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Aspects of Greek and modern theatre
Aspects of Greek and modern theatre
Aspects of Greek and modern theatre
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Aeschylus' The Oresteia features two characters burdened by seemingly hopeless decisions. First is Agamemnon, king of Argos, whose army was thwarted by the goddess, Artemis. Agamemnon was faced with the decision to call off the army's sail to Troy, and thus admit defeat and embarrassment, or to sacrifice his daughter, Iphigenia, to satisfy Artemis whom had stopped the winds to delay Agamemnon's fleet. Second is Orestes, son of Agamemnon, who was given the choice by Apollo to avenge his father's murder, thus committing matricide, or face a series of torturous consequences. Although both Agamemnon and Orestes were faced with major dilemmas, their intentions and their characters are revealed through their actions to be markedly different.
Agamemnon and his fleet were stuck in Argos because Artemis had stilled the winds. Calchas, a seer, foretold great victory matched with great sorrow. The chorus then redresses the omen in lines 133-139
The king of the birds to the kings of the ships, black eagle and white behind it, in full view, hard by the palace, by the spear-hand, ripped open a hare with her unborn still swelling inside her, stopped from her last chance to escape. Sing sorrow, sorrow, but let the good prevail.
It is revealed that the goddess of wild animals, Artemis, is angry, and the sacrifice of Iphigenia and the massacre of Troy are mentioned. Agamemnon was well aware of what he was getting into and began his worried oscillation between the love of his daughter and the love of his power, prestige, and country. His weakness of character is becoming more apparent, his ethics appear arbitrary.
Agamemnon's pride and cowardice are again revealed in lines 261-272 when the Chorus states Agamemnon's horrid decision t...
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...'s command becomes an issue of quid pro quo, a necessary duty rather than an impulsive desire for revenge.
The deeds enacted by Agamemnon and Orestes were the same by definition, but different by motive. Agamemnon's motives were impure in his decision between his daughter and his war. He chose to conquer Troy at Iphigenia's expense. For such a ruthless act, consequences are inevitable, and Agamemnon met his punishment at the hands of his vengeful wife, Clytemnestra. Orestes was able to escape such a fate due in part to his faith in the gods, his reluctant desire to kill, and one goddess' (Athena's) mercy. The matricide committed by Orestes was padded by vengeance, and validated by retributive justice. Athena identified with Orestes during his trial on the basis that neither she nor Orestes had a true mother, and thus cast the final stone in favor of Orestes.
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.,...
Agamemnon survived the ten year long Trojan War, even as other great warriors such as Achilleus fell. Tales of the war are widespread and it is described by both its veterans and non-participants in glorified terms. Agamemnon is often singled out for leadership and accomplishments. Demodokos sings of the “famous actions/ of men on that venture” and “that lord of men, Agamemnon” while performing for Odysseus on Alkinoos.(VIII, 73-74, 77). Agamemnon stands out as one of “the leaders of the bronze- armored Achaians” who fought at Troy and is recognized as a major hero of the war (IV,496).
Both Orestes and Apollo publicly state that Orestes’ motivation primarily came from Apollo. For Apollo confesses in the Eumenides, “I share responsibility for his mother’s execution.” (Eum. 585-86). Apollo takes partial blame for the murder of Clytamenstra, for it was Orestes’ fear of Apollo that drove him to commit matricide. While testifying to the jury, Apollo attempts to show that the murder of Clytamnestra and the murder of Agamemnon are completely inequivalent (Hall 260). Agamemnon, the champion of the Trojan War, came home victoriously from a ten-year campaign just to suffer a humiliating death at the hands of his wife. This same woman kills Argo’s king, yet doesn’t receive any punishment for her actions. Since Clytamnestra killed his father Agamemnon, Orestes has another reason to justify his actions. Apollo’s intervention as a witness give Orestes authority over what he says, since Apollo can never tell a lie (Eum.
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.
In this case, Orestes's suffering was answered. His fate was changed. However, it is important to note that Orestes did not commit hubris. He did not go out of the bounds of what the gods had set for him. Apollo told him to kill his mother, and he obeyed. Even though this contradicted the laws of the Furies, the help of the young, "new" gods prevailed. So, an answer to suffering is found in the end, but only for certain cases. Even in the final verses, a hint of change is found in the voice of the Furies, "All -seeing Zeus/ and Destiny, unite to seal our truce," (lines 1045-1046). It appears to be a case of a new generation of gods taking over an out-of-date decree.
“Thus to me the conflict born of ancient bitterness is not a thing new thought upon, but pondered deep in time” she reveals in the play that her husband led himself to this unfortunate fate because of the anger that was brewing deep inside her after the death of her child (Agamemnon 1344-1346). The love a mother has for her child is unrestricted and losing that child can make a women do irrational things, so to call Clytemnestra vile is unjust, taking all the new facts about Agamemnon into consideration. (1399-1411). She shows that he is not the moral man everyone thinks he is and “ No shame, I think, in the death given this man.” (1488-1489). The love she had for him was in their child and when he slaughtered Iphigeneia, he caused her become mad. She confirms that she is content with her actions and decides to “endure all things as they stand now, hard it be” (1535-1536). It will be hard to live with the fact that her family has perished due to the actions of her husband but this is what she has to cope with to avenge her daughter who is nothing but the unconditional love of a
In the last portion of 'The Orestia';, titled 'The Euminides';, Aeschlyus describes the trial of Orestes, who is brought in front of a jury on the charge of matricide. The jury hands in a tied verdict and the goddess Athena casts the deciding vote in favor of Orestes. This of course begs the question: Was Athena's decision fair? I believe that this decision was in the best interest of fairness because Orestes was motivated by Apollo, enraged by the murder of his father, and aggrieved by the vicious cycle of antisocial behavior that was running rampant in his family.
The decision of Achilleus is a crucial moment in understanding how fate works in epic (Homerian) literature. Thetis tells Achilleus of his opportunity to win renown as the greatest warrior of all time, earning glory through his fearless acts in battle against a foe who is sure to overcome the Achaians. The fate of ten years of attack on Troy hinge upon the decision of Achilleus, who is given the choice to win glory for the Achaians and, more importantly, himself.
Atreus tricks his brother Thyestes into partaking of his own children (another possible Hannibal sequel). It is then that Agamemnon, next generation to Atreus and Aegisthus, only surviving son of Thyestes opens up this series of misfortunate events as seen in the trilogy. The series of events takes on a heightened role as Agamemnon is brutally killed by his wife, Clytaemestra and in turn her son Orestes kills her. This series of events would continue if not for the goddess Athenes' intervention and it is through the gods that humanity displays its utter dependence for divine assistance. Aeschylus's Oresteia portrays mankind's frailty through characters such as Clytaemestra, Aegisthus, Orestes and Agamemnon.
When we first get into Agamemnon, we get a glimpse of what was happening while Agamemnon was gone to the Trojan War. Clytemnestra has been ruling in his place, and more importantly planning his death. She wanted him to die for sacrificing their daughter Iphigenia, which under her views was unforgivable and punishable. This is our first view of how justice is used as the title of vengeance and revenge, and how a character’s rectitude is used as a justification for their actions. Aeschylus shows us in his first play that not only was Clytemnestra’s view of justice for Iphigenia was for her to kill her daughter’s killer, but that she also believed that the gods would agree with her. This is seen in the play during when...
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.
Agamemnon tries to use Achilles rage and fury to get him to give up and retreat back to the army he left. Even though Achilles felt rage and sorrow, he keeps to his word. He wants to obey Athena’s orders of to not fight back. Although he is sad, he will not let Agamemnon’s threat get to his
Throughout the Iliad, a conflict develops through the process of each chapter which rests on the surface over a Maiden. The disagreement is caused due to one person or the other feeling far more powerful or superior than the other and is left to sense as if they should receive what is rightfully theirs even if it is not a fair exchange. This conflict is seen between two leaders who view each other with different status: Agamemnon the Argive leader of the expedition to Troy, who had inherited the role of king through his father, and Achilles the leader of Myrmidons. As the dispute develops, it is apparent that the discord between Agamemnon and Achilles is more than something about women; it seems to be their mindset distracting them from having a dispute between their views on power, honour, glory and pride amongst themselves.
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.