By Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin
Aeschylus' Agamemnon, the 1st play within the Oresteia trilogy, is without doubt one of the such a lot influential theatrical texts within the worldwide canon. In functionality, translation, model, in addition to sung and danced interpretations, it's been frequent within the Greek international and the Roman empire, and from the Renaissance to the modern degree. it's been critical to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist considering. individuals to this interdisciplinary number of eighteen essays on its functionality background comprise classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the booklet is generously illustrated, and supplemented with the important examine reduction of a chronological appendix of performances.
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Additional resources for Agamemnon in performance 458 BC to AD 2004
R. Green (1991), Taplin (1993), Giuliani (1996). 34 Pat Easterling show Orestes and Electra at Agamemnon’s tomb, or Orestes at Delphi, and it is hard to avoid seeing these as having some bearing, close or distant, on the reception of Libation Bearers and Eumenides. For Agamemnon, disappointingly, there is very little that can be associated with the play in this way. The famous Boston krater by the Dokimasia painter, showing Aegisthus killing Agamemnon, trapped in a net-like robe, and Clytemnestra rushing in with an axe, is thought by most experts to be earlier than 458, and nothing surviving from a later date looks really close to Aeschylus’ version of events (cf.
E. heard at the time), or through messengers later, they make clear what has been done’. Cf. schol. on Eur. Hec. 11 on Aeschylus’ innovations: ‘he devised dying inside the stage building (ôe ðe óŒçíBò IðïŁíÞóŒåØí) so as not to kill in full view (Kí öÆíåæﬁH)’. In general cf. Aristotle, Poetics 1453b1–11 and Horace, Ars Poetica 179–88, with the discussion by Brink (1971) ad loc. (1. 244–5); also Meijering (1987), Ch. 1. 28 Pat Easterling What this deadpan hypothesis, composed long after the time of Aeschylus and his Wfth-century successors, seems to point to is the play’s classic status as a theatrical model.
This part of the play is admired for its power to arouse ekple¯xis (amazement/terror) and pity in full measure. ), have large lacunae. But Tzetzes and Eustathius had access to the text, and it was imitated by the author of Christus Patiens (see n. 22 below). 6 For the scholia see Smith (1976). These are sparse by comparison with those for (say) Seven against Thebes, and in any case fragmentary (cf. n. 5 above), but the testimonia, including many citations in the lexicographers, especially Hesychius, make clear that there must have been a substantial body of scholarship on the play in antiquity.