The Oresteia of Aeschylus: Ancient Greek Tragedy Lecture
Added 2026-01-25 22:40:52 +0000 UTC'We must suffer into truth. Better to die on your feet, than live on your knees.'
Today we are appreciating the sublime tragic saga that is the Oresteia of Aeschylus.
We're discussing vengeance vs justice, the curse of the House of Atreus, why Ancient Greek mythology is so violent, the structure of choral odes, sympathy as shared suffering, the first audience at the City Dionysia, finding wisdom in pain, and much more.
Please feel free to listen before, during, or after your reading, enjoying the work and talk at the pace that best suits you. The first half of the lecture focuses on the background to the work, whilst the second half is a close appreciation of each of the plays in the trilogy.
Timestamps:
0:00 welcome to the City Dionysia
4:00 the first audience of the Oresteia
6:00 what tragedy meant in Ancient Greece
8:00 reading the play as closet drama
10:00 the military life of Aeschylus
12:00 Oresteia as ‘parable of progress’
14:00 ‘The Serpent and the Eagle’
15:00 nature of Aeschylean characters
17:00 is vengeance really justice?
19:00 ‘slices from the banquet of Homer’
22:00 Agamemnon character history
24:00 Homeric lore & the Trojan War
26:00 the beginning of ‘Agamemnon’
29:00 the curse of the House of Atreus
30:00 a crash course in Greek mythology
32:00 why are the myths so violent?
34:00 Tantalus, Atreus & Thyestes
36:00 life of Agamemnon & Menelaus
38:00 father’s sacrifice of Iphigenia
40:00 Clytemnestra & Aegisthus
42:00 can this sublime play be cut?
44:00 the choral odes of Aeschylus
46:00 appreciating sung philosophy
48:00 strope vs antistrophe vs epode
50:00 is the chorus an ideal spectator?
52:00 ‘we are the old dishonoured ones’
54:00 Clytemnestra consumed by hatred
56:00 Aeschylus, Ecclesiastes, Shakespeare
58:00 haunted past as living memory
1:00:00 your ruin is in your fortune
1:02:00 doing wrong vs being wronged
1:04:00 ‘the avenging dead may never rest’
1:06:00 ‘the heroes return in gold dust’
1:08:00 is there an anti-war tone here?
1:10:00 ‘ancient violence longs to breed’
1:11:00 sympathy as shared suffering
1:12:00 irony in Agamemnon’s arrival
1:14:00 the deep grief of Clytemnestra
1:18:00 trampling crimson to the palace
1:20:00 Cassandra steps from the chariot
1:22:00 what song can sing back the dead?
1:24:00 dark prophetic song of Cassandra
1:26:00 the moment of Agamemnon’s death
1:28:00 die on your feet vs live on your knees
1:30:00 reaching the climax of ‘Agamemnon’
1:32:00 entering ‘The Libation Bearers’
1:34:00 Clytemnestra’s tortured conscience
1:36:00 reunion of Orestes and Electra
1:38:00 Apollo commands for vengeance
1:40:00 what really makes a work tragic?
1:42:00 Orestes cuts Aegisthus down
1:44:00 Orestes confronts Clytemnestra
1:46:00 the Furies chase after Orestes
1:48:00 moving into the Eumenides
1:50:00 the Athenian judicial system
1:52:00 why mercy is a part of justice
1:54:00 divine fear as origin of wisdom
1:56:00 why fly the midway course?
1:58:00 birth of justice out of revenge
2:00:00 your experience with the Oresteia?
Resources to Explore:
Our Next Tragedy: Our next deep-dive appreciation will be for Oedipus Rex by Sophocles. Like with the Oresteia of Aeschylus, my personal favourite translator for Sophocles is Robert Fagles. The Penguin paperback editions of these works are wonderful. They have ample margin space for making notes and superb introductions. Of course, our anthology recommended anthology of Greek tragedies has a superb translation, and prefacing essay too, by Frank Nisetich.
Adaptations: Previously, I recommended checking out the Sir Peter Hall production for the Oresteia. Even if one doesn't watch the entire thing, this is an interesting way to conceptualise the ancient staging conventions. For Oedipus Rex, there is a very watchable production (perfect for reading and watching/listening simultaneously) staged in California in 2018 available on YouTube here. For another option, the BBC produced a powerful adaptation of Oedipus Rex, and all three Theban plays of Sophocles, with a great cast including Michael Pennington and John Gielgud here. For lovers of great cinema, the Italian director Pier Paolo Pasolini, who has also adapted Chaucer and Boccaccio for the screen, has a masterful film production of Sophocles from 1967 here. And if you're a lover of great music, then check out Stravinsky's astonishing opera-oratorio of Oedipus Rex here. Something to consider: how would you stage a production of these tragedies?
Non-Fiction: We recommended Aristotle's Poetics and Nietzsche's The Birth of Tragedy last time, and this time I'd like to point you to one of the most beautiful essays I've ever read on classical theatre. It's called 'The Serpent and the Eagle' by Robert Fagles and can be found in the introduction to his translation of the Oresteia. And, if you'd like to know more about his translation ethos, The Paris Review has wonderful interviews with him here and here. If you're enjoying bringing Aristotle into the conversation, his Nicomachean Ethics is one of the wisest works I've ever read. The section on justice is fascinating to consider in light of the Oresteia. Having mentioned Jung's Electra Complex, if you're interested in how these stories influenced the world of psychology, then Sigmund Freud's The Interpretation of Dreams has a great piece of literary criticism for our next play with his concept of the Oedipal Complex. We also have a lecture on this influential work here.
Ancient Theatre: Although our next appreciation will be for Oedipus Rex by Sophocles, it's been wonderful to see several readers have been inspired to binge through many more of the Greek tragedies. Great anthologies like this one and this one make it fun to tuck into the banquet. If you're keen for more Aeschylus, you might enjoy our discussion on Prometheus Bound or you might find it interesting to check out his Persians, which is the earliest surviving complete tragedy. If you're interested in how different playwrights put their unique stamp on the events and characters of the Oresteia, then Euripides has Electra, Orestes, and Iphiginia at Aulis, and Sophocles has Electra. For serious enthusiasts of classical theatre, one can also use this mythology to explore the Roman tradition with Seneca's Thyestes and Agamemnon. If one wants some comedy to lighten the mood, you cannot go wrong with Aristophanes and plays like Clouds, Frogs, and Lysistrata.
Shakespeare: Bardolators are surely comparing the Oresteia to the great tragedies of the Elizabethan era. How are Shakespearean tragedies like King Lear, Hamlet, Othello, and Anthony and Cleopatra different from Aeschylean drama? Can you discern any mythic or thematic influence upon Titus Andronicus? How does the exploration of justice in the Oresteia compare with that of The Merchant of Venice, Measure for Measure, or Timon of Athens? If you're a complete newcomer to the bard and want to get started with just one of his tragedies now, I personally recommend Macbeth. Paired with the Oresteia, the Scottish play makes for an emotional and thought-provoking experience.
Mindfulness Exercise: Take note of the spirit with which you are reading these great works. The citizens of Ancient Greece watched the Oresteia in a spirit of festive celebration along with civic and religious duty, but how do you come to the work? Where do you find resistance or challenge? Where do you find rewards or joy? Is there a certain time of day that is most conducive to concentration and immersion? If reading is a new habit or resolution, how are you staying consistent? Did you have to swap out any old habits to fit it into your lifestyle? If you're interested in some tips that I use with my own reading, you might like this video: How to Motivate Yourself to Read. You might find it a useful exercise to give each work you read this year a personal ranking. Note down the date you read the work, a few lines of your impressions, and a favourite quote. This makes it easier to remember the works and also makes for a good guide if you return to them for a reread in the future. It's fascinating to watch your opinions on a work develop across time. For more on this reading exercise, you might like this video: How to Create Your Personal Literary Canon.
Reading Assignment:
Our next tragedy will be Oedipus Rex by Sophocles, which will deepen our appreciation of Ancient Greek theatre and sublime storytelling. Be on the lookout for which playwright personally resonates the most with you.
We're continuing with our alternating rhythm between Greek tragedy and Larry McMurtry's epic novel. So, this coming weekend, we will be returning to Lonesome Dove to see how our friends are faring on the journey. And our discussion for Sophocles will be the weekend following that. If you're reading both at the same time, it would be great to know how you're finding this experience.
Questions for You:
1) What does justice mean to you?
2) Why are revenge tragedies so popular?
3) How did you feel during your engagement with the Oresteia?
4) 'It's better to die on your feet, than live on your knees.' Do you agree?
If this is your first experience with the Oresteia, I would love to know how the story met your expectations. If this is a reread for you, what is it like returning to the work? And please do share with us your favourite passage from this tragedy.
Happy reading, everybody!
Comments
I just finished listening to the BBC’s audio production of this from 2014 (on Spotify). It’s brilliant and provides quite a bit of “surrounding” detail with performances from a full cast of actors. Have read both Fagles and Sarah Ruden’s translations. Also saw the live play performed at the Baltimore Shakespeare Theatre. I’ve really enjoyed diving into this from multiple angles (including going back into the Iliad) It’s been quite fun!!
Jake
2026-02-05 13:37:56 +0000 UTCHaving now read this, I definitely agree with Ben on the foreshadowing of Hamlet with Orestes, and Lady Macbeth with Clytemnestra, but I also see her as a progenitor of Tamora, the Goth Queen from Titus Andronicus, who must bear the deaths of her children because of Titus' actions. The trilogy also bluntly shows the violence that is caused by the House of Atreus and maybe its just the Fagles translation that I have, but wow, it is no wonder at all that Orestes is placed on trial for his actions, as he is the House of Atreus at the end of the plays. So glad Ben chose this! Almost forgot my favorite part of the play, "God takes aim at the ones wo murder many;"
Rene Rodriguez
2026-02-03 21:21:16 +0000 UTCI think this is one of the most powerful readings since I joined last January. I have watched an adaptation on YouTube and it was wonderful. Knowing how it works as theatre certainly helped. I think this should be taught in every high school, by Ben lol. So much to chew over, so many quotes relevant in today’s political environment. I have been thinking so much lately about the concept of justice, and of vengeance. I am starting my second read of this now. Hopefully I can sort out my thoughts enough to articulate them then.
Linda Tuplin
2026-02-03 15:55:13 +0000 UTCThe ancient Greeks were extraordinary. I enjoyed the Oresteia. Having read the Iliad and the Odyssey with the book club, I loved how Aeschylus took a thread from the Iliad and created something sublime. I suppose it is a sign of the times that we have to condemn everything that does not conform to our modern morality and sensibilities. I refuse to do that. These Greeks were changing a savage world into something better. These beautiful plays are proof of that.
Mike
2026-02-02 19:24:21 +0000 UTCHi Alankaram. Yes, I read it. It’s pretty dry stuff, like reading a cookbook. But I was interested in reading what A. has to say about catharsis.
Greg
2026-02-02 19:11:26 +0000 UTCDid anyone read Poetics by Aristotle? I tried but just couldn't handle it.
Alankaram Narayanan
2026-02-02 18:32:22 +0000 UTCThe voice of reason, intelligence and strength is Athena. The system of justice on which the city prides itself is her contribution.
Jackie Gibson
2026-02-02 14:54:44 +0000 UTCI decided to re read with a different translation but I really can’t stop thinking about how Clytemnestra is half sibling to all her siblings- all the rest are children of Zeus, including Helen. I wonder how it feels for her being the only truly mortal child out of the four of them. I also recently listened to the BBC production and it was AWESOME! Especially Agamemnon.
Katie
2026-02-01 22:06:49 +0000 UTCReading around the play, i see that although it appears a great move forward; to have a jury of ( male) athenians decide , rather than gods and furies it now becomes men dominate and crimes against women are downgraded ( plus ca change) . Simone du beauvoir wrote in her seminal book " the second sex" that the" Eumeindes represents the triumph of patriachy over matriachy The claims of the dead woman was wiped out and the furies nutured " . From now on the voice of justice will only be male . ( and we know how well thats worked) Woman are always the casualties eg cassandra taken as a sex slave by first one then the other ; as if thats all women are fit for .Then shes murdered by Clytemnestra because Agamemnon dares to flaunt her in his wifes face and thereby humilating her in public. Clytemenstra seems to favour only 1 child although she has 3 , saying Electra doesnt behave as she should . Why would she if she'd seen her kill her father . Its a freudian nightmare !! . Today, still, unhappy families continue even with the rise and rise of therapy . I have now finished the trilogy . Trying to see it through my 21st century female eyes and what was similar ( yes even with all that slaughter and extreme blood letting ) to todays families was interesting , if extremely difficult . Theyre a family i definetly wouldnt want to live near . !! I have enough to contend with . 🙂
christine lambert
2026-02-01 21:11:20 +0000 UTCSuz, I think it’s hard to put out of our minds the way we experience modern psychological fiction. My current approach: don’t ask why the characters did what they did, but instead accept their actions and reactions and then ask what they mean. This is probably a simplistic way to think. Yet it helps me try to clear my mind of modern ideas about morals and motivations and get, perhaps, a better grasp of myth and legend.
Charles S.
2026-02-01 19:21:20 +0000 UTCI have a huge problem with Eumenides. Apollo argues that a woman cannot really be a mother but only an incubator for the man's "seed," so "matricide" is not really matricide. And furthermore he points to the "motherless" Athena, when in "fact" she had a mother, Metis, whom Zeus devoured when she was pregnant and he subsequently gave "birth" to Athena, springing from his head. The Greeks mythology is truly pathetic. Lastly, the Furies have been portrayed as horrid terrifying and repulsive beings, older than the foundations of the world, but with just a few lines of cajoling kum-ba-yah from Athena, "can't we all just get along," the Furies turn into placid pussy cats at the end. The Eumenides is a most unsatisfactory play. My $0.02!!
Yoknapatawpha
2026-02-01 12:43:55 +0000 UTCAnother great lecture Benjamin. Still processing my thoughts on this one. I want to attempt as closest as possible to approach it with a mindset of understanding the times in which it was produced. In other words, I cannot compare a play written during the Greek period compared to now as a lot of of our morals and understandings have changed one thing that was a sad for me was just the overall tragedy of it that a father could offer his daughter up as a sacrifice that a wife could kill her husband, whether it be for power or for revenge and that a son and daughter plot to kill their mother that is just something very far into my mind and honestly, I’m glad that it is but I also know that certain things affect people differently so I’m trying to understand each one’s position whether I agree with it or not so that is what I’m running through my mind at this time. I would like to catch one of the players on YouTube from the BBC. I think that would help a lot for me. It was one of the more interesting plays that I’ve read.
Suz R
2026-02-01 10:25:13 +0000 UTCAlong with the Oresteia, I invested some time into Aristotle's Poetics, an appendix about the Poetics in the anthology Ben recommended, and a few video lectures. This put me behind schedule with Lonesome Dove, but it was worth the detour. One point about the Poetics that I recall from university days is the question of catharsis: did Aristotle mean we rid ourselves of pity and fear, or that they take on a purified form within us as a result of experiencing tragedy in a drama? I was a bit surprised to see this question raised again but, in a way, glad that a debatable aspect of the Poetics remains debatable decades after I first encountered it. Of course, decades don't mean much when we are talking about something written more than two millennia ago! I'm grateful for the motivation to read yet another great work of the literary and cultural past. That was what originally attracted me to the HLBC, and going into my third year, I still feel that encouragement drawing me onward.
Charles S.
2026-02-01 01:40:35 +0000 UTC
