Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The contrast of electra by Sophocles, Aeschylus, Euripides
Don’t take our word for it - see why 10 million students trust us with their essay needs.
An Overview of Electra
Euripides' play Electra, produced in 415 b.c.e., starts with a peasant recounting past events: Clytemnestra and her lover Aegisthus murdered Agamemnon and took the throne of Mycenae. Agamemnon's son Orestes escaped and has been raised in Phocis. Daughter Electra, when marriageable, was forced to wed this peasant instead of any noble, whereby Aegisthus' rule might be endangered. The marriage has not been consummated. "If any man thinks me a fool, for harbouring / A young girl in my house and never touching her, / He measures what's right by the wretched standard of / His own mind" (107).
Electra doesn't mind toiling so long as she can grouse about her mother. Orestes and his friend Pylades arrive. Orestes has been sent by Apollo's oracle to avenge his father's murder. He and Electra, who doesn't recognize him, exchange stories, Electra revealing that Aegisthus "when he's drunk, so people say, / Jumps on the grave, or flings stones at my father's name / Inscribed there" (116) and acts paranoid about Orestes. With the help of an old one-time servant to Agamemnon and a convenient scar, Orestes identity is revealed to Electra. The siblings conspire.
Orestes pretends to join Aegisthus in an animal sacrifice but murders the usurper and wins over the king's guards to his side. He parades the severed head to Electra, who is elated but not sated. Orestes balks at the idea of killing Clytemnestra, their mother. Electra sends word that she has given birth. Clytemnestra visits and does a rather convincing job of explaining her side to all the famous events, particularly her wrath at Agamemnon for tricking their daughter Iphigenia to her sacrificial death before the Trojan War. She was also less than pleased that Agamemnon brought back Cassandra as his new slave toy. The Chorus is characteristically idiotic: "Your words are just; yet in your 'justice' there remains / Something repellent. A wife ought in all things to accept / Her husband's judgement, if she is wise. Those who will not / Admit this, fall outside my scope of argument" (141). Electra aligns Clytemnestra with her sister Helen. She accuses her mother of primping before the mirror long before Agamemnon's crimes, obviously for someone else. And Electra claims Clytemnestra's rationalizations do not address the persecution of Orestes and herself. Clytemnestra accepts that Electra favors her father, but as to this business of the new baby?
The character of Orestes is somewhat down-played in The Eumenides and in fact his role is far less significant than that of Apollo. Our first sight of Orestes sees him in a contradictory stance at Delphi, "Orestes holds a suppliant's branch in one hand, wreathed with a shining, pious tuft of wool, but in the other hand a bloody sword - bloody from his mother's wounds or from Apollo's purges, or both, since purging contaminates the purger and Apollo's shrine is polluted either way." (Fagles, R., The Serpent and the Eagle, p. 73, Penguin Classics, 1977.) Orestes admits his guilt (with no small amount of rationalization) but also attempts to place the bulk of the blame on Apollo, "And Apollo shares the guilt - he spurred me on, he warned of the pains I'd feel unless I acted, brought the guilty down." (Aeschylus, The Eumenides, Robert Fagles Trans., lines 479 - 481, Penguin Classics, 1977.) Apollo is representative of the new gods and, more particularly, of Zeus. "In the rapid succession of scenes at Delphi the representatives of the male and female divine forces appear before our eyes in bitter enmity with each other. And, they are indeed only representatives. Apollo speaks with the voice of Zeus... and hence of the Olympian patriarchy..." (Harington, J.,...
...ease the speed to medium. Slowly add the remaining sugar to the egg whites and continue to mix.
When a person is accused of a crime they are either found innocent or guilty. This is the basic idea of justice and it is what many feel needs to happen if someone has done something controversial. In the play The Oresteia by Aeschylus, the story of Clytemnestra guilt or innocents is questioned. She does many things that people are not too happy with and those controversial actions throughout the story, mainly in the first part Agamemnon get her into the trouble. As we explore the case that builds against her innocents by exploring the killings of Agamemnon and Cassandra and the boastful expression about the killings.
are even made in the same way and from the same fabrics that were used
matters. It sometimes got so out of hand that he would not see or hear
Medea's first public statement, a sort of "protest speech," is one of the best parts of the play and demonstrates a complex, at times even contradictory, representation of gender. Medea's calm and reasoning tone, especially after her following out bursts of despair and hatred, provides the first display of her ability to gather herself together in the middle of crisis and pursue her hidden agenda with a great determination. This split in her personality is to a certain degree gender bias. The lack of emotional restraint is "typical" of women, and the strong attention to moral action is a common trait of heroes. Medea actually uses both of these traits so that her wild emotions fuel her ideals, thus producing a character that fails to fit into a clear mold.
Both families attempt to consume themselves. A desire for revenge, to enforce a personal code of justice, carries the family curse from generation to generation. The house of Agamemnon is virtually born out of cannibalism. Tantalus, the founder of the house, is tormented eternally in Hades for feeding the gods the flesh of his sons Pelops. Much later, Agamemnon himself is held accountable for his father's cannibalism by Aegisthus. Aegisthus' desire for revenge is overshadowed only by Clytemnestra's thirst for her husband's blood. She speaks of his corpse as a sacrificial animal and likens his blood to wine. Compelled by Apollo, Orestes also carries the curse. He was fed by his mother's milk as a child but now he will only be satisfied with his mother's flesh. Only Orestes and Electra survive.
The exchange that takes place between Medea and the Chorus serves several purposes in Euripides' tragedy, The Medea. It allows us to sympathize with Medea in spite of her tragic flaws. It also foreshadows the tragic events that will come to pass. Finally, it contrasts rationality against vengeance and excess. The Chorus offers the sane view of the world to the somewhat insane characters of Medea, Jason, and Creon. As the passage begins on page 176, the leader of the Chorus reveals that she has high regards for Medea despite the fact that she is "savage still." She acknowledges Medea as a foreigner and an outsider and yet is sympathetic towards her. This alliance is apparently based on female bonds rather than on any kind of national loyalty. Medea wastes no time before she begins lamenting and cursing those who "dared wrong me without cause." The Chorus tries to comfort Medea, hoping that this might "lessen her fierce rage / And her frenzy of spirit." They show real concern for her well-being, as well as for the well-being of her loved ones. This unselfish attitude is in stark contrast to the attitudes of the main characters in the tragedy, who all seem to be extremely self-serving. So in just a few short lines, it's already become apparent that while the chorus doesn't necessarily agree with the way that Medea is handling her situation, they are sticking by her and supporting her. This idea supports one of the important themes of the play: the battle of the sexes. Medea now has a chance to get a few things off her chest. She addresses the "Women of Corinth," reminding them that of "all things that live upon the earth and have intelligence we women are certainly the most wretched." She discusses the sad lot that women must deal with in marriage and again stresses the fact that she is an outsider, "alone, without / a city. Her speech is clever and compelling.
The act of revenge in classical Greek plays and society is a complex issue with unavoidable consequences. In certain instances, it is a more paramount concern than familial ties. When a family member is murdered another family member is expected to seek out and administer revenge. If all parties involved are of the same blood, the revenge is eventually going to wipe out the family. Both Aeschylus, through "The Oresteia Trilogy," and Sophocles, through "Electra," attempt to show the Athenians that revenge is a just act that at times must have no limits on its reach. Orestes and his sister Electra, the children of the slain Agamemnon, struggle on how to avenge their father's death. Although unsure what course of action they must take, both brother and sister are in agreement that revenge must occur. Revenge is a crucial part of Greek plays that gives the characters a sense of honor and their actions a sense of justice.
Aeschylus’ Prometheus Bound portrays a greek god detained by a superior for disobedience against the latter’s rule. On the other hand in Euripides’ Hippolytus portrays lust and vengeance of the gods and the extent that they can go to to avenge it.
on the life of Electra. In Sophocles's version, the play opens with Orestes learning his fate. from the Pythian Oracle; he must revenge his father's death unarmed and. alone. He sends his pedagogue Pylades, as a spy, to learn about the situation in Mycenae. Electra mourns for her father's death. She is Unable to avenge her father's murders without the help of Orestes, her brother. She is also mad about how her mother and her lover waste her father's riches and desecrate his name. Her half-sister Chrysothemis is. no help to Electra and refuses to help in the murder of her mother and mother's love of the world.
By the time Odysseus leaves Troy after the war, twenty years have passed, and his infant son is now a young man. As doubts about Odysseus’ fate begin to grow, suitors begin to swarm the palace, and impose themselves upon the Queen’s hospitality in an effort to undermine her finances and persuade her to marry one of them sooner rather than later, so that one of the might be King. While Penelope stalls for time, hoping for word of her husband’s survival, Telemachus struggles with his responsibilities as head of the household. Athena, Goddess of Wisdom, advised the young man to sail to Pylos and Sparta, in an effort to bring back word of his father’s fate. If Odysseus was dead, Telemachus was to build him a burial mound, and let his mother find a new husband. Still, Athena urged him to drive off the mob that was, quite literally, eating him out of house and home. (book 1,85) So with this newfound courage, Telemachus summoned the Ithacan assembly, and gave the suitors formal notice to leave his palace, demanding to feast elsewhere, or in each other's homes. He also exposed their main insults: how they wasted the palace's wealth in great parties, enjoying a life free of charge, and how they pestered Penelope with unwanted attention. The Assembly, however, would not be so easily swayed against their relatives, and thought it would be easier to simply look the other way. Telemachus vowed to bring back
This paper aims to study two significant playwrights, Sophocles and Euripides, and compare their respective attitudes by examining their plays in respect to plot and character structures. To achieve this goal, the paper is organized into two main sections. In the first section, we provide a brief biography of both Sophocles and Euripides. The second and last section includes summaries of Sophocles’ Electra and Euripides’ Electra which were based on same essentials and give an opportunity to observe the differences of the playwrights. This section also includes the comparisons that are made by our observations about the plays.
...alls him "the only one I found / Remaining loyal at our father's murder"(1351-1352). Such an idea brings the true depth of the Tutor into the open: he is perhaps the most steadfast character in the entire drama, the one who committed himself to Orestes' cause not out of familial obligation but simply out of loyalty. The Tutor sets this play in motion, propels it in the middle and then continues it towards its end. Such a purposeful nature contrasts greatly with Electra's, and without the Tutor's influence this may have simply been a fifteen hundred line saga of her personal woes. Though traditional analysis makes the Tutor's role seem secondary, it is deceptively important, yet another deception that is quite appropriate for such an individual.
After Agamemnon’s death, Aegisthus is next in line to become king and Clytemnestra is his queen. Her desire for power is hidden by her claims of justification. She challenges anyone to take her power. “[H]e who conquers me in fair fight shall rule me” (45). She threatens the Chorus to a fight for power. She knows she has all the power now the king was dead and she is his queen. Clytemnestra is aware she killed him for his power, but her arrogance makes her put the deed on the curse of the House of Atreus and vengeance for