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Eschyle est l' inventeur de la tragedie attique telle que nous la connaissons : en introduisant un deuxieme acteur sur scene, Eschyle bouleverse la scene tragique jusqu'ici reservee a un dialogue entre l'acteur et le choeur. Cependant la vie du pere de la tragedie ne nous est guere connue. Il serait ne aux alentours de 525 a Athenes, dans une famille d'Eupatrides. Eschyle a donc vecu successivement la domination des Pisistratides et les reformes de Clisthene, d'ou sans doute son gout pour la question de la justice. Citoyen exemplaire, il a participe aux batailles de Marathon et de Salamine, dont il fait le recit dansLes Perses. Pour des raisons qui nous sont restees ignorees, il quitte Athenes et s'exile a la cour de Hieron, tyran de Sicile. Ses succes furent nombreux, autant que ses pieces (la tradition lui prete plus de 73 oeuvres), dont malheureusement seules 7 nous sont parvenues.L'edition de Paul Mazon presente en deux volumes les tragedies d'Eschyle. Chaque piece est precedee d'une notice qui lui est propre. Celle-ci fournit, tous les elements mythologiques, historiques et philologiques, necessaires a la bonne comprehension de ces pieces parfois lacunaires. Des notes accompagnent la lecture.… (plus d'informations)
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. ( )
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. ( )
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. ( )
For class we were supposed to only read part 1, "Agamemnon", which leaves off at a weird cliffhanger, so I read the rest and the story made more sense. These plays, unlike other Greek trilogies, don't work as standalone pieces at all; reading all of them in quick succession at least resolved the story but it was so so boring. From my non-academic perspective the main reason to read Greek tragedy is because they're metal as hell (Medea!) and while the Oresteia had moments of being metal while the family's caught in a Godfather-like cycle of retribution, the resolution is just... a courtroom scene. I understand what the story is saying with this, but it was very anticlimactic after all that! On top of everything this was very misogynist (especially when compared to later plays like Medea) and I'm honestly getting sick of reading men writing about men. I guess Meineck's translation was pretty good, it was pretty easy to read, but for whatever reason the footnotes at the bottom of each page didn't correspond with any in-text superscript or asterisk or other markers! This was a very stupid publishing decision! ( )
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
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. (tr. Lattimore 1953)
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.
[tr. Fagles 1984]
Citations
Derniers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
So as the eagles wheeled at the crossroads, Calchas clashed out the great good blessing mixed with doom for the halls of kings, and singing with our fate we cry, cry for the death, but good win out in glory in the end.
The Eumenides: The Women of the City: All-seeing Zeus and Fate embrace, down they come to urge our union on - Cry, cry, in triumph, carry on the dancing on and on! [tr. Flagles 1984]
The Eumenides (Chorus: There shall be peace forever between these people of Pallas and their guests. Zeus the all seeing met with Destiny to confirm it. Singing all follow our footsteps. Exeunt omnes, in procession. [tr. R. Lattimore 1953]
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
This LT Work is the complete Oresteia trilogy of plays by Aeschylus, including:
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.
Directeur de publication
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Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Eschyle est l' inventeur de la tragedie attique telle que nous la connaissons : en introduisant un deuxieme acteur sur scene, Eschyle bouleverse la scene tragique jusqu'ici reservee a un dialogue entre l'acteur et le choeur. Cependant la vie du pere de la tragedie ne nous est guere connue. Il serait ne aux alentours de 525 a Athenes, dans une famille d'Eupatrides. Eschyle a donc vecu successivement la domination des Pisistratides et les reformes de Clisthene, d'ou sans doute son gout pour la question de la justice. Citoyen exemplaire, il a participe aux batailles de Marathon et de Salamine, dont il fait le recit dansLes Perses. Pour des raisons qui nous sont restees ignorees, il quitte Athenes et s'exile a la cour de Hieron, tyran de Sicile. Ses succes furent nombreux, autant que ses pieces (la tradition lui prete plus de 73 oeuvres), dont malheureusement seules 7 nous sont parvenues.L'edition de Paul Mazon presente en deux volumes les tragedies d'Eschyle. Chaque piece est precedee d'une notice qui lui est propre. Celle-ci fournit, tous les elements mythologiques, historiques et philologiques, necessaires a la bonne comprehension de ces pieces parfois lacunaires. Des notes accompagnent la lecture.
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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. ( )