The Oresteia: Agamemnon, The Libation Bearers, The Eumenides (Penguin Classics) - Softcover

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Aeschylus was born of noble family near Athens in 525 BC. He took part in the Persian Wars, adn his epitahp represents him as fighting at Marathon. He wrote more than seventy plays, of which only seven have survived.

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This book is a play that has been translated into English. 'The Oresteia'

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Table of Contents

THE ORESTEIA AGAMEMNON, THE LIBATION BEARERS, THE EUMENIDES

Title Page

Copyright Page

Foreword

Acknowledgements

AGAMEMNON

THE LIBATION BEARERS

THE EUMENIDES

THE GENEALOGY OF ORESTES

SELECT BIBLIOGRAPHY

NOTES

GLOSSARY

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PENGUIN CLASSICS

THE ORESTEIA AGAMEMNON, THE LIBATION BEARERS, THE EUMENIDES

AESCHYLUS was born of a noble family at Eleusis near Athens in 525 B.C. He took part in the Persian Wars and his epitaph, said to have been written by himself, represents him as fighting at Marathon. At some time in his life he appears to have been prosecuted for divulging the Eleusinian mysteries, but he apparently proved himself innocent. Aeschylus wrote more than seventy plays, of which seven have survived: The Suppliants, The Persians, Seven Against Thebes, Prometheus Bound, Agamemnon, The Libation Bearers, and The Eumenides. (All are translated for Penguin Classics.) He visited Syracuse more than once at the invitation of Hieron I and he died at Gela in Sicily in 456 B.C. Aeschylus was recognized as a classic writer soon after his death, and special privileges were decreed for his plays.

ROBERT FAGLES is Arthur W. Marks ’19 Professor of Comparative Literature, Emeritus, at Princeton University. He is the recipient of the 1997 PEN/Ralph Manheim Medal for Translation and a 1996 Academy Award in Literature from the American Academy of Arts and Letters. Fagles has been elected to the Academy, the American Academy of Arts and Sciences, and the American Philosophical Society. He has translated the poems of Bacchylides. His translations of Sophocles’ Three Theban Plays, Aeschylus’ Oresteia (nominated for a National Book Award) and Homer’s Iliad (winner of the 1991 Harold Morton Landon Translation Award by The Academy of American Poets, an award from The Translation Center of Columbia University, and the New Jersey Humanities Book Award) are published in Penguin Classics. His original poetry and his translations have appeared in many journals and reviews, as well as in his book of poems, I, Vincent: Poems from the Pictures of Van Gogh. Mr. Fagles was one of the associate editors of Maynard Mack’s Twickenham Edition of Alexander Pope’s Iliad and Odyssey, and, with George Steiner, edited Homer : A Collection of Critical Essays. Mr. Fagles’ most recent work is a translation of Homer’s Odyssey, available from Penguin.

The late W B. STANFORD was Senior Fellow of Trinity College Dublin and Regius Professor of Greek at Dublin University, where he became Chancellor. His several works include the acclaimed Ulysses Theme, definitive editions of Homer’s Odyssey, Sophocles’ Ajax and Aristophanes’ Frogs, Aeschylus in His Style, pioneering studies of metaphor and ambiguity in Greek poetry, and The Sound of Greek, Greek Tragedy and the Emotions, and with J.V. Luce, The Quest for Ulysses. Stanford served as representative of Dublin University in the Senate of the Irish Republic from 1948 to 1969 and as chairman of the Dublin Institute for Advanced Studies beginning in 1972.

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First published in the United States of America by
Viking Penguin Inc. 1975
First published in England by
Wildwood House Ltd 1976
Published in the Penguin Classics 1977
Reprinted with revisions 1979

All rights reserved

LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA
Aeschylus.
The Oresteia.
Bibliography: p.
I. Fagles, Robert. II. Title.
PA3827.A7F.01 83-17421

eISBN : 978-1-101-04263-2

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FOREWORD

My thanks to Aeschylus for his companionship, his rigours and his kindness. I found him a burly, eloquent ghost, with more human decency and strength than I could hope to equal. As I tried to approach him, I remembered what they said of the ghost of Hamlet’s father: ‘We do it wrong, being so majestical, To offer it the show of violence.’ Translation has its violent moments, and I suppose it must. It begins with attraction, then a kind of attack, and it ends, if you are lucky, with a strong impersonation of your author. Whatever the end, at any rate, it is meant to be a thing of love and homage. So in thanking that proud old spirit, I would also ask for his forbearance, if he should ever hear what I have written in his name.

Now it is time to let this version of the Oresteia speak for itself, without apologies or statements of principle (petards that will probably hoist the writing later). A translator’s best hope, I think, and still the hardest to achieve, is Dryden’s hope that his author will speak the living language of the day. And not in a way that caters to its limits, one might add, but that gives its life and fibre something of a stretching in the process. In translating Aeschylus I have also tried to suggest the responsion of his choral poetry - the paired, isometric stanzas that form the dialectic dance and singing of his plays in Greek - but I have done so flexibly. and using English rhythms. The translation has its leanings, too, yet they are loyal to Aeschylus, at least as I perceive him, and loyal to the modem grain as well. There is a kinship between the Oresteia and ourselves; a mutual need to recognize the fragility of our culture, to restore some reverence for the Great Mother and her works, and especially to embrace the Furies within ourselves, persuading them, perhaps, to invigorate our lives. I hope this kinship can be felt in the English text and supported by the...