Language in Aeschylus
Language is Aeschylus' juggernaut: he uses striking, innovative words to drive an image into the mind of his audience. Clytaemestra, notorious as a villain or perhaps an anti- heroine, effectively acts as a medium for Aeschylus’ brilliant rhetoric in Agamemnon. Clytaemestra’s rhetoric not only invokes vivid imagery, but also confuses and perverts spheres of logic and rhetoric: sacrifice with murder, liquids with cloth, and blood with wine. These images overturn the values and traditions of her society, symbolized by the chorus, by joining spheres that were customarily kept separate. Aeschylus’ perversion of values through the confusion of rhetorical spheres gives Clytaemestra ultimate power in the play and throughout the trilogy.
One of the ways Aeschylus builds Clytaemestra’s power at the play's climax is through the involution of murder depicted as a sacrifice. The ritual sacrifice, a sphage, served as a means of purification in antiquity (Lebek 80). In Agamemnon, the symbolic act of sacrifice becomes corrupted and equated with murder. Death, as a sacrifice, is a constant theme. It has been alluded to many times before Agamemnon's demise, always in the form of ritual sacrifice, but never as murder. The most obvious example is the mention of Iphigenia's sacrifice. Therefore, by the time the audience comprehends Clytaemestra's murderous act, it has seen a precedent set for murder mistaken as sacrifice. Clytaemestra boldly presents her position to the chorus: “I struck him twice. In two great cries of agony he buckled at the knees and fell. When he was down I struck him the third blow, in thanks and reverence to Zeus the lord of dead men underneath the ground.” She continues her plea, almost relishing...
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... of propaganda meant to cement the traditional roles of men and women in Greek society.
WORKS CITED
1. Aeschylus I. “Agamemnon” Oresteia. Trans. Richmond Lattimore. Chicago: University of Chicago Press, 1953
2. Gomme, A. W. “The Position of Women in Athens in the Fifth and Fourth Centuries BC” Classical Philology 20 (1925): 1-25
3. Lebeck, Ann. The Oresteia: A Study in Language and Structure. Cambridge, Mass: Harvard University Press, 1971.
4. Peradotto, John J. "Some Patterns of Nature Imagery in the Oresteia." American Journal of Philology 85 (1964): 378-393.
5. Dodds, E.R. "Morals and Politics in the Oresteia." Chapter in The Ancient Concept of Progress and Other Essays in Greek Literature and Belief. Oxford: Clarendon Press, 1973.
6. Goldhill, Simon. Language, Sexuality, Narrative: The Oresteia. New York: Cambridge University Press, 1984.
Cole's article is not to attack Aristotle on his views of where a woman should be placed within the social and political order, in accordance to the Classic Greek period. Her intrigue is within "surveying some central values of that particular social and political institution," (Sterba 79). At first she begins with Aristotle's view on gender and class in ethics. Making a definite point among the social/political class, ancient Greek women and slaves were only allowed their male citizens to think for them. Being dependent on men silences the women and slaves without a voice to speak out, for the women work while the men socialize with others, the men assume that the women do not need a voice. According to Aristotle, even a woman's virtue is to be subservient to all males. As a part of common life the woman is considered the pack horse and the mother to raise the children, for the men. With all the work that women put into their specific households, some education and training would mature from the experience. It was thought again by Aristotle within; Deliberation, Education, and Emancipation, that woman did not possess the aptitude for practical reasoning. For whomever possessed practical reasoning carried with them authority on their decisions and the action pending. From these three classic Greek examples of how women were considered mentally and treated physically, the author Cole provides a progressive outlook of how women could have gained social and political power in a society of male dominant figures.
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.
There isn’t enough literature from this time period from the lower and middle classes of society, and the view of women we have comes from writings of the upper class males. As much of an enigma that the women of Athens were, it is clear that “women were for the most part legal nonentities,” (O’Neal 117) that were denied any association and participation in the intellectual life of their city. The women were not involved in getting an education, and never learned to read or write. O’Neal writes, “The principal spokesmen of fifth century Athens, Pericles and Thucydides, disdained Athenian women.” (O’Neal 117) Based on their writing, and on surmountable evidence, it can be assumed that women had only two roles in Athens - a wife, or a mother. A girl was ideally married at 14 or 15 years of age, and there was necessity that the bride was a virgin, otherwise she was shamed and sold into
The cyclic thread of vengeance runs like wild fire through the three plays in Aeschylus’s Oresteia. This thread, with its complexity of contemporary and universal implications lends itself quite well to – in fact, almost necessitates – deeply interested study. While a brief summary of the Oresteia will inevitably disregard some if not much of the trilogy’s essence and intent, on the positive side it will establish a platform of characters, events, and motives with which this paper is primarily concerned. As such, I begin with a short overview of the Oresteia and the relevant history that immediately precedes it.
What Price Glory? was the title of a Maxwell Anderson play about World War I. Although the Oresteia deals with the period following a much different war, the same question can be asked of it. In the trilogy Aeschylus presents the reader with a stunning example of ancient Greek society, in which warrior ideals were firmly held, and glory in battle was considered the supreme good. The question of moral justification in the trilogy brings in many complex issues, but all of them revolve around the construction of Greek society and the role of different individuals in this system. Two of the most extraordinary characters are the personages of Agamemnon and his wife Clytemnestra. This couple confronts the reader with a myriad assortment of issues, but one of the most thought-provoking is the issue of justification. We are presented with two unnatural murders: that of Iphigeneia by her father Agamemnon, and later that of Agamemnon by Clytemnestra. It is very difficult to argue from merely these facts as to who was more justified in the killings. Many would say Clytemnestra because it was Agamemnon who began the whole situation, but others would argue that society forced Agamemnon into this position. These responses are based only on circumspect and superficial evidence and do not drive to the heart of the issue. To fully understand these characters and to answer the question of their justification one must view their actions in the context of the society in which they lived, and also the role of free-will or self-determination in this society. I will argue that although both characters were victims of the warrior society in which they lived, it was Clytemnestra who was more justified ...
Meyer, Jargen C. “Women in Classical Athens in the Shadow of North-West Europe or in the Light from Istanbul”. Women’s Life in Classical Athens. www.hist.uib.no/antikk/antres/Womens life.htm. Accessed: March 10, 2012
of the book. USA: Simon and Schuster, Inc. 2000. The.. Print. The.. Blundell, Sue. Women in Ancient Greece.
Greek women, as depicted as in their history and literature, endure many hardships and struggle to establish a meaningful status in their society. In the Odyssey, Penelope’s only role in the epic is to support Odysseus and remain loyal to him. She is at home and struggles to keep her family intact while Odysseus is away trying to return to his native land. The cultural role of women is depicted as being supportive of man and nothing more. Yet what women in ancient Greece did long ago was by far more impressive than what men did.
Dodds, E. R., The Ancient Concept of Progress and Other Essays on Greek Literature and Belief, London. Oxford University Press, 1973.
In Aeschylus’ Agamemnon there are many different opinions about what kind of king and commander Agamemnon was. Some argued that he was good, while others dispute that his motives were wrong. Clytemnestra, Agamemnon’s wife, gained a strong hatred for him, after he sacrificed his own daughter so he could go to war. Many believe that this was not necessary and could have been overcome. The chorus seems to agree with this to an extent, and feels that Agamemnon could have prayed and requested that he not sacrifice his daughter.
In learning about the feminist movement, we studied the three articles and discussed and reviewed the different authors perspectives on the topic and learned how important the role of woman in Greek Mythology. In presenting the feminist theory to the class we analyzed the three articles, Women in Ancient Greece; Women in Antiquity: New Assessments; and Women in Greek Myth, and discussed how although the three articles provided different views on Feminism in mythology, they all essentially are aiming to teach the same basic concept.
The Achaeans are more concerned with personal glory and achievement rather than the well-being of the city. Two Characters who definitely display this characteristic are Agamemnon and Achilles. Agamemnon is selfish and is only concerned with his own honor. This is seen almost immediately in the poem. In book one, during the tenth year of battle, Chryses visits Agamemnon and offers ransom for his daughter, Chryseis who was taken as plunder early in the war. Although the ransom is attractive, Agamemnon refuses the money because the girl represents power and glory and that is far more important than wealth. Plunder represents victory; therefore, the more women Agamemnon possesses, the more glorified and powerful he feels. Eventually, Agamemnon returns the girl to her father; however, he insists that someone give him a female to compensate for his loss and restore his honor. He views the situation as a challenge to his authority and complains, "I alone of the Argives go without my honor. That would be a disgrace" (1.139-40). Agamemnon demands, the "Argives will give me a prize, a match for my desires, equal to what I have lost, well and good. But if they give me nothing I will take a p...
Aristophane’s Lysistrata is a flawed classic filled with the power struggle between man vs. woman. It is entirely focused and written from the male perspective, in which male-privilege dominated and disregarded the women’s outlook entirely. This “classic” is full of misogynistic perspectives, and should be disregarded as a great piece in Athenian literature.
Walcot, P. “Greek Attitudes towards Women: The Mythological Evidence.” Greece & Rome 2nd ser. 31.1 (Apr., 1984): 37-47. Cambridge University Press on Behalf of The Classical Association Article Stable. Web.
In Aeschylus’ The Agamemnon, Agamemnon and Clytemnestra have to make tough decisions throughout the play, decisions they believe are justified. The actions of Agamemnon and Clytemnestra are not justified because they are caused by their blinding hubris and desire for power. Agamemnon makes the choice to kill his daughter just so he could lead his troops to Troy. Clytemnestra kills her husband, not just for revenge, but for his position and power as king of Mycenae. They make selfish choices and do not believe they will be punished for them. By exposing their true motives, Aeschylus makes it clear they are not justified in their actions.