Résultats de "Aeschylus" dans Toutes les catégories

This collection presents the works of the three fathers of ancient Greek tragedies: Aeschylus, Sophocles, and Euripides. The reader of this collection will be able to comprehend how the plots and conflicts populating classical tragedy developed. The principle theme of Aeschylus' tragedies is the idea of fate being omnipotent and the futility in struggling against it. The tragedies of Sophocles reflect the era of the Greeks' victorious war against the Persians, which opened up commercial prosperity through trade.

The final play of the Oresteia, called The Eumenides (Εὐμενίδες, Eumenídes), illustrates how the sequence of events in the trilogy ends up in the development of social order or a proper judicial system in Athenian society. In this play, Orestes is hunted down and tormented by the Furies, a trio of goddesses known to be the instruments of justice, who are also referred to as the "Gracious Ones" (Eumenides). They relentlessly pursue Orestes for the killing of his mother.

Agamemnon is the first of the three linked tragedies which make up The Oresteia trilogy by the ancient Greek playwright Aeschylus. Trilogy as a whole, originally performed at the annual Dionysia festival in Athens in 458 BCE, where it won first prize, is considered to be Aeschylus' last authenticated, and also his greatest, work. Agamemnon describes the homecoming of Agamemnon, king of Argos, from the Trojan War, and his return to his wife, Clytemnestra, who had been planning his murder (in concert with her lover, Aegisthus) as revenge for Agamemnon's earlier sacrifice of their daughter, Iphigenia.

Produced in 458 BC, Aeschylus' Choephori is the second play in the Oresteian trilogy. The bloodshed begun in the first play with the murder of Agamemnon by his wife Clytemnestra is here continued when Agamemnon's son Orestes avenges his father's death by killing Clytemnestra. It is not until the third and final play, Eumenides, that peace is restored to the family of the Atreidae. The introduction discusses the pre-Aeschylean 'Orestes' tradition in literature and art, as well as the place of Choephori within the Oresteia.