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| oresteia full text: The Oresteia of Aeschylus Aeschylus, 2022-10-27 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| oresteia full text: The Oresteia Aeschylus, 2014-08-06 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. |
| oresteia full text: The Oresteia Aeschylus,, 2014-04-24 First performed in 458BC, Aeschylus's trilogy of plays - known collectively as The Oresteia - remains perhaps the great masterpiece of Ancient tragic drama. Telling the bloody story of the House of Atreus, Aeschylus's tragedy stages an eternal debate about justice and revenge that remains relevant more than two millenia later. Now available in the Bloomsbury Revelations series in this classic and authoritative translation by Hugh Lloyd-Jones, this book contains the text of all three plays - Agamemnon, The Libation Bearers and The Eumenides - with extensive scholarly annotation throughout. |
| oresteia full text: Orestes and Other Plays Euripides, 2006-02-23 Written during the long battles with Sparta that were to ultimately destroy ancient Athens, these six plays by Euripides brilliantly utilize traditional legends to illustrate the futility of war. The Children of Heracles holds a mirror up to contemporary Athens, while Andromache considers the position of women in Greek wartime society. In The Suppliant Women, the difference between just and unjust battle is explored, while Phoenician Women describes the brutal rivalry of the sons of King Oedipus, and the compelling Orestes depicts guilt caused by vengeful murder. Finally, Iphigenia in Aulis, Euripides' last play, contemplates religious sacrifice and the insanity of war. Together, the plays offer a moral and political statement that is at once unique to the ancient world, and prophetically relevant to our own. |
| oresteia full text: The Complete Aeschylus Aeschylus, 2013-04-08 Aeschylus' Oresteia, the only ancient tragic trilogy to survive, is one of the great foundational texts of Western culture. It begins with Agamemnon, which describes Agamemnon's return from the Trojan War and his murder at the hands of his wife Clytemnestra, continues with her murder by their son Orestes in Libation Bearers, and concludes with Orestes' acquittal at a court founded by Athena in Eumenides. The trilogy thus traces the evolution of justice in human society from blood vengeance to the rule of law, Aeschylus' contribution to a Greek legend steeped in murder, adultery, human sacrifice, cannibalism, and endless intrigue. |
| oresteia full text: Aeschylus: The Oresteia Simon Goldhill, 2004-01-19 This is the only general introduction in English to Aeschylus' Oresteia, one of the most important and most influential of all Greek dramas. Simon Goldhill focuses on the play's themes of justice, sexual politics, violence, and the position of man within culture, and explores how Aeschylus constructs a myth for the city in which he lived. A final chapter considers the influence of the Oresteia on later theatre. Its clear structure and guide to further reading will make this an invaluable guide for students and teachers alike. |
| oresteia full text: An Oresteia Aeschylus, Sophocles, Euripides, 2009-03-31 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. |
| oresteia full text: The Oresteia Aeschylus, 2007 William von Humbolt wrote of Aeschylus' thatamong all the products of the Greek stage, none can compare with it in tragic power; no other play shows the same intensityand pureness of belief in the divine and good; none can surpassthe lessons it teaches a |
| oresteia full text: The Oresteia of Aeschylus George Thomson, Walter G. Headlam, 2013-12-19 First published in 1938, this book forms part one of a two-volume edition of the Oresteia. This first volume contains the original Greek text of the Oresteia with a facing-page English translation and notes. A detailed introduction is also provided. The second volume is largely composed of a comprehensive textual commentary. This book will be of value to anyone with an interest in the works of Aeschylus and classical literature. |
| oresteia full text: Agamemnon Aeschylus, 2016-09-06 The sense of difficulty, and indeed of awe, with which a scholar approaches the task of translating the Agamemnon depends directly on its greatness as poetry. It is in part a matter of diction. The language of Aeschylus is an extraordinary thing, the syntax stiff and simple, the vocabulary obscure, unexpected, and steeped in splendour. Its peculiarities cannot be disregarded, or the translation will be false in character. Yet not Milton himself could produce in English the same great music, and a translator who should strive ambitiously to represent the complex effect of the original would clog his own powers of expression and strain his instrument to breaking. But, apart from the diction in this narrower sense, there is a quality of atmosphere surrounding the Agamemnon which seems almost to defy reproduction in another setting, because it depends in large measure on the position of the play in the historical development of Greek literature. |
| oresteia full text: Aeschylus II Aeschylus, 2013-04-19 This updated translation of the Oresteia trilogy and fragments of the satyr play Proteus includes an extensive historical and critical introduction. In the third edition of The Complete Greek Tragedies, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining their vibrancy for which the Grene and Lattimore versions are famous. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. Each volume also includes an introduction to the life and work of the tragedian and an explanation of how the plays were first staged, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. The result is a series of lively and authoritative translations offering a comprehensive introduction to these foundational works of Western drama. |
| oresteia full text: The Oresteia Trilogy Aeschylus, 2012-03-02 DIVClassic trilogy by great tragedian concerns the bloody history of the House of Atreus. Grand style, rich diction and dramatic dialogue. Still powerful after 2500 years. /div |
| oresteia full text: Aeschylus, the Oresteia Aeschylus, 2018 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 University |
| oresteia full text: The House of Atreus Aeschylus, 2013-04-08 Aeschylus was a Greek playwright considered to be the founder of the tragedy. Aeschylus along with Sophocles and Euripides are the three major Greek tragedians whose plays have survived. Before Aeschylus, characters in a play only interacted with the chorus. Aeschylus expanded the number of actors allowing for interaction among the characters. Seven of his 92 plays have survived. The Persian invasion of Greece, which took place during his lifetime, influenced many of his plays. The Oresteia is a trilogy of Greek tragedies written by Aeschylus, which concerns the end of the curse on the House of Atreus. The plays were Agamemnon, Choephorae (The Libation-Bearers), and the Eumenides (Furies). |
| oresteia full text: Language, Sexuality, Narrative Simon Goldhill, 2004-05-20 A close reading of the text concentrating on the developing meanings of words within the structuring of the play. |
| oresteia full text: The Tragic Drama of the Greeks Arthur Elam Haigh, 1896 |
| oresteia full text: The Agamemnon of Aeschylus Aeschylus, David Raeburn, Oliver Thomas, 2011-11-17 This commentary on Aeschylus' Agamemnon offers the reader a thorough introduction, extensive notes, and separate sections which explore Aeschylus' use of theatrical resources, an analysis of his distinctive poetic style and use of imagery, and an outline of the transmission of the play from 458 BC to the first printed editions. |
| oresteia full text: House of Names Colm Toibin, 2017-05-09 * A Washington Post Notable Fiction Book of the Year * Named a Best Book of the Year by NPR, The Guardian, The Boston Globe, St. Louis Dispatch From the thrilling imagination of bestselling, award-winning Colm Tóibín comes a retelling of the story of Clytemnestra and her children—“brilliant…gripping…high drama…made tangible and graphic in Tóibín’s lush prose” (Booklist, starred review). “I have been acquainted with the smell of death.” So begins Clytemnestra’s tale of her own life in ancient Mycenae, the legendary Greek city from which her husband King Agamemnon left when he set sail with his army for Troy. Clytemnestra rules Mycenae now, along with her new lover Aegisthus, and together they plot the bloody murder of Agamemnon on the day of his return after nine years at war. Judged, despised, cursed by gods, Clytemnestra reveals the tragic saga that led to these bloody actions: how her husband deceived her eldest daughter Iphigeneia with a promise of marriage to Achilles, only to sacrifice her; how she seduced and collaborated with the prisoner Aegisthus; how Agamemnon came back with a lover himself; and how Clytemnestra finally achieved her vengeance for his stunning betrayal—his quest for victory, greater than his love for his child. House of Names “is a disturbingly contemporary story of a powerful woman caught between the demands of her ambition and the constraints on her gender…Never before has Tóibín demonstrated such range,” (The Washington Post). He brings a modern sensibility and language to an ancient classic, and gives this extraordinary character new life, so that we not only believe Clytemnestra’s thirst for revenge, but applaud it. Told in four parts, this is a fiercely dramatic portrait of a murderess, who will herself be murdered by her own son, Orestes. It is Orestes’s story, too: his capture by the forces of his mother’s lover Aegisthus, his escape and his exile. And it is the story of the vengeful Electra, who watches over her mother and Aegisthus with cold anger and slow calculation, until, on the return of her brother, she has the fates of both of them in her hands. |
| oresteia full text: Aeschylus Aeschylus, 1922 |
| oresteia full text: The Oresteia of Aeschylus Aeschylus, 2000-09-04 Presents a modern translation of the ancient Greek trilogy which traces the chain of murder and revenge within the royal family of Argos, commissioned by the Royal National Theatre for performance in the Fall of 1999. |
| oresteia full text: The Oresteia Anne Lebeck, 1971 |
| oresteia full text: Sons of the Gods, Children of Earth Peter W. Rose, 2019-08-15 In this ambitious and venturesome book, Peter W. Rose applies the insights of Marxist theory to a number of central Greek literary and philosophical texts. He explores major points in the trajectory from Homer to Plato where the ideology of inherited excellence--beliefs about descent from gods or heroes--is elaborated and challenged. Rose offers subtle and penetrating new readings of Homer's Iliad and Odyssey, Pindar's Tenth Pythian Ode, Aeschylus's Oresteia, Sophokles' Philoktetes, and Plato's Republic. Rose rejects the view of art as a mere reflection of social and political reality--a view that is characteristic not only of most Marxist but of most historically oriented treatments of classical literature. He applies instead a Marxian hermeneutic derived from the work of the Frankfurt School and Fredric Jameson. His readings focus on illuminating a politics of form within the text, while responding to historically specific social, political, and economic realities. Each work, he asserts, both reflects contemporary conflicts over wealth, power, and gender roles and constitutes an attempt to transcend the status quo by projecting an ideal community. Following Marx, Rose maintains that critical engagement with the limitations of the utopian dreams of the past is the only means to the realization of freedom in the present. Classicists and their students, literary theorists, philosophers, comparatists, and Marxist critics will find Sons of the Gods, Children of Earth challenging reading. |
| oresteia full text: Found in Translation J. Michael Walton, 2006-07-06 In considering the practice and theory of translating Classical Greek plays into English from a theatrical perspective, Found in Translation, first published in 2006, also addresses the wider issues of transferring any piece of theatre from a source into a target language. The history of translating classical tragedy and comedy, here fully investigated, demonstrates how through the ages translators have, wittingly or unwittingly, appropriated Greek plays and made them reflect socio-political concerns of their own era. Chapters are devoted to topics including verse and prose, mask and non-verbal language, stage directions and subtext and translating the comic. Among the plays discussed as 'case studies' are Aeschylus' Agamemnon, Sophocles' Oedipus Tyrannus and Euripides' Medea and Alcestis. The book concludes with a consideration of the boundaries between 'translation' and 'adaptation', followed by an appendix of every translation of Greek tragedy and comedy into English from the 1550s to the present day. |
| oresteia full text: The Oresteian Trilogy Aeschylus, 2016-10-26 The Oresteia is a trilogy of Greek tragedies written by Aeschylus concerning the end of the curse on the House of Atreus and the pacification of the Erinyes. The name derives from the character Orestes, who sets out to avenge his father's murder. The only extant example of an ancient Greek theater trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. When originally performed, it was accompanied by Proteus, a satyr play that would have followed the trilogy. Proteus has not survived, however. In all likelihood the term Oresteia originally referred to all four plays; today it generally designates only the surviving trilogy. Many consider the Oresteia to be Aeschylus' finest work. Principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation. |
| oresteia full text: Aeschylus: The Oresteia Aeschylus, 1998 From the Penn Greek Drama Series, this volume offers translations by David Slavitt of the great trilogy of the House of Atreus, telling of Agamemnon's murder at the hands of his wife, Clytemnestra, and her lover, Aegisthus, and of Electra's rebelliousness and Orestes's ultimate revenge. |
| oresteia full text: The Eumenides (The Furies) of Aeschylus Aeschylus, 1925 |
| oresteia full text: Oresteia Aeschylus, 2011 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. |
| oresteia full text: A Companion to World Literature Ken Seigneurie, 2020-01-10 A Companion to World Literature is a far-reaching and sustained study of key authors, texts, and topics from around the world and throughout history. Six comprehensive volumes present essays from over 300 prominent international scholars focusing on many aspects of this vast and burgeoning field of literature, from its ancient origins to the most modern narratives. Almost by definition, the texts of world literature are unfamiliar; they stretch our hermeneutic circles, thrust us before unfamiliar genres, modes, forms, and themes. They require a greater degree of attention and focus, and in turn engage our imagination in new ways. This Companion explores texts within their particular cultural context, as well as their ability to speak to readers in other contexts, demonstrating the ways in which world literature can challenge parochial world views by identifying cultural commonalities. Each unique volume includes introductory chapters on a variety of theoretical viewpoints that inform the field, followed by essays considering the ways in which authors and their books contribute to and engage with the many visions and variations of world literature as a genre. Explores how texts, tropes, narratives, and genres reflect nations, languages, cultures, and periods Links world literary theory and texts in a clear, synoptic style Identifies how individual texts are influenced and affected by issues such as intertextuality, translation, and sociohistorical conditions Presents a variety of methodologies to demonstrate how modern scholars approach the study of world literature A significant addition to the field, A Companion to World Literature provides advanced students, teachers, and researchers with cutting-edge scholarship in world literature and literary theory. |
| oresteia full text: En Guerre Neil Harris, T. J. Edelstein, 2014 Explores World War I through French graphics from books, magazines, and prints of the period, presenting a wide range of perspectives. |
| oresteia full text: Aeschylus Aeschylus, 2008 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 third volume of this edition collects all the major fragments of lost Aeschylean plays. |
| oresteia full text: Eumenides Aeschylus, 1989 Text with translation, commentary and notes. (Aris and Phillips 1989). |
| oresteia full text: Reading Greek Tragedy Simon Goldhill, 1986-05-08 An advanced critical introduction to Greek tragedy for those who do not read Greek. Combines the best contemporary scholarly analysis of the classics with a wide knowledge of contemporary literary studies in discussing the masterpieces of Athenian drama. |
| oresteia full text: Voice into Text Ian Worthington, 2018-07-17 This volume deals with orality and literacy in ancient Greece and what consideration of these areas yields for that society, its literature, traditions and practices. Individual chapters focus on art, comedy, historiography, oratory, religion, rhetoric, philosophy, poetry, tragedy, and on orality in contemporary cultures (Greek and South African), which have a bearing on the ancient world. By considering such factors as oral elements in various genres and practices and how these have shaped the texts we have today, as well as the extent of literacy and the impact of literacy on oral traditions and on singers/writers, the book presents another insight into ancient Greek society and its people. |
| oresteia full text: The Orestia Aeschylus, 2004-06-01 |
| oresteia full text: Aeschylus: Agamemnon: Aeschylus: Agamemnon Eduard Fraenkel, 2004-01-08 Aeschylus: Agamemnon Volume II: Commentary 1-1055 |
| oresteia full text: Encyclopedia of Literary Translation Into English: A-L O. Classe, 2000 |
| oresteia full text: Law and Democracy in the Empire of Force James Boyd White, H. Jefferson Powell, 2009-12-18 The authors of this book share a concern for the state of law and democracy in our country, which to many seems to have deteriorated badly. Deep changes are visible in a wide array of phenomena: judicial opinions, the teaching of law, legal practice, international relations, legal scholarship, congressional deliberations, and the culture of contemporary politics. In each of these intersections between law, culture, and politics, traditional expectations have been transformed in ways that pose a threat to the continued vitality and authority of law and democracy. The authors analyze specific instances in which such a decline has occurred or is threatened, tracing them to the empire of force, a phrase borrowed from Simone Weil. This French intellectual applied the term not only to the brute force used by police and soldiers but, more broadly, to the underlying ways of thinking, talking, and imagining that make that sort of force possible, including propaganda, unexamined ideology, sentimental clichés, and politics by buzzwords, all familiar cultural forms. Based on the underlying crisis and its causes, the editors and authors of these essays agree that neither law nor democracy can survive where the empire of force dominates. Yet each manages to find a ground for hope in our legal and democratic culture. H. Jefferson Powell is Frederic Cleaveland Professor of Law and Divinity at Duke University and has served in both the federal and state governments, as a deputy assistant attorney general and as principal deputy solicitor general in the U.S. Department of Justice and as special counsel to the attorney general of North Carolina. His latest book is Constitutional Conscience: The Moral Dimension of Judicial Decision. James Boyd White is Hart Wright Professor of Law emeritus and Professor of English emeritus, at the University of Michigan. His latest book is Living Speech: Resisting the Empire of Force. An extraordinary collection of provocative, insightful, and inspiring essays on the future of law and democracy in the twenty-first century. ---Geoffrey R. Stone, Edward H. Levi Distinguished Service Professor of Law, University of Chicago These thoughtful essays diagnose democracy's perilous present, and---more importantly---they explore avenues to democracy's rescue through humanization of law. ---Kenneth L. Karst, David G. Price and Dallas P. Price Professor of Law Emeritus, UCLA Contributors Martin Böhmer, Universidad de San Andres, Buenos Aires, Argentina M. Cathleen Kaveny, University of Notre Dame Howard Lesnick, University of Pennsylvania The Honorable John T. Noonan Jr., Ninth Circuit Court of Appeals H. Jefferson Powell, Duke University Jedediah Purdy, Duke University Jed Rubenfeld, Yale University A.W. Brian Simpson, University of Michigan Barry Sullivan, Jenner and Block LLP, Chicago Joseph Vining, University of Michigan Robin West, Georgetown University James Boyd White, University of Michigan |
| oresteia full text: Greek Drama V Hallie Marshall, C. W. Marshall, 2020-02-06 Drawing together new research from emerging and senior scholars, this selection of papers from the decennial Greek Drama V conference (Vancouver, 2017) explores the works of the ancient Greek playwrights and showcases new methodologies with which to study them. Sixteen chapters from a field of international contributors examine a range of topics, from the politics of the ancient theatre, to the role of the chorus, to the earliest history of the reception of Aeschylus' Oresteia. Employing anthropological, historical, and psychological critical methods alongside performance analysis and textual criticism, these studies bring fresh and original interpretations to the plays. Several contributions analyse fragmentary tragedies, while others incorporate ideas on the performance aspect of certain plays. The final chapters deal separately with comedy, naturally focusing on the plays of Aristophanes and Menander. Greek Drama V offers a window into where the academic field of Greek drama is now, and points towards the future scholarship it will produce. |
| oresteia full text: Translating Classical Plays J. Michael Walton, 2016-04-14 Translating Classical Plays is a selection of edited papers by J. Michael Walton published and delivered between 1997 and 2014. Of the four sections, each with a new introduction, the first two cover the history of translating classical drama into English and specific issues relating to translation for stage performance. The latter two are concerned with the three Greek tragedians, and the Greek and Roman writers of old and new comedy, ending with the hitherto unpublished text of a Platform Lecture given at the National Theatre in London comparing the plays of Plautus with Sondheim’s A Funny Thing Happened on the Way to the Forum. The volume is an invaluable resource for anyone involved in staging or translating classical drama. |
| oresteia full text: Tony Harrison and the Classics Sandie Byrne, 2022 This volume presents fifteen chapters focusing on different aspects of the work of Tony Harrison, showing how his adaptations and translations explored themes of language, class, access to art, and the causes and effects of war. |
Oresteia - Wikipedia
The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BC, concerning the murder of Agamemnon by Clytemnestra, the murder of …
Oresteia | Greek tragedy, trilogy, Aeschylus | Britannica
Oresteia, trilogy of tragic dramas by the ancient Greek dramatist Aeschylus, first performed in 458 bce. It is his last work and the only complete trilogy of Greek dramas that has survived. The …
Oresteia by Aeschylus - Greek Mythology
Oresteia by Aeschylus (comprised of Agamemnon, Libation Bearers and Eumenides) is the only Ancient Greek trilogy to have survived to this day.
The Oresteia – Aeschylus | Play Summary & Analysis - Ancient …
“The Oresteia“ (comprising “Agamemnon” , “The Libation Bearers” and “The Eumenides” ) is the only surviving example of a complete trilogy of ancient Greek plays (a fourth play, which would …
The Oresteia
Agamemnon is one of four Greek tragedies written by Aeschylus in 450 B.C. collectively known as The Oresteia. This English translation of the original work was performed by E. D. A. …
Analysis of Aeschylus’s Oresteia – Literary Theory and Criticism
Jul 27, 2020 · The Oresteia, the only surviving Attic tragic trilogy, dramatizes the working out of the curse on the house of Atreus from Agamemnon’s homecoming from Troy and his murder …
The Oresteia of Aeschylus : Aeschylus : Free Download, Borrow, …
Jun 28, 2007 · The Oresteia of Aeschylus by Aeschylus; Warr, George C. W. (George Charles Winter), 1845-1901
The Oresteia - Wikisource, the free online library
Mar 27, 2025 · The Oresteia is a trilogy of Greek tragedies written by Aeschylus which concerns the end of the curse on the House of Atreus.
The Oresteia Summary - eNotes.com
In 458 B.C.E., during Philocles' term as archon, Aeschylus achieved first prize with his trilogy, The Oresteia. This epic saga of the ill-fated descendants of Atreus stands as a cornerstone of...
The Oresteia | What Will I Read? | The Major | Program of Liberal ...
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, …
