Only read Agamemnon. The ending turned violent and gruesome. Was not expecting that. ( )

In addition to lively, clear translations of this trilogy, Roche includes appendices in which he describes his intention in translating, the ironic depiction of Clytemnestra, how the theology of Aeschylus in the three plays reflects evolving Greek understanding of God, and an informative overview of the theater in ancient Greece. I often referred to the glossary since I have a hard time keeping the Greek pantheon and heroes straight. (less) [edit] ( )

My edition had a 100 page introduction that was frankly a chore to get through. I feel bad because clearly Phillip Vellacott (the editor) was extremely passionate about the trilogy, but that was so much introduction.

The Orestia seeks to answer that time-honoured question: If your mum kills your dad, are you morally obligated to kill your mum?

In all seriousness, Orestes is in a no-win situation. He is honour-bound to avenge his father, but will be cursed forever if he kills his mother.

Aeschylus's answer to this is to illustrate the transition from an eternal vengeance-fuelled cycle of violence to a civilised justice system. At least one person I spoke to considered this a "cop-out" but I quite like it. It give the cycle a greater meaning and raises a mirror to our own ideas of justice and retribution.

My only prior experience with Aeschylus had been my study of Aristophanes' The Frogs in high school, in which Aeschylus is portrayed as an old-fashioned fuddy-duddy whose works nevertheless come out more worthy than later, more cynical playwrights.

I was surprised at the sophistication of the writing - all the characters have their own motives and perspectives. Although Clytaemnestra is portrayed as a villain, you can easily see how she ended up where she did.

Cassandra was my favourite character, perhaps because she was the only person involved who hadn't done anything wrong (unless you count offending Apollo!).

There are also very sophisticated layers of symbolism and intense, evocative imagery. I enjoyed the ominous imagery of the furies gathering on the roof, signifying the feminine fury soon to fill the house.

Here's some excerpts I particularly liked, this one because it's low key kinda hot:

Oh but a man's high daring spirit,
who can account for that? Or woman's
desperate passion daring past all bounds?
She couples with every form of ruin known to mortals.
Woman, frenzied, driven wild with lust,
twists the dark, warm harness
of wedded love - tortures man and beast!

An this one because I read it just as the 2024 US persedential election concluded:

But ancient Violence longs to breed,
new violence comes
when its fatal hour comes, the demon comes
to take her toll - no war, no force no prayer
can hinder the midnight Fury stamped
with parent Fury moving through the house.

But justice shines in sooty hovels,
loves the decent life.
From proud halls crusted with gilt by filthy hands
she turns her eyes to find the pure in spirit -
spurning the wealth stamped counterfeit with praise,
she steers all things towards their destined end.

Aristophanes concluded that it was Aeschylus Athens needed as its defeat loomed on the horizon. Perhaps it is Aeschylus we also need now, to remind us how we must suffer through violence and disaster and into true justice. ( )

A triology of Greek tragedies Agamemnon, The Libation Bearers, and The Eumenides. Concerns domestic tragedy and the eventual domestication of furies. Also includes an introduction on Aeschylus and commentary on the plays.

A triology of Greek tragedies Agamemnon, The Libation Bearers, and The Eumenides. Concerns domestic tragedy and the eventual domestication of furies. Also includes an introduction on Aeschylus and commentary on the plays.