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An Oresteia: Agamemnon
Download PDF An Oresteia: Agamemnon
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In An Oresteia, the classicist Anne Carson combines three different versions of the tragedy of the house of Atreus ― A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the murder of her daughter Iphigeneia by her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes is driven mad by the Furies for his bloody betrayal of family. Condemned to death by the people of Argos, he and Elektra must justify their actions ― or flout society, justice and the gods.
Carson's translation combines contemporary language with the traditional structures and rhetoric of Greek tragedy, opening up this ancient tale of vengeance to a modern audience and revealing the essential wit and morbidity of the original plays.
- Sales Rank: #259487 in Books
- Brand: Brand: Faber Faber
- Published on: 2010-03-02
- Released on: 2010-03-02
- Original language: English
- Number of items: 1
- Dimensions: 8.29" h x .74" w x 5.50" l, .46 pounds
- Binding: Paperback
- 272 pages
- Used Book in Good Condition
From Publishers Weekly
SignatureReviewed by Jennifer Michael HechtThis is a very strange masterpiece. It is an ancient Greek tragedy, but also new, and not just because Carson is its brilliant and original translator. The work of only three ancient Greek playwrights who wrote tragedies survives: Aeschylus, Sophocles and Euripides. They were the voices of distinct generations. Sadly, only a few of even their plays have made it down to us. Worse, the plays were often written as sets of three, and only one full set survives: the Orestia, Aeschylus's story of the blood-drenched Atreus family.The odd thing is that among the surviving plays of the other two, Sophocles and Euripides, there exist plays about this same family, at different points in the action. Putting them together—as Carson does here—gives us a whole new set. Creating an Orestia comprising a play from each of the tragedians, translated by the same person, was the idea of theater director Brian Kulick. Carson tells us in her introduction that she initially resisted. As she had already translated two of the plays in question, she happily gave in. Lucky for us. We get to witness the horror unfold while also watching the ancient style develop: ever more players, ever more of the inner life, ever more self-reflection and wit. The laws of the story go from mythic, to human, to pure chaos. The drama is all blood: Dad kills daughter (for luck in war!); and mom kills dad in revenge (and because both have new lovers); the children kill mom in revenge for dad; and Orestes, who performed the matricide, has a howling, bedridden, breakdown. Elektra tells Orestes, in the second play, that no degradation could be worse than to live in a house with killers. In the third play they discover something worse: being killers. It all ends in an orgy of violence, madness, a sudden god and two marriages. Readers will find stunning expressions of the pain that grown children feel after bad parental separations and neglect. The various characters' impressions of events is psychologically enthralling, and the poetry is sublime.Carson is one of the great poets writing today and is an equally compelling translator. Her language here is clear and comfortable and the volume can be read fast, like a novel, for a weird and thrilling ride. Read it slowly and you will find grace everywhere. When Helen of Troy explains how some widows of soldiers are angry with her and Elektra says, No kidding. The great Greek playwrights may still be ancient, but the play is triumphantly fresh—and bloodier than a vampire novel. Jennifer Michael Hecht is a historian and poet, author of Doubt a History and Funny: Poems, among other books.
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About the Author
Anne Carson was born in Canada and teaches Ancient Greek for a living. Her publications include Eros the Bittersweet (1986), Glass, Irony and God (1995), Autobiography of Red: A Novel in Verse (1998), Economy of the Unlost (1999), The Beauty of the Husband: A Fictional Essay in 29 Tangos (2001), If Not, Winter: Fragments of Sappho (2002), Decreation: Poetry, Essays, Opera (2005) and Grief Lessons: Four Plays by Euripides (2006).
Most helpful customer reviews
25 of 25 people found the following review helpful.
Carson's second volume of Greek plays is a marvelous idea, brilliantly executed
By LC
Anne Carson's An Oresteia (Aiskhylos' Agamemnon, Sophokles' Elektra, and Euripides' Orestes) is an ingenious idea that makes for a completely different trilogy than THE (Aiskhylos') Oresteia, and provides a sample of the style and voice of each of the three big Athenian tragedians. The "trilogy" spans events from Klytaimestra's discovery that Agamemnon is finally returning from Troy to the deus ex machina that resolves the outrageous standoff between Orestes, condemned to death for the matricide that avenged his father's death, and Menelaos, who has shrewdly declined to support him in the Argive assembly.
Along with Carson's previous translations of four plays by Euripides (Grief Lessons: Four Plays by Euripides (New York Review Books Classics)), these are the most vivid, moving, and even shocking, translations of Greek tragedy I have ever read. Although I cannot read Greek and cannot offer any authoritative comment on the translations as such, my impression from studying other translations and their scholarly notes is that Carson's achievement in English is not at the expense of the Greek; indeed, far from it. Her own introductions to the plays are also marvels of insight and impact.
Carson's rendering here of the extended exchange between Kassandra and the Chorus in Agamemnon is as hypnotic and simply visceral as any I know. The text is set on the page in striking arrangements (which I cannot reproduce in the Amazon review form) befitting the chaos of Kassandra's visions. Carson, who has written elsewhere on "Screaming in Translation," dispenses with the traditional Oh's and Alas's and either transliterates Kassandra's shrieks ("OTOTOI POPOI DA!") or inserts outright directions to "[scream]". And she makes a few bold decisions to completely preserve, in verse, the magic of the original Greek. Here is first Fagles, then Collard, then Carson, translating a verse where she wails at the futility of her father's sacrifices to save Troy, and at her own subsequent doom, in a terrifying state of thermonous, an enigmatic term in the original:
Fagles: "No cure for the doom that took the city after all, and I, / Her last ember, I go down with her." Collard: "But they secured no remedy / to stop the city suffering as was in fact its due; / and I soon fall to Under-Earth, with my mind heated still." Carson: "it did no good / we suffered anyway / and I am soon to hit the ground / I with my thermonous / thermonous means hot soul, burning mind, / brain on fire".
Here are the same three translators' versions of the play's famous dictum in the hymn to Zeus in the Chorus' first song. Fagles' free translation of the maxim, though poignant, is the furthest from the original Greek, which is just two nouns. Collard is awkwardly literal. Carson is clear, direct, and natural.
Fagles: "Zeus has led us on to know, / the Helmsman lays it down as law / that we must suffer, suffer into truth." Collard: "Zeus who put men on wisdom's road, / who gave 'Suffer and learn' / authority." Carson: "Zeus put mortals on the road to wisdom / when he laid down this law: / By suffering we learn."
The closest competition to any of Carson's texts that I've directly compared is Raeburn's fine new translation of Elektra, which I speculate may have been influenced by Carson's (originally published several years ago). But Raeburn's choices are sometimes a bit stilted, and again Carson's inspired directness and imagery are unsurpassed. Here is Raeburn, then Carson, with a Chorus verse from the play's brutal climax.
Raeburn: "The deadly curse is now at work - / Eye for eye, tooth for tooth. / The dead below are rising up to life, / and now the old slain / suck their killers' blood dry. // Here they come. That dripping hand is red / with blood from a sacrifice to the god of war. / I cannot condemn it." Carson: "The curses are working. / Under the ground / dead men are alive / with their black lips moving, / black mouths sucking / on the soles of killers' feet. // Here they come, hands soaked with red: Ares is happy! / Enough said."
Comparing Carson's Orestes to the Waterfield translation, I again found her version of Euripides' bizarre and violent hit the more compelling. In Edith Hall's introduction to the OUP edition, she remarks on "an informality of diction unheard of elsewhere in tragedy." Carson takes this aspect of the play to heart, and the results, exploiting contemporary reference (Helen is a "weapon of mass destruction") and colloquial speech without inhibition, are eye-opening. Here is Waterfield, then Carson, with a passage from Elektra's opening speech:
Waterfield: "Next, Phoebus - it is hard to accuse a god of injustice, but he persuaded Orestes to murder his mother, the woman who bore him. Despite the fact that some would count the deed infamous, Orestes obeyed the god and killed her, and I did what a woman could to help him commit the murder." Carson: "But it seemed to Orestes and me / there ought to be a law against a mother / like that. / Turns out there is: Apollo. / Apollo had us kill her. / Orestes did it, I helped. Kudos were not / universal."
I recommend reading multiple translations of any Greek play, but with the seven translations Carson has published so far (and I dearly hope there will be more), my advice is this: read others' versions, with scholarly notes, to study the plays, and then read Carson's versions to experience them.
1 of 1 people found the following review helpful.
Great Adaptation
By nhussong
Ann Carson is a brillant writer, the Oresteia is a wonderful balancing act between adaptation and translation. Would recommend to individuals whom have had trouble with the classics in the past.
0 of 0 people found the following review helpful.
Relevant for Today and Timeless Elegance of Speech
By Lee Paulsel
We seem to live in an era that demeans the past, that is, anything older than last year. Thinking people will find this Oresteia contains significance that will haunt humankind as long as the species lasts. Anne Carson's translation and introduction captures the essence of these ancient Greek plays. Mindless slogans of today lack the depth to take seriously. We are in particular urged to embrace the concept of "If you want peace, you must have justice." The Greeks too wanted justice. But how to define "justice?" When and how does "justice" become "revenge" and when does it become a satisfactory remedy to past grievances? These plays leave the reader to decide and to think consequences. Is this relevant to today or not?
Finally, we have an elegance of speech lacking in almost all communication of today. We can be thankful that the Greeks of old did not have Twitter to communicate their deepest thinking. Also, they had profundity in their drama rather than mindless live "celebrity" shows. "An Oresteia" should be part of any thinking person's library.
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