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 among the so much influential theatrical texts within the worldwide canon. In functionality, translation, version, in addition to sung and danced interpretations, it's been commonly used within the Greek international and the Roman empire, and from the Renaissance to the modern level. it's been important to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist pondering. participants to this interdisciplinary selection of eighteen essays on its functionality heritage 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 priceless examine relief of a chronological appendix of performances.
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Extra info for Agamemnon in performance 458 BC to AD 2004
10) the throwing oV of Wllets is prominent, but here combined with the murder scene and Cassandra’s concern for Agamemnon (see 35–6). 34 TrGF adesp. Oxy 2746, 1st–2nd cent. ad. See Coles (1968 and 1970); Gentili (1979), 63–87; E. Hall (2002), 18 with n. 46; R. Hunter (2002), 515–16. g. 13–14, Cassandra ‘Ah! Ah! ’ Deiphobus: ‘Greater than a riddle to me are the words you uttered’ (cf. Ag. 1112–13); and the puzzlement may come from the fact that while Deiphobus has just emerged from the palace, Cassandra has ‘seen’ him on the battleWeld (this may also be implied by the fragmentary ll.
6 Cf. n. 48, below. 6–15. g. Miola (1992), esp. 32–67. g. the Introduction to Kastner and Charlton (1921), on neo-Senecan closet drama.
Eur. IA 1476, 1511); the mattock of Zeus (cf. Soph. fr. *727R, from the lost play Chryses, evidently parodied by Aristophanes at Birds 1240); ‘a bitter end of marriage rites’ (745, cf. Eur. Med. 1388). But echoes like these may be fairly free-Xoating; it is more interesting to see how in the linguistic texture of Euripidean ‘remakes’ of Aeschylus, IA for example, reformulations of famous phrases will point up crucially ironic diVerence—as when Agamemnon’s ‘yoke-strap (ºÝðÆäíïí) of necessity’ (218) becomes the more prosaic ‘bonds of necessity’ (IíÆªŒBò æåýªìÆôÆ, IA 443), and the more ‘modern’ phrasing underlines the diVerently problematic nature of necessity for these people in this play.
Agamemnon in performance 458 BC to AD 2004 by Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin