By Aeschylus, Sophocles, Euripides
In An Oresteia, the classicist Anne Carson combines 3 various models of the tragedy of the home of Atreus ― A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the homicide of her daughter Iphigeneia through her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's activities, Apollo calls on her son, Orestes, to avenge his father's loss of life with assistance from his sister Elektra. in spite of everything, Orestes is pushed mad by way of the Furies for his bloody betrayal of kinfolk. Condemned to demise by way of the folk of Argos, he and Elektra needs to justify their activities ― or flout society, justice and the gods.
Carson's translation combines modern language with the normal constructions and rhetoric of Greek tragedy, beginning up this old story of vengeance to a latest viewers and revealing the basic wit and morbidity of the unique performs.
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Additional resources for An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides
His political consciousness seems to have been transformed by the war and its aftermath, just as his prose voice lost its hauteur and sardonic tone. ‘Molloy and the others came to me the day I became aware of my own folly. ’1 In his post-war career, though his work became ever less connected to a recognisable world, one could say, paradoxically, that it became more political, more shaped by exploitative power relations, edicts handed down from above, secrecy and inscrutability and descriptions of raw human torment.
78) It is Vladimir who addresses the young boy at the end of each act, who experiences the philosophical insights. Many spectators record the impression that the two tramps feel like an old married couple, who bicker and quarrel – ‘but for me . . where would you be . ’; ‘I’m tired telling you that’ – and even threaten to leave each other. But underneath their irritations and impatience there is a close bond, and a recognition of their shared plight. ’ (69). Vladimir is generally the protective one in the relationship.
Unforgettable. And it’s not over. Apparently not. It’s only beginning. It’s awful. Worse than the pantomime The circus. Plays VLADIMIR : ESTRAGON : 35 The music-hall. The circus. (34–5) This exchange is a comment on the sort of play-acting that the two vagrants get up to in order to pass the time while waiting for Godot. But at the same time as it passes judgement on these exchanges, it also forms a part of them – it is just such a music hall exchange itself. Furthermore it humorously operates as a parody of the sort of snobbish conversation that might take place in the bar of the theatre during the interval.
An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides by Aeschylus, Sophocles, Euripides