The Eumenides, by Aeschylus
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The Eumenides, by Aeschylus
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Along with Sophocles and Euripides, Aeschylus (circa 524-455 B.C.) is one of the triumvirate of Ancient Greek playwrights responsible for much of the establishment of Western drama as it exists today. Aeschylus was the first whose work survived and is credited as the Father of Tragedy, though the other two are probably better known in the West today. He was famous even among his contemporaries; Aristotle mentions how he revolutionized plays by creating more characters and having them interact with each other to produce conflict. Some of the Ancient Greeks’ most famous characters are famous because of Aeschylus, none more so than Orestes. Aeschylus is believed to have written nearly 100 plays, but less than 10 survived, chief among them being the trilogy known as The Oresteia, consisting of the three tragedies Agamemnon, The Libation Bearers and The Eumenides. He’s also credited for Prometheus Bound, though the authorship of that one is still in dispute.
The Eumenides, by Aeschylus- Published on: 2015-11-26
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .11" w x 6.00" l, .18 pounds
- Binding: Paperback
- 48 pages
Language Notes Text: English, Greek (translation)
About the Author Aeschylus was Greece's leading playwright between his first victory at the festival Dionysus in 0484 B.C.E. until his death, winning thirteen first-place crowns in that period. His epitaph boasts only that he fought bravely for Athens at the Battle of Marathin.M.L. West is Emeritus Fellow of All Souls College, Oxford.Martin L. West is Senior Research Fellow, All Souls College, Oxford.
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5 of 6 people found the following review helpful. Superb Greek text and commentary. By Timothy Doran (Note: just in case you don't know this: this edition is in ANCIENT GREEK, not English. The only English is in the [voluminous] notes, not a translation.) I found this edition of the third play of Aeschylus' Oresteia very fine and very complete, and I was able to read all of the Eumenides with it -- and I am only in my second year of Greek (although my dedication may be above average). Sommerstein hits all the notes and remains balanced. The emendations are eminently well-defended; the meters are clear; the notes are thick and well-written. The historical overview of the years leading up to 458, when the play was produced, is unusually thorough for a book like this and deserves to become the standard for all such introductions. The cross-referencing with lines from other Greek literature is exhaustive and complete; much of the cross-referencing to different articles and works by modern authors impresses as well, with one caveat below. Depending on which kind of an Oresteia scholar you are, you may become frustrated with this book. In his notes, Sommerstein evades many of the gender issues that are seen by some as essential to the play. This is done with the utmost in skill, though, so if you didn't know (or couldn't read or think) you might think there were no gender issues in the play. Hand-in-hand with this fact, he ignores important American writing on the Oresteia (done by Froma Zeitlin in her bold, some might venture to say excessive, but nonetheless important 1977 article "The Dynamics of Misogyny," for example) and does subscribe to a view of the Oresteia with which I have great sympathy, but that some may find naively progressive. To wit, Sommerstein believes the Oresteia to be about joy, triumph, cooperation in Athens, and a new era. Overall, regardless of these matters this book is very fine. I would certainly use it were I to teach a reading class on the play.
2 of 2 people found the following review helpful. Alan H. Sommerstein's commentary on Aeschylus's Eumenides By Eustathios This is a review of Alan H. Sommerstein's commentary for the Cambridge green and yellow series on Aeschylus's "Eumenides". This play is the third in Aeschylus's "Oresteia" trilogy and depicts the final resolution of Orestes' struggle to rid himself of the Erinyes (i.e. Furies) who are pursuing him to avenge his killing of his mother Clytemnestra. This is achieved through a remarkable trial that takes place in Athens which is presided over by the goddess Athena at a newly established court on the Areopagus. Without spoiling too much of what happens in the play, it is enough to mention that this text offers noteworthy insights into Athenian views on the nature of justice, on whether and to what extent justice can be achieved through a city's legal system, on the relationship between the Olympian gods and older, more chthonic deities, and on the symbiotic relationship that exists between gods and humans. At 1047 lines of Greek text, "Eumenides" is substantially shorter than "Agamemnon", the first play in the trilogy, and is comparable in length to the second play, "Choephori/The Libation Bearers". I was surprised to discover that "Eumenides" is a much less difficult play to read in Greek than either of the preceding plays. A large part of this must certainly be credited to the commentator, who has provided a smooth text that prioritizes restoring coherence and readability to those places in the text where problems in transmission have occurred. At the same time, the commentator provides a fairly extensive apparatus criticus, leaves a few "daggers" in the printed text, and discusses textual problems in detail in the commentary, so it is certainly possible for the reader to follow and evaluate his choices in establishing the text while enjoying the fruits of textual conjectures.In addition to the Greek text, this edition also includes a 36 page introduction, just over 200 pages of commentary, a limited 3 page bibliography whose latest entry comes from 1987, a brief metrical appendix, and two indexes (one of subjects, one of Greek terms discussed). The introduction consists of a number of mini-essays on 8 separate topics: an overview of the Orestes-myth and its major literary manifestations, a discussion of the nature of the Erinyes-Eumenides-Semnai (which yields the interesting observation that the identification of the Erinyes with the Eumenides appears to postdate Aeschylus, along with the play's current title), a historical account of the Areopagus court, a survey of Aeschylus's life and work, a very provocative argument that the "Eumenides" has overt topical references and relevance to the political situation of Athens in 458 BC, a discussion of the staging and production of the play, and a brief treatment of the play's textual transmission. It is well to mention that this introduction (and the book in general) seems to be pitched to an audience that is already very familiar with the general contours of the Oresteia and the fundamental conventions of Greek Tragedy. For example, there are no plot summaries, histories of the genre of Tragedy, or instructions on how to scan meter and identify Doric forms to be found anywhere in this commentary.That being said, the commentary is written and structured in such a way that a reader with 2-3 years of Greek should be able to read the "Eumenides" without too much frustration with syntax and vocabulary, provided he or she makes frequent reference to the LSJ dictionary. For more advanced readers, I would say that in terms of being able to anticipate the reader's difficulties, this is among the best commentaries on a Greek tragedy that I have encountered. Virtually every time I had a question about unusual syntax or unusual diction, I turned to the back and found a concise and helpful note that addressed it. The major commentaries on the "Agamemnon" and "Choephori" are not nearly as geared towards helping the reader progress efficiently through the play as this commentary is, and besides the edition of "Prometheus Bound" in the same series, I do not know of any other affordable commentary on a tragedy of Aeschylus that succeeds in making one of his plays so immediately accessible.In addition to help with diction and syntax, the commentary also frequently cites verbal and thematic parallels in other Greek dramas, identifies and delineates connections between the "Eumenides" and the two previous plays in the trilogy, and, where relevant to interpretation, attempts to reconstruct the logistics of staging (entrances and exits, the use of "special effects" and props, etc.). At several points, the commentator also incorporates short essays into the commentary that analyze (among other things) character presentation and development, the legal argumentation deployed by each of the characters in the play, and the philosophical/religious/political implications of various aspects of the trial. These essays run in length from one to several pages, and as a whole they constitute a comprehensive and judicious explanation of what this play might have meant to its original audience.Overall, this is a very rich and useful commentary that makes a notoriously difficult author much more accessible, and it does so by presenting a wealth of detail while highlighting the information that a non-specialist reader needs to progress through the play at a swift and efficient pace.
0 of 0 people found the following review helpful. The Triumph of Reason Over Revenge By King Dimholt For those of you who don't know this "The Eumenides" is part 3 of the trilogy by Aeschylus. In Part 1 ("Agamemnon")Agamemnon was killed by his wife Clytemnestra so she could be with her lover Aegisthus. In Part 2 ("The Libation Bearers") Agamemnon's son Orestes flipped the tables and killed Aegisthus and Clytemnestra. but Orestesis tormented by the furies. This brings us to the 3rd and concluding chapter.The furies basically take the role of the chorus in the 3rd chapter. Basically, the furies do Zeus' dirty work for him. (Kind of along the line odf a Devil's Advocate.)Well, Zeus's son Apollo is confident the outcome will turnout in Orestes's favor. (Why not? Apollo is Zeus's son, and he commanded Orestes to avenge Agamemnon. And his 1/2 sister Athena is going to be the judge.)Orestes places in faith in Apollo. For one final time Clytemnestra (now a ghost) appears and demands vengeance for her murder. (It would appear that Aeschylus knows that murder and revenge transcend life and death.)When Apollo tells the furies to get out, he almost sounds like a priest performing an exorcism: "Out, out! Be off, and clear of this holy place /of your foul pestilence..." Interestingly, when Apollo confronts the furies with the full story, they have a mafia like theory. It was alright for Clytemnestra to kill Agamemnon, because he wasn't family by blood. It was wrong for Orestes to kill Clytemnestra because she was his mother.but we can trust that Athena (goddess of wisdom) will bring reason to this dispute. Interestingly, Apollo continues to sound like a priest combating evil: "I would not have your powers, even as a gift."Orestes continues to place his trust in Athena and Apollo. Throughout the trial, the furies emphasize their distance from the gods. During the trial, Apollo emphasizes that he told Orestes to kill Clytemnestra. The trial seems to stay on Orestes's side, and the arguments of the furies start to lose even any hint of reason. We need not be surprised when Athena finds for Orestes.The cycle of revenge ends when Athena paves the way for reconciliation with the furies. All in all, this was a wonderful trilogy that shows the dangers of revenge, and that a return to reason is the only way it can end.
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