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Revenge as a theme in literature
Motifs about revenge
Revenge as a theme in literature
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Vengeance in Oresteia
From the beginning of time vengeance or retribution has been part of the human condition. This is especially true in Aeschylus's trilogy the Oresteia. One of the underlying themes in these works is Oculo pro oculo or an eye for an eye. According to the plays introduction by Richmond Lattimore, the history behind this blood feud of vengeance begins with Atreus and Thyestes. 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; such is the greatness of these characters vengeful natures that only through the divine is there an end to this violent circle of vengeful retribution.
It is through the chorus of the Argive Elders that one begins to see the significance of the increasing role of vengeance as an underlying theme in the trilogy. In volume one the chorus speaks of "Atreus' sons and their quarrels" (18) and the discontent of the citizens because "their voice is dull with hatred" (18). Already the outsider begins to understand the setting of events for which this trilogy will exemplify. King Agamemnon in volume one departs for Troy because ...
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...blem of vengeance is resolved. This curse of vengeance is heightened in each play and the resolution is given through the god's assistance. Though it is the pre-disposition of man or woman to submit to the violent tendency of vengeance, it is only through the divine that they can overcome this tendency. The Oresteia contains many themes; perhaps one of the most important is man's reliance on the divine. Thus, the bloody feuds of vengeance are ended through Athene's intercession and even the intervention of Apollo. Without the mediation of these two gods there would have been no conclusion. Apollo implies that man cannot escape his own nature. On the other hand, Athene says the same but it is only through her power, her ambition that man finds hope. Therefore mankind finds peace through the divine and the all-seeing Zeus "met with Destiny to confirm it" (41).
The Odyssey by Homer is an epic about a man’s return home after fighting in war. The protagonist of the epic is Odysseus, but interactions with and stories of his fellow veterans abound. The story of Agamemnon’s death upon returning home is retold and referred to numerous times and serves as a warning to Odysseus of the dangers that could exist for him in Ithaka. The ghost of Agamemnon is encountered by Odysseus in the land of the dead and is quite changed from the friend he knew and fought with at Troy. Despite his high place in life and exploits in war, Agamemnon demonstrates the suffering of the returning veteran.
giving him the welcome of a god, "give me the tributes of a man, / and
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. Plato begins his argument in The Republic
The myths which prove the contradictory behavior of the gods, acting as both benefactors and tormentors of man, can readily be explained when viewed in light of the prime directive for man, to worship the gods and not “overstep,” and the ensuing “Deus ex Mahina” which served to coerce man to fulfill his destiny as evidenced by the myths: “Pandora,” “Arachne, and “Odysseus.” Humankind and it’s range of vision over the gods beauty and power portrayed them to be benefactors but unseemingly it depicted their affliction towards humans.
Olympians. In the old order of things, family is by blood only. A husband and
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.
Aeschylus' use of darkness and light as a consistent image in the Oresteia depicts a progression from evil to good, disorder to order. In the Oresteia, there exists a situation among mortals that has gotten out of control; a cycle of death has arisen in the house of Atreus. There also exists a divine disorder within the story which, as the situation of the mortals, must be brought to resolution: the Furies, an older generation of gods, are in conflict with the younger Olympian gods because they have been refused their ancient right to avenge murders between members of the same family. The Oresteia presents two parallel conflicts, both of which must be resolved if harmony is ever to be desired again. As one can expect, these conflicts eventually do find their resolutions, and the images of darkness and light accompany this progression, thereby emphasizing the movement from evil to good.
The act of revenge is the most honorable of all types of justice. Killing those who kill people you care about exhibits your loyalty to the man or woman who is deceased. Even though the cost was killing his mother, Orestes did avenge his father's death. Aeschylus and Sophocles show their fellow Athenians that although it may not be the most pleasurable and best looking solution, revenge is the most just. Although problems and criticism did arise from his actions, Orestes did exactly what he was suppose to do in the given situation.
The gods in power, like Zeus, exhibit bias, dishonor, betrayal, deception, and many other humanly characteristics. One memorable scene is when Zeus and Poseidon are in conflict with each other over the Achaens versus the Trojans. Zeus controls the battle by “lifting the famous runner Achilles’ glory higher,” (Homer 13: 404). Zeus plays both sides in this scene, acting like a double agent which is dishonorable. Zeus’s bias is prevalent throughout the poem; specifically, he is “bent on wiping out the Argives, down to the last man,” (Homer 12: 81-82). Just like mortals such as Agamemnon and Achilles view each other with suspicion and intolerance, the gods experience identical emotions of wariness, anger, and irritation. This human-like behavior is not restricted to Zeus. Later in the text, Hera lies to Aphrodite to use her powers to manipulate her own husband Zeus. If one looks at Hera as a heavenly entity, her reaction may not make sense, but when it is viewed as a manifestation of human emotion, it become almost reasonable. Her scheming response to Zeus’s meddling with the war is spurred by her support for the Trojans. Hera’s manipulation and Aphrodite’s ego don’t stand alone as examples of this divine humanity. These instances suggest that the deities are being presented in this unique way to help explain behavior of the humans in The
In Ancient Greece the existence of gods and fate prevailed. In the Greek tragedy King Oedipus by the playwright Sophocles these topics are heavily involved. We receive a clear insight into their roles in the play such as they both control man's actions and that challenging their authority leads to a fall.
One of the most compelling topics The Iliad raises is that of the intricate affiliations between fate, man and the gods. Many events related by Homer in his epic poem exhibit how these three connections interweave and eventually determine the very lives of the men and women involved in the war. Homer leaves these complex relationships slightly unclear throughout the epic, never spelling out the exact bonds connecting men's fate to the gods and what can be considered the power of fate. The motivation for the ambiguousness present in The Iliad is not easily understood, but it is a question that enriches and helps weave an even greater significance of the results into Homer's masterpiece. I feel that the interaction between man, god, and fate can be shown to be one great fluidity that ultimately leaves life mysterious, giving much more depth and complexity to the bonds between the three.
In Greek tragedy the natural forces are destructive. These forces might be nature, gods or fate. Man is helpless in facing these powers.
Over the course of the play, Artemis does not interfere in the actions of Aphrodite, which shows that the gods, while divine, do have restrictions; in this case, it shows the gods cannot interfere with each other. (1328-1330) The gods are sometimes evil and revengeful, though, as can seen by what Artemis has to say about Aphrodite: "I'll wait till she loves a mortal next time, and with this hand - with these unerring arrows I'll punish him." (1420-1422) The relationship of mankind and the gods also needs to be discussed. This relationship seems to be a sort of give-and-take relationship, in part. The Greeks believed that if they gave to the gods, through prayer and sacrifices, that the gods would help them out.
“Gods can be evil sometimes.” In the play “Oedipus the King”, Sophocles defamed the gods’ reputation, and lowered their status by making them look harmful and evil. It is known that all gods should be perfect and infallible, and should represent justice and equity, but with Oedipus, the gods decided to destroy him and his family for no reason. It might be hard to believe that gods can have humanistic traits, but in fact they do. The gods, especially Apollo, are considered evil by the reader because they destroyed an innocent man’s life and his family. They destroyed Oedipus by controlling his fate, granting people the power of prophecy, telling Oedipus about his fate through the oracle of Apollo, and finally afflicting the people of Thebes with a dreadful plague. Fundamentally, by utilizing fate, prophecies, the oracle of Apollo, and the plague, the gods played a significant role in the destruction of Oedipus and his family.