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The Strong Women in The Orestia by Aeschylus
To most readers, the women of The Orestia are evil and vindictive, a disgrace to all chaste and righteous women. Aeschylus portrayed women as equals to men, which was not the opinion of most Greeks at the time. Although he showed some of his women characters as evil, he granted them power, and emasculated the men around them. Unlike Homer, the women of Aeschylus show both ranges of emotions, both the good and the bad. A woman portrayed as a villain may be thought of negatively, but the fact that a female is allowed to be the villain, to take action, and leave other men helpless to the choices that she makes, it is a great step. In the time of the Greeks, a woman was either victimized by the male world around her, or victimized other males to hold a place in the world. Aeschylus made his women characters unique for his time but relevant to ours, since all the bad and evil characteristics of women then are mostly recognized as strength and intellect. This theme is mostly clearly shown through Clymanestra.
Clymanestra was not an evil character, but rather a misunderstood one. Woman of today could perfectly relate to her situation. For example, Clymanestra was like a housewife, who ran her family while her husband was off focused on his job, working overtime, even when he didn?t need the money, leaving her needs totally unattended to. The husband talked about his work life like he was the gear that everything revolves around, perhaps even talks about the women that worship him for his skills, or at worst, sleeps with his secretary. He sacrificed spending time with his children, even missed his daughter?s first ballet recital, so that he could kiss up to the bos...
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All in all, the strong women in Aeschylus were a man?s nightmare, but the fulfillment of a woman?s dream. Clymanestra was the type of woman hated in Greece as a she-devil tyrant, but in the present, the kind of woman who would have been a very effective and respected politician who could keep her own in a man?s world. Aeschylus clearly showed that for a woman, it was nobler to take control of one?s life, be independent, and die, than to ride the rivers of passiveness, watch the world float by without taking any action to change one?s fate, and live a fruitless life. Clymanestra was not just another ?evil? woman, but could be looked at as a role model for the feminist movement. She took control of sexuality, of her kingdom, of her children, and her marriage.
Works Cited:
Aeschylus. Oresteia. Trans. Peter Meineck. Indianapolis: Hackett, 1998.
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.
How much control do women have over their emotions in the Aeneid? In his poem, Virgil frequently shows women in situations where irrational thoughts lead to harmful choices. Specifically, Virgil presents women as being easily influenced by their emotions. Consequently, these characters make decisions that harm both themselves and those around them. Throughout Aeneas’s journey, divinities such as Juno and Venus are seen taking advantage of the emotions of different women, influencing these characters to act in ways that ignore important priorities. Not only does Virgil present women as completely vulnerable to their emotions, but he also shows the problems that arise when these women engage in decisions where they put their own feelings ahead of their people. Virgil explicitly shows women neglecting important responsibilities when he describes passages concerned with Dido’s affair and her death, the Trojan women burning their own ships, Queen Amata’s opposition to Latinus’s proposal and her tragic death.
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.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
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Today, prosthetics have significantly advanced. In 1946, there was a major advancement in the attachment of lower limb (Bells para 3). A suction socket was made for above-the-knee prosthesis (Bells para 3). This suction socket was created in Berkeley, California at the University of California (Bells para 3). In 1975, Ysidro M. Martinez invented a below-the-knee prosthesis for himself (Bells para 3). His prosthesis has a high center of mass and is light in weight to facilitate acceleration and deceleration and reduce friction (Bells para ...
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