The Choephori

Libation Bearers is the 'middle' play in the only extant tragic trilogy to survive from antiquity, Aeschylus' Oresteia, first produced in 458 BCE. This introduction to the play will be useful for anyone reading it in Greek or in translation. Drawing on his wide experience teaching about performance in the ancient world, C. W. Marshall helps readers understand how the play was experienced by its ancient audience. His discussion explores the impact of the chorus, the characters, theology, and the play's apparent affinities with comedy. The architecture of choral songs is described in detail. The book also investigates the role of revenge in Athenian society and the problematic nature of Orestes' matricide. Libation Bearers immediately entered the Athenian visual imagination, influencing artistic depictions on red-figured vases, and inspiring plays by Euripides and Sophocles. This study looks to the later plays to show how 5th-century audiences understood Libation Bearers. Modern reception of the play is integrated into the analysis. The volume includes a full range of ancillary material, providing a list of relevant red-figure vase illustrations, a glossary of technical terms, and a chronology of ancient and modern theatrical versions.

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The Choephori - The Libation Bearers - Aeschylus The Libation Bearers is the second play of the Oresteia. It deals with the reunion of Agamemnon's children, Electra and Orestes, and their revenge. Orestes kills Clytemnestra to avenge the death of Agamemnon, Orestes' father. Storyline Orestes arrives at the grave of his father, accompanied by his cousin Pylades, the son of the king of Phocis, where he has grown up in exile; he places two locks of his hair on the tomb. Orestes and Pylades hide as Electra, Orestes' sister, arrives at the grave accompanied by a chorus of elderly slave women (the libation bearers of the title) to pour libations on Agamemnon's grave; they have been sent by Clytemnestra in an effort "to ward off harm" (l.42). Just as the ritual ends, Electra spots a lock of hair on the tomb which she recognizes as similar to her own; subsequently she sees two sets of footprints, one of which has proportions similar to hers. At this point Orestes and Pylades emerge from their hiding place and Orestes gradually convinces her of his identity. Now, in the longest and most structurally complex lyric passage in extant Greek tragedy, the chorus, Orestes, and Electra, attempt to conjure the departed spirit of Agamemnon to aid them in revenging his murder. Orestes then asks "why she sent libations, what calculation led her to offer too late atonement for a hurt past cure" (l.515-516). The chorus responds that in the palace of Argos Clytemnestra was roused from slumber by a nightmare: she dreamt that she gave birth to a snake, and the snake now feeds from her breast and draws blood along with milk. Alarmed by this, a possible sign of the gods' wrath, she "sent these funeral libations" (l.538). Orestes believes that he is the snake in his mother's dream, so together with Electra they plan to avenge their father by killing their mother Clytemnestra and her new husband, Aegisthus.

Includes the life of Aeschylus, background of Greek tragedy, Aristotle on Tragedy, the dramatic works of Aeschylus, and more.

Examining tragedies and comedies by a variety of authors, she illustrates how the dramatic poets exploited speech conventions among both women and men to construct characters and to convey urgent social and political issues."--BOOK JACKET.