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Editorial Reviews
Review
I have enjoyed reading Meineck's Oresteia enormously. This is not a poet's version, but a translation for the stage by an experienced man of the theater. Its virtues are very real, and, though Meineck makes them seem easy, very hard to achieve. The idiom is contemporary without yielding to the siren song of gimmicky updating; it manages to be clear without betraying Aeschylus' complexity or sacrificing his intricate imagery. What makes it effective on stage makes it work on the page, too. With the added guidance of Helene Foley's characteristically intelligent Introduction and Meineck's own crisp annotation and full stage directions, this translation offers the most approachable and in many ways most communicative Oresteia now available. It will be the Oresteia of choice for many teachers and their students, as well as for readers interested in what makes Greek tragedy great theater. -- Peter Burian, Duke University
Product Description
Aeschylus, the earliest of the great Attic tragedians, presented his Oresteia at Athens' City Dionysia festival in 458 BCE. Born in the last quarter of the sixth century, Aeschylus had fought with the victorious Greeks in one and probably both of the Persian Wars (190 and 480-79). He died around 456 at about seventy years of age in Gela, Sicily. His epitaph records his role as a soldier at Marathon, not his artistic achievements, but these were many. The author of more than seventy plays, he won his first of thirteen tragic victories in 484. Of these plays, only seven remain. The Oresteia is Aeschylus' only complete surviving trilogy; the satyr play with which it was first performed, Proteus, is lost. Peter Meineck has aimed to translate the Oresteia for the modern stage.
See all Editorial Reviews
I have enjoyed reading Meineck's Oresteia enormously. This is not a poet's version, but a translation for the stage by an experienced man of the theater. Its virtues are very real, and, though Meineck makes them seem easy, very hard to achieve. The idiom is contemporary without yielding to the siren song of gimmicky updating; it manages to be clear without betraying Aeschylus' complexity or sacrificing his intricate imagery. What makes it effective on stage makes it work on the page, too. With the added guidance of Helene Foley's characteristically intelligent Introduction and Meineck's own crisp annotation and full stage directions, this translation offers the most approachable and in many ways most communicative Oresteia now available. It will be the Oresteia of choice for many teachers and their students, as well as for readers interested in what makes Greek tragedy great theater. -- Peter Burian, Duke University
Product Description
Aeschylus, the earliest of the great Attic tragedians, presented his Oresteia at Athens' City Dionysia festival in 458 BCE. Born in the last quarter of the sixth century, Aeschylus had fought with the victorious Greeks in one and probably both of the Persian Wars (190 and 480-79). He died around 456 at about seventy years of age in Gela, Sicily. His epitaph records his role as a soldier at Marathon, not his artistic achievements, but these were many. The author of more than seventy plays, he won his first of thirteen tragic victories in 484. Of these plays, only seven remain. The Oresteia is Aeschylus' only complete surviving trilogy; the satyr play with which it was first performed, Proteus, is lost. Peter Meineck has aimed to translate the Oresteia for the modern stage.
See all Editorial Reviews
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First Sentence:
SCENE: The House of Atreus in Argos. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
chanted anapests, stage right wing, iambic trimeters, choral song Key Phrases - Capitalized Phrases (CAPs): (learn more)
Enter Clytemnestra, Enter Orestes, Exit Clytemnestra, Mother Night, Exit Orestes, Lord Apollo, Trojan War, Asia Minor, Lady Athena, Zeus the Third New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Back Cover | Surprise Me!
SCENE: The House of Atreus in Argos. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
chanted anapests, stage right wing, iambic trimeters, choral song Key Phrases - Capitalized Phrases (CAPs): (learn more)
Enter Clytemnestra, Enter Orestes, Exit Clytemnestra, Mother Night, Exit Orestes, Lord Apollo, Trojan War, Asia Minor, Lady Athena, Zeus the Third New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Back Cover | Surprise Me!
Citations (learn more)
This book cites 42
books:
See all 42 books this book cites
- The Libation Bearers (Prentice-Hall Greek drama series) by Aeschylus on 6 pages
- Greek Tragedy (Drama Classic: Collections S.) by Sophocles on 4 pages
- The House of Atreus by Aeschylus on 4 pages
- Greek Drama by Aeschylus in Back Matter (1), Back Matter (2), and Back Matter (3)
- Greek Tragedy (Yale Classical Studies) (Vol.25) by Gould in Back Matter (1), and Back Matter (2)
See all 42 books this book cites
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80% buy the item featured on this page: Oresteia $34.95 |
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3% buy Aeschylus I: Oresteia: Agamemnon, The Libation Bearers, The Eumenides (The Complete Greek Tragedies) (Vol 1) $11.70 |
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3% buy The Three Theban Plays (Penguin Classics) $8.57 |
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