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In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions—Aischylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes—giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. After the murder of her daughter Iphegenia 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, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law.
Carson's accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson's Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.
A slave like the rest of you,
She once was your queen.
Troy has fallen to the Greeks, and Hecuba, its beloved queen, is widowed and enslaved. She mourns her great city and the death of her husband, but when fresh horrors emerge, her grief turns to rage and a lust for revenge.
A savage indictment of the devastation of war, Hecuba is brought to life in this thrillingly visceral new version.
Hecuba premired at the Donmar Warehouse, London in September 2004.
and Aristophanic comedy within it. Footnotes and more detailed endnotes
further distinguish this edition of a play famous for its caricature of
Socrates and of the "new learning."
The authors provide a clear, accurate translation along with notes aimed at a broad audience. The introductory essay discusses the changing economic, political and trading world of the eighth and seventh centuries B.C.E., while the notes present the range and possible meanings of important Greek terms and references in the poem and highlight areas of ambiguity in our understanding of Works and Days.
The question raised at the beginning of the text builds on an idea from Aristotle's earlier work The Physics. Namely, whether things come into being through causes, through some prime material, or whether everything is generated purely through "alteration."
Alteration concerned itself with the ability for elements to change based on common and uncommon qualities.
From this important work Aristotle gives us two of his most remembered contributions. First, the Four Causes and also the Four Elements (earth, wind, fire and water). He uses these four elements to provide an explanation for the theories of other Greeks concerning atoms, an idea Aristotle considered absurd.
In this outstanding new translation, commissioned by Ireland's renowned Abbey Theatre to commemorate its centenary, Seamus Heaney exposes the darkness and the humanity in Sophocles' masterpiece, and inks it with his own modern and masterly touch.