is faithful and supple; the language employed is modern without betraying the grandeur and complexity--particularly the images--of the Aeschylean text. After reading this translation, one has but one further wish: to see it and hear it at Delphi, Epidaurus or Syracuse. --Herman Van Looy, L'Antiquite Classique

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This book is the first publication for over 170 years of a forgotten masterpiece of translation, done by Percy Bysshe Shelley and his friend and cousin, Thomas Medwin. For four months in 1820-1821 Medwin lived with Shelley in Pisa, where the two of them intensely studied and translated the works of Aeschylus. In his Foreword, Editor John Lauritsen shows, on the basis of biographical and textual evidence, that Shelley was at least a full collaborator in the Oresteia translation. Medwin and Shelley were not concerned with servile, word-for-word translation, but with re-creating the full and entire sense -- the energy, wit, irony and pathos -- of the original. Shelley was the master of more verse forms than any other English poet, and the translation abounds in intricate verse forms: some are as familiar as the sonnet, the Spenserian stanza or the ode, while others are original. Highly acclaimed when published under Medwin's name in the 1830s (long after Shelley's death), the Oresteia translation has been unjustly neglected. Although not without flaws (some due to faulty Greek texts of the time), it surpasses modern translations for dramatic power and beauty of language. Above all the translation shows Shelley's gift for writing dialogue, which he showed in his novels, his translations of Plato and Goethe, his dramas Cenci and Prometheus Unbound, and such poems as Julian and Maddalo. While maintaining an Aeschylean formality, the language is idiomatic, and the lines can effectively be spoken. Given actors and an audience accustomed to Shakespeare, Oresteia: The Medwin-Shelley Translation could successfully be put on the stage.

The Oresteia by Aeschylus, the only extant trilogy among the Greek tragedies, is one of the great foundational texts of Western culture. Beginning with Agamemnon, which describes Agamemnon's return from the Trojan War and his murder at the hands of his wife Clytemnestra, and continuing through Orestes' murder of Clytemnestra in Libation Bearers and his acquittal at Athena's court in Eumenides, the trilogy traces the evolution of justice in human society from blood vengeance to the rule of law. The story of the house of Atreus is a tale of incest, adultery, human sacrifice, cannibalism, and political intrigue. It is also a story in which human action is simultaneously willed and determined. In this new translation the strangeness of the original Greek and its enduring human truth come alive in language that is remarkable for its unrelenting poetic intensity, its rich metaphorical texture, and a verbal density that can at times modulate into the simplest expressions. The precise but complicated rhythms of this translation honor the music of the original Greek, bringing into unforgettable English the Aeschylean vision of a world fraught with spiritual and political tensions, a world in which justice is a cosmic balance that inevitably rights itself both by means of and despite the evil deeds of characters who claim to act on justice's behalf.

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.