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Tragedy and The Oresteia
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Orestes' matricide has been presented in various ways by the poets Aeschylus, Sophocles, and Euripides in each of their plays. I have observed the multitude of contrasting devices in each of the plays. Aeschylus has the most unique play of the three, as he does not include Orestes' sister, Electra, in the matricide directly. Instead of having Electra as the one to convince Orestes to commit the deed, as we see in Sophocles and Euripides, we see the character Pylades take on that role. Sophocles involves Electra more in his play "Electra" but she is still not directly associated with the murder. Although, in this play, the death of Aegisthus and the matricide of Clytemnestra are placed in the opposite order of the other plays where Clytemnestra is killed after Aegisthus. Euripides also includes Electra in his presentation …show more content…
In both Aeschylus and Euripides, Clytemnestra is killed after Aegisthus; but in Sophocles, Aegisthus is killed after Clytemnestra. Orestes, Pylades, and Electra trick Aegisthus into thinking Orestes is dead and then trap him and kill him by using Clytemnestra's dead body to lure him to the next room. I think that the reasoning for this is that the intensity of the matricide is so intense that Orestes and Pylades felt more of a need to kill Clytemnestra first. Given that, the murder of Clytemnestra was rather fast and dealt with in a dismissive manner. The contrast between this play and Aeschylus is the more prominent role played by Electra. Although she is not the center of the play she is still a bigger part of this play compared to the others. Electra is portrayed as rather disliking her mother and voices that as often as possible. As seen in line 1391, she exalts at her mother's screams; "Strike her again if you have strength enough!" Electra feels as though she needs to express her hatred for her mother in order to show solidarity to her
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.
Gender is made explicit as a theme throughout the Oresteia through a series of male-female conflicts and incorrectly gendered characters dominated by the figure of Clytemnestra, a woman out of place. This opposition of gender then engenders all the other oppositions of the trilogy; conflicts of oikos and polis, chthonic and Olympian, old and young can be assigned to female and male spheres respectively. In this essay I will look at how the polis examines itself in terms of gender by focusing on the Eumenides' exploration of the myth of matriarchy, issues of the conflict between oikos and polis and the use of speech within the polis. I will then look at how these themes are brought together in the trial and the play provides an image of resolution. Many of these issues are set up in the opening speech of the priestess Pythia as already resolved and are then reconfirmed by the trial itself and closing images order.
The Oresteia trilogy follows a series of murders among the family of Orestes. In the first play, Agamemnon, the blood of Orestes’ father, Agamemnon, and his father’s war prize, Casandra, spills at the hands of Orestes’ mother, Clytamnestra. Following suit, Orestes avenges his father’s cold-blooded murder in the second play, The Libation Bearer, by killing his mother and her lover, Aegisthus. The acts of revenge by Orestes come to a climax in the third and final play of the trilogy, The Eumenides. With a monumental trial between Orestes and the Furies, a question of justification arises. Did Orestes have a justified reason to commit matricide? Or did his actions reveal a dark, unjustified moment of kin murder? Orestes’ murder of his mother, Clytamnestra, is justified because of the gods’ interference throughout the Oresteia trilogy.
It is without fail that throughout Aeschylus’ trilogy, The Oresteia, the presence of light and dark can be found in the characters, the plot and the themes. The trilogy follows the House of Atreus its emergence from darkness into the light. However, the light and darkness are often presented symbolically throughout the trilogy and often appear as pairs, which are constantly at odds with each other like Clytaemnestra versus Orestes and Apollo verses the Furies. Light and dark are not defined, nor strictly categorized, as good against evil, rather they move towards the primal versus civilized nature of the culture, and the two merging, and moving into a new era of Greek civilization. The dark is not pure evil, the light is not pure good; they are a coming together of two different times, and because of that transition, from primitive to civilized, tension builds and breaks, which causes the tragic events of The Oresteia throughout the three plays: Agamemnon, The Libation Bearers, and The Eumenides.
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 is a distinction between men and women within the Oresteia that presents a detachment within the house of Atreus and in turn Athens. However, the three plays of the Oresteia provide a conclusion to the battle of the sexes. Characters within the play show their side of misogyny or misandry. It is quite obvious that the women are misanadvertising, while the men are misogynists. This division between men and women within the Oresteia reflects the division within the household, but is overcome through women rather than men.
human nature that necessitates justice and power. At the end of his series of plays in the Oresteia, Aeschylus tells the story of Orestes and the progression of justice. The final play, The Eumenides, ends with a struggle between different definitions of justice. Orestes is a youth charged with matricide which is punishable by death according to the Furies and the traditional method of restoring equity. Athena, however, offers a form of justice that considers the context of a person’s actions when restoring equity. In the case of Orestes, the context of his case is the guidance given to him by Apollo and the wrongs that he had suffered as a result of his mother, Clytaemestra. Athena’s understanding of human nature is that the ideas of compassion and empathy coexist with the concept of justice in the minds of most people. As a result, Athena establishes a jury comprised of the peers of Orestes so that they may judge him with understanding for both the context of Orestes’s actions and the need for justice for the death of Cl...
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.
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.
on the life of Electra. In Sophocles's version, the play opens with Orestes learning his fate. from the Pythian Oracle; he must revenge his father's death unarmed and. alone. He sends his pedagogue Pylades, as a spy, to learn about the situation in Mycenae. Electra mourns for her father's death. She is Unable to avenge her father's murders without the help of Orestes, her brother. She is also mad about how her mother and her lover waste her father's riches and desecrate his name. Her half-sister Chrysothemis is. no help to Electra and refuses to help in the murder of her mother and mother's love of the world.
Despite the male dominant society of Ancient Greece, the women in Sophocles’ play Antigone all express capabilities of powerful influence and each individually possess unique characteristics, showing both similarities and contrasts. The women in the play are a pivotal aspect that keeps the plot moving and ultimately leads to the catharsis of this tragedy. Beginning from the argument between Antigone and Ismene to Eurydice’s suicide, a male takes his own life and another loses everything he had all as a result of the acts these women part take in. The women all put their own family members above all else, but the way they go about showing that cherishment separates them amongst many other things.
This paper aims to study two significant playwrights, Sophocles and Euripides, and compare their respective attitudes by examining their plays in respect to plot and character structures. To achieve this goal, the paper is organized into two main sections. In the first section, we provide a brief biography of both Sophocles and Euripides. The second and last section includes summaries of Sophocles’ Electra and Euripides’ Electra which were based on same essentials and give an opportunity to observe the differences of the playwrights. This section also includes the comparisons that are made by our observations about the plays.
In the Sophocles play Electra, the character of Electra is more involved and stronger. Orestes is on his way back to Mycenae and plots revenge for his father death. While Orestes is travelling back Electra is seen arguing with Chrysothemis about her accommodation with their father’s murders. Electra is still enraged about her father’s murder; she resents her mother and wants Orestes to avenge Agamemnon. When Orestes arrives at the palace no one recognizes him, a messenger then announces that Orestes as died, upon this knowledge Electra is devastated.
After reading Electra by Sophocles, I came to the conclusion that it was just another retelling of The Libations Bearers by Aeschylus. In Aeschylus The Libation Bearers right after Orestes’ kills Aegisthus there is dialogue between his mother and himself. Before the dialogue happens Orestes’ brings his mother over to where he killed Aegisthus, so that she could be killed by him too. The dialogue that happens between the Orestes and his mother is that she is trying to get him to not kill her because she is his mother and that she raised him and that she did not give him away. His mother continues to give him a speech that she thinks will stop Orestes from killing her, this does not work, he ends up killing her.
After Agamemnon’s death, Aegisthus is next in line to become king and Clytemnestra is his queen. Her desire for power is hidden by her claims of justification. She challenges anyone to take her power. “[H]e who conquers me in fair fight shall rule me” (45). She threatens the Chorus to a fight for power. She knows she has all the power now the king was dead and she is his queen. Clytemnestra is aware she killed him for his power, but her arrogance makes her put the deed on the curse of the House of Atreus and vengeance for