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The House of Atreus; Being the Agamemnon, the Libation bearers, and the Furies, by Aeschylus
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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
- Published on: 2012-12-18
- Released on: 2012-12-18
- Format: Kindle eBook
Most helpful customer reviews
4 of 4 people found the following review helpful.
This trilogy of ancient Greek plays is an epic of murder and vengeance, exploring weighty themes such as the nature of justice.
By L. G. Mitchell
Aeschylus' cycle of tragedies, consisting of the plays Agamemnon, The Libation Bearers (The Choephore) and The Furies (The Eumenides), is the only surviving trilogy from Ancient Greece. They concern a curse on the house of Atreus, the father of Agamemnon, which had been imposed for a series of horrors including murder, betrayal and cannibalism. The first play, Agamemnon, is about the murder of returned Trojan War hero Agamemnon, son of Atreus and his concubine Cassandra, by Agamamnon's wife Clytemnestra. In the second play, The Libation Bearers, Agamemnon's children, Orestes and Electra, reunite to seek revenge on Clytemnestra. They succeed in killing Clytemnestra and her lover Aegisthus, but thereby Orestes incurs the wrath of the Furies or Erinyes, infernal goddesses of vengeance. The third play, The Furies, is details the pursuit of Orestes by the Furies, as Orestes travels to Athens, with the aid of the gods Apollo and Hermes, to stand trial for his murder of Clytemnestra by the goddess Athena and twelve other judges. Orestes is ultimately acquitted, having redeemed his lineage from the family curse. The Furies are, well, furious with this decision, but Athena is eventually able to appease them, and they gradually change their nature, becoming the Euminides, "The Kindly Ones." Thus this story of murder and mayhem ends on an upbeat note.
Although this book refers to the trilogy as The House of Atreus, a better known name is The Oresteia, after Orestes, the major character in the second and third plays. In this series of plays, Aeschylus explores weighty theological and philosophical themes, such as the meaning of suffering, the nature of justice, and the influence of the gods in human affairs. This is nowhere better illustrated than in Orestes dilemma: Is it justice for him to avenge his father's murder by killing his own mother, or does this simply perpetuate the cycle of violence? There is no easy answer. I can imagine that if Aeschylus were living today, he might very well be writing for dramatic series that deal with the same issues, such as Breaking Bad.
Certainly, the Oresteia has managed to keep philosophers busy for the last 2400 years, but the trilogy has something for everyone. If you like flawed heroes, Agamemnon and Orestes are great examples. If you prefer the bad guys, Clytemnestra is on par with Lady MacBeth, although she is quite a complex character, and not everyone agrees that she is a villain. Are monsters more your forte? The ancient Greeks loved them as much as we do, and Aeschylus does not disappoint. One account tells that, at the first performance of the Oresteia, the Furies were so frightening that a pregnant woman in the audience miscarried and died.
Aeschylus was the first classic Greek dramatist whose works are extant, and he set a high standard for those who would come afterward.
The translator for the House of Atreus was the eccentric Oxford classicist, E. D. A. Morshead (1849 - 1912). Although this Kindle version of the book does not include publication data, the Dover paperback edition of the same work (1996) notes that it was originally published in 1909 by P.F. Collins & Son, NY, in Volume 8 of The Harvard Classics. Morshead's translation is in metered verse, some of which, especially in the Chorus sections is rhyming. His translation has been criticized as archaic, even by Victorian standards. He sometimes employed "eye rhymes," words which look like they should rhyme but in fact do not rhyme when pronounced. For example, in the first Chorus of Agamemnon, he rhymes cry, high and agony. This device was not uncommon in Medieval English poetry, but seems strange to modern readers. Nevertheless, his version has a vitality and rhythm which is more appealing than many in prose. There are lots of more modern translations of the Oresteia published since Morshead's day, but this one is worth a look...and it's free!
1 of 1 people found the following review helpful.
Surprised myself
By Dienne
My mother is going to be taking an adult education “Great Books” class which she is rather nervous about, so I encouraged her by agreeing to read the books with her. This is the second book, after THE TRIAL AND DEATH OF SOCRATES. As I dipped my toe into this book, I too started to get a bit nervous. Ancient Greek poetic tragedy chock full of references to Greek history/legend/mythology. Whoo boy.
But the more I dove in, the more I was pleasantly surprised that not only was I understanding the book (overall; I won’t claim to have understood every single reference), but I was enjoying the poetic language. While the language is in some ways formal and flowery, it also has a certain succinctness and grace to it that makes it very powerful to read. The imagery, emotions and nuances come through very clearly and I definitely had a sense of each character.
The story (or series of stories) reads almost like a soap opera and involves the end of the Trojan war when King Agamemnon is returning home victorious. He is anxiously awaited by his wife Clytemnestra who does a convincing job of playing the devoted and loving wife. But after convincing Agamemnon to walk on a path of purple laid down for him (which he thinks is hubris, but inexplicably agrees to), she leads him to his bath where she murders him as retribution for the sacrifice of her daughter Iphigenia and his taking the Trojan seeress Cassandra as his concubine, among other reasons much too complicated for a simple book review.
Agamemnon’s and Clytemnestra’s exiled children Orestes and Electra then return and learn of their mother’s murder of their father, which puts them in a rather awkward position, but they nonetheless side with their father and begin plotting to avenge his death. Orestes successfully kills his mother and her paramour Aegisthus (who has taken on Agamemnon’s kingship), but he is pursued by the Furies for his “crime” and forced to flee first to seek Apollo’s protection and then Athena’s judgment about his guilt. I found this “trial” one of the more interesting parts of the book. Is it “murder” to slay your mother if she has killed your father?
I am certainly no expert on translations and I am in no position to expound on the accuracy of this particular translation to the original. But, as mentioned, I thoroughly enjoyed reading it. The play has been rendered into very powerful English that is perfectly understandable, yet somehow captures the flavor of the ancient writing. Highly recommended, even if you think, as I did, that ancient Greek poetic tragedy may be above your pay grade.
1 of 1 people found the following review helpful.
The first soap opera
By Kindle Customer
I like it. I have always had a fondness for Aeschylus and, as a writer often refer back to the Greek tragedies. Aeschylus is one of them. I know the story of the House of Atreus, how the curse originally began and carried through the generations. It is by far the most interesting story, a soap opera for its time that kept the ancient Greeks interested. The tragedies are great and I recommend reading them aloud where you get a better sense of characterization and dialog. I enjoyed this a lot.
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