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Aeschylus's Oresteia analysis
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The Oresteia
In the trilogy Oresteia, the issues concerned are the transformation from vengeance to law, from chaos to peace, from dependence to independence, and from old to new. These four significant changes all take place throughout the play and are somewhat parallel to the transformations that were going on in Ancient Greece.
In Aeschylus' trilogy, the Greeks' justice system went through a transformation from old to new ways. In the beginning of the trilogy, the characters settle their matters, both personal and professional, with vengeance. Vengeance is when someone is harmed or killed, and either the victim, or someone close to them takes revenge on the criminal. This matter is proven in the trilogy numerous times. For example, Clytemnestra murders Agamemnon as revenge for his sacrifice of their daughter Iphigeneia. Along those same lines, in the second part of the trilogy, Choephoroe, Orestes, who is Agamemnon son, murders Clytemnestra and Aegisthus. He does this in order to gain revenge on them for killing his father. It was by this way that people would deal with conflict, and it was thought to be not only a justice system, but also a honorable and fair. In fact, one of the principal purposes of the first play of the trilogy is to force us to recognize that justice based on revenge creates special difficulties, which in turn cannot be solved. It does not solve the problems that it is meant to, but only causes more problems that are even larger. As the third and last part of the trilogy begins, the system begins to evolve and change from vengeance to genuine justice. Instead of getting revenge on Orestes and killing him, they decide to put him on trial and have a jury decide whether or not he sho...
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... has been a change from old to new. When the play is over, although it is the end, it is the beginning of a new way of life for both the characters in the Oresteia and the Greeks.
These four different transformations all take place as the trilogy of Oresteia move along. The change is very subtle, but in the end, everything is different than it was when the play first began. For, in the beginning, it was a vengeful world full of chaos and everyone was dependent on the old gods. In the end, there is a fair justice system that was used in the trial of Orestes, in which their is a trial and a jury, and you have a feeling of harmony and peace. The new Olympian gods help to bring the characters problems to a close, before the play comes to an end. The Oresteia was a play that really captivates well the changes that were going on in the times of Ancient Greece.
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
No society remains immobile, even if some human beings resist changes. Advances in technology and the emergence of new beliefs allow people to have a broader imagination. Thus, numerous new interpretations of ancient works, whether they are plays, folktales, or poems, permeate around the world. These renditions re-tell the original stories in contexts that adjust to the modern world. What was considered serious in the past becomes mockery nowadays.
A twenty-first century reading of the Iliad and the Odyssey will highlight a seeming lack of justice: hundreds of men die because of an adulteress, the most honorable characters are killed, the cowards survive, and everyone eventually goes to hell. Due to the difference in the time period, culture, prominent religions and values, the modern idea of justice is much different than that of Greece around 750 B.C. The idea of justice in Virgil’s the Aeneid is easier for us to recognize. As in our own culture, “justice” in the epic is based on a system of punishment for wrongs and rewards for honorable acts. Time and time again, Virgil provides his readers with examples of justice in the lives of his characters. Interestingly, the meaning of justice in the Aeneid transforms when applied to Fate and the actions of the gods. Unlike our modern (American) idea of blind, immutable Justice, the meanings and effects of justice shift, depending on whether its subject is mortal or immortal.
...purpose is “to unmask the hypocrisy and show how the meaning of Justice is being perverted” . He is not prepared to argue, leaving Socrates victorious. Here, Socrates’s method of argumentative questioning is insufficient and naïve against a stubborn, powerful and philosophically certain moral skeptic. This is confirmed by the change in investigative approach in the latter books. Thus the ‘earlier’ Plato cannot adequately respond to Thrasymachus’s immoralist view of Justice.
Justice is generally thought to be part of one system; equally affecting all involved. We define justice as being fair or reasonable. The complications fall into the mix when an act of heroism occurs or morals are written or when fear becomes to great a force. These complications lead to the division of justice onto levels. In Aeschylus’ Oresteia and Plato’s Republic and Apology, both Plato and Aeschylus examine the views of justice and the morality of the justice system on two levels: in the city-state and the individual. However, Plato examines the justice system from the perfect society and Aeschylus starts at the curse on the House of Atreus and the blood spilled within the family of Agamemnon.
...ence more reasoning to the jealousy of the characters and the actions they take. With the changed setting come many differences: drugs and alcohol, peer pressure, violence, and different sources for jealousy and hatred. These issues are the dilemmas we, as teenagers in this new millennium, are faced with day to day. "O" addresses these new era evils without abandoning the original themes and major issues of Shakespeare's Othello. The audience can relate to a story written down hundreds of years ago and benefit from it.
Euripides. Three Plays of Euripides: Alcestic, Medea, The Bacchae. 1st ed. New York: W.W. Norton, 1974. Print.
"Othello." The English Review 15.3 (2005): 15. Literature Resources from Gale. Web. 8 May 2014. .
In the Shakespearean tragedy Othello the number and description of themes is open to discussion. With the help of literary critics, we can analyze this subject in detail.
Thrasymachus’s definition of justice is incoherent and hard to conceptualize within the context of the debate. What remains unclear is Thrasymachus’s ideal definition of justice. At first, Thrasymachus definition of justice after passage 338c remains disputable. Justice, Thrasymachus states, “… is simply what is good for the stronger” (338c). Therefore, on its own, this statement could infer that, what can benefit the stronger is just and therefore can be beneficial to the weaker as well. Therefore Thrasymachus definition can be taken in different contexts and used to one’s discretion. Additionally, Thrasymachus changes his definition of justice multiple times during the discussion. Thrasymachus states t...
Othello avoids all irrelevancies and the action moves swiftly from the first scene to the denouement. We never get lost in a multiplicity of incidents or a multitude of characters. Our attention remains centered on the arch villainy of Iago and his plot to plant in Othello’s mind a corroding belief in his wife’s faithlessness. (viii)
One result of the prominence of the element of intrigue is that Othello is less unlike a story of private life than any other of the great tragedies. And this impression is strengthened in further ways. [. . .] But Othello is a drama of modern life; when it first appeared it was a drama almost of contemporary life, for the date of the Turkish attack of Cyprus is 1570. The characters come close to us, and the application of the drama to ourselves (if the phrase may be pardoned) is more immediate than it can be in Hamlet or Lear. Besides this, their fortunes affect us as those of private individuals more than is possible in any of the later tragedies with the exception of Timon.
Othello: Summary." emotes: Othello. Ed. Penny Satoris. Seattle: Enotes.com Inc, October 2002. eNotes.com. 18 April 2011. .
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.
Of the 38 plays Shakespeare has produced over his lifetime, his tragedies are the most heart-wrenching, horrifying productions the theater has ever seen. In these tragedies, there are gruesome ideas such as lethal love, megalomania, and the absolute corruption of heroes that were originally considered to be wholesome. The latter theme can especially be seen in the play Othello. In this tragedy, there is an ongoing theme of corruption in a considerable amount of characters in the play, the most significant change being in Othello. Othello undergoes a shocking transformation, as he starts off as the storybook hero, a reputable soldier who illustrates great passion towards his wife, but transforms to become a twisted