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Aeschylus' play Eumenides, the third part of his surviving Oresteia trilogy, enshrines the trial and acquittal of Orestes within the foundation of Athens itself, as a moment when legal deliberation surpassed blood vengeance as a means of resolution. As such, the fact that Euripides' version of the myth portrays Orestes being found guilty and ...
Aeschylus (UK: / ˈ iː s k ɪ l ə s /, [1] US ... The play was the third in a connected Oedipus trilogy. ... (a distinctly democratic move on the part of the king ...
The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BCE, concerning the murder of Agamemnon by Clytemnestra, the murder of Clytemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus and the pacification of the Furies (also called Erinyes or Eumenides).
The Eumenides, the third part of Aeschylus' Greek tragedy, the Oresteia Topics referred to by the same term This disambiguation page lists articles associated with the title Eumenides .
Seven Against Thebes (Ancient Greek: Ἑπτὰ ἐπὶ Θήβας, Hepta epi Thēbas; Latin: Septem contra Thebas) is the third play in an Oedipus-themed trilogy produced by Aeschylus in 467 BC. The trilogy is sometimes referred to as the Oedipodea. [2]
L'Orestie d'Eschyle is a French-language opera by Darius Milhaud based on The Oresteia triptych by Aeschylus in a French translation by his collaborator Paul Claudel. Milhaud set a scene of the first play, Agamemnon, for soprano and chorus in 1913. The second part, Les Choéphores (The Libation Bearers), dates from 1922.
Several composers have written musical treatments of all or part of Aeschylus's trilogy. From the late 19th century comes Sergey Taneyev's full-length opera Oresteia.In the 20th century Soviet composer Yury Alexandrovich Falik composed a one-act ballet Oresteia; Darius Milhaud supplied incidental music for the plays, the Vienese composer Ernst Krenek wrote Leben des Orest (The Life of Orestes ...
Aeschylus, in Seven Against Thebes, assigns each of the Seven to one of the seven gates of Thebes, as do Euripides in The Phoenician Women, and Apollodorus. [33] While the names of the gates are similar among these sources, there is little agreement with respect to the assignments. Aeschylus further assigns a Theban defender to each gate. [34]
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