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An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides
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In An Oresteia, the classicist Anne Carson combines three different versions of the tragedy of the house of Atreus ― A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the murder of her daughter Iphigeneia 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 is driven mad by the Furies for his bloody betrayal of family. Condemned to death by the people of Argos, he and Elektra must justify their actions ― or flout society, justice and the gods.Carson's translation combines contemporary language with the traditional structures and rhetoric of Greek tragedy, opening up this ancient tale of vengeance to a modern audience and revealing the essential wit and morbidity of the original plays.
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Product details
Paperback: 272 pages
Publisher: Farrar, Straus and Giroux; 1 edition (March 2, 2010)
Language: English
ISBN-10: 086547916X
ISBN-13: 978-0865479166
Product Dimensions:
5.6 x 0.8 x 8.2 inches
Shipping Weight: 6.4 ounces (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
17 customer reviews
Amazon Best Sellers Rank:
#159,659 in Books (See Top 100 in Books)
We seem to live in an era that demeans the past, that is, anything older than last year. Thinking people will find this Oresteia contains significance that will haunt humankind as long as the species lasts. Anne Carson's translation and introduction captures the essence of these ancient Greek plays. Mindless slogans of today lack the depth to take seriously. We are in particular urged to embrace the concept of "If you want peace, you must have justice." The Greeks too wanted justice. But how to define "justice?" When and how does "justice" become "revenge" and when does it become a satisfactory remedy to past grievances? These plays leave the reader to decide and to think consequences. Is this relevant to today or not?Finally, we have an elegance of speech lacking in almost all communication of today. We can be thankful that the Greeks of old did not have Twitter to communicate their deepest thinking. Also, they had profundity in their drama rather than mindless live "celebrity" shows. "An Oresteia" should be part of any thinking person's library.
i LOVED IT. it was PETTY and DRAMATIC in a way normal people could understand but it still kept that classical style about it
Truly an excellent translation from a legend in her field. I adored Agamemnon and like Elektra quite a bit. Did not care for Orestes, though that is no fault of Ms. Carson's translation.
Idiomatic poetic English makes the trilogy come alive. Carson is a great poet. Fully enjoyable and moving. The Sophocles and Euripides give it a fresh angle.
This is not the Oresteia, but her artificial Oresteia that replaces Aeschylus's second and third plays with corresponding versions by Sophocles and Euripides. This is a very useful text for a survey of classical literature course because you can cover all three authors in a single textbook and with a continuous story.That said, there are some annoying things. Carson uses deliberately ungrammatical phrases and strange formatting in her effort to capture major moments in the Greek, but I find it on the whole distracting and convoluted.She includes minimal stage directions (omitting all the choral movement cues), which I think are important to help students visualize the staging of the places.Also, her translations at places introduce artificial themes or overemphasize her interpretation. For example, in Agamemnon she makes a big deal about Cassandra saying twice, "I know that smell" where in the Greek what she says is (1) not repetition in the two lines and (2) is nowhere close to "I know that smell". The choice to use the exact line twice in close proximity is an important poetic decision, and I think it is quite misleading for the translator to introduce repetition that the poet did not write.Finally, her using Greek transliterations of names instead of the standard Romanizations, while gradually coming into vogue, is I think distracting and confusing. There are a million resources on "Aeschylus" that students will want to look at as they read, and explaining that her "Aiskhylos" is the rest of the academic world's "Aeschylus" is just an extra frustration to students and makes searching for resource materials under two names a needless hassle.
meet expectation
Thank you!
By using different authors, Anne Carson not only demonstrates the differences among them and simultaneously lets us see the myths in chronological order. I learn so much from her approach!
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