The Choephori
By Aeschylus
3.5/5
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About this ebook
Aeschylus
Aeschylus (c.525-455 B.C) was an ancient Greek playwright and solider. Scholars’ knowledge of the tragedy genre begins with Aeschylus’ work, and because of this, he is dubbed the “father of tragedy”. Aeschylus claimed his inspiration to become a writer stemmed from a dream he had in which the god Dionysus encouraged him to write a play. While it is estimated that he wrote just under one hundred plays, only seven of Aeschylus’ work was able to be recovered.
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Reviews for The Choephori
22 ratings2 reviews
- Rating: 5 out of 5 stars5/5In this second part of the trilogy that began with Agamemnon, we see the continued tragedies that affect the house of Atreus. Orestes returns and carries out revenge on his mother and uncle. The issues dealt with include that conflicting part of the Greek religion -- carrying out justice for a family member but also killing a family member. Orestes hears from the chorus a dream had by his mother of her nursing a snake (dragon) that drinks all of her curdled blood. He returns as a stranger under the guise of announcing his own death. He slays Aegisthus immediately and his own mother after arguing the matter with her. At the end, he knows that the same curse of the family will now come after him. Biographical notes: Aeschylus lived from 525 to 456 BC. Like Socrates and other of his contemporaries, he fought at Marathon. He is considered the founder of Greek tragedy and won many competitions at these regular events. This trilogy is the only full trilogy remaining.
- Rating: 4 out of 5 stars4/5I read the Morshead translation on my Kindle, as part of "The House of Atreus" which is really The Oresteia with a different title as far as I can tell... I found this translation easier to understand than the Lattimore translation I used in reading the previous play in this trilogy, Agamemnon, but still challenging in places. However, I will strongly recommend the (British) National Theater production which is available on YouTube. Tony Harrison's translation is easier for the modern ear, and the production done in the ancient Greek style (masks, etc.) is powerful. Of course, it is best appreciated if you start with the first play of the trilogy, but if you are familiar with the story, this play stands on its own.
Book preview
The Choephori - Aeschylus
CHOEPHORI
THE CHOEPHORI
DRAMATIS PERSONAE
Orestes, son of Agamenon and Clytemnestra
Chorus of Slave Women
Electra, sister of Orestes
A Nurse
Clytemnestra
Aegisthus
An Attendant
SCENE
By the tomb of Agamemnon near the palace in Argos. Orestes and Pylades enter, dressed as travellers. Orestes carries two locks of hair in his hand.
Orestes:
Lord of the shades and patron of the realm
That erst my father swayed, list now my prayer,
Hermes, and save me with thine aiding arm,
Me who from banishment returning stand
On this my country; lo, my foot is set
On this grave-mound, and herald-like, as thou,
Once and again, I bid my father hear.
And these twin locks, from mine head shorn, I bring,
And one to Inachus the river-god,
My young life’s nurturer, I dedicate,
And one in sign of mourning unfulfilled
I lay, though late, on this my father’s grave.
For O my father, not beside thy corse
Stood I to wail thy death, nor was my hand
Stretched out to bear thee forth to burial.
What sight is yonder? what this woman-throng
Hitherward coming, by their sable garb
Made manifest as mourners? What hath chanced?
Doth some new sorrow hap within the home?
Or rightly may I deem that they draw near
Bearing libations, such as soothe the ire
Of dead men angered, to my father’s grave?
Nay, such they are indeed; for I descry
Electra mine own sister pacing hither,
In moody grief conspicuous. Grant, O Zeus,
Grant me my father’s murder to avenge-
Be thou my willing champion!
Pylades,
Pass we aside, till rightly I discern
Wherefore these women throng in suppliance.
Pylades and Orestes withdraw; the chorus enters bearing vessels for libation; Electra follows them; they pace slowly towards the tomb of Agamemnon.
Chorus of Slave Women:
strophe 1, singing
Forth from the royal halls by high command
I bear libations for the dead.
Rings on my smitten breast my smiting hand,
And all my cheek is rent and red,
Fresh-furrowed by my nails, and all my soul
This many a day doth feed on cries of dole.
And trailing tatters of my vest,
In looped and windowed raggedness forlorn,
Hang rent around my breast,
Even as I, by blows of Fate most stern
Saddened and torn.
antistrophe 1
Oracular thro’ visions, ghastly clear,
Bearing a blast of wrath from realms below,
And stiffening each rising hair with dread,
Came out of dream-land Fear,
And, loud and awful, bade
The shriek ring out at midnight’s witching hour,
And brooded, stern with woe,
Above the inner house, the woman’s bower
And seers inspired did read the dream on oath,
Chanting aloud In realms below
The dead are wroth;
Against their slayers yet their ire doth glow.
strophe 2
Therefore to bear this gift of graceless worth-
O Earth, my nursing mother!-
The woman god-accurs’d doth send me forth
Lest one crime bring another.
Ill is the very word to speak, for none
Can ransom or atone
For blood once shed and