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Aeschylus critical review
Aeschylus critical review
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Yet as we journey from the dark to the light in Aeschylus, we cannot leave the dark behind – the darkness breeds the light.
⎯ Robert Fagles and W. B. Stanford, “Introduction: The Serpent and the Eagle”
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.
In the introduction, “The Serpent and the Eagle”, written by Robert Fagles and W. B. Stanford, they write that the beginning of Agamemnon sets the tone and “rhythm” of the entire trilogy: “We begin in dark suspense: we are waiting for the light, and it no sooner dispels anxiety than a shadow falls again” (“The Serpent and the Eagle”, 24). This refers to the death of Agamemnon and the inevitable deaths of Clytaemnestra and Aegisthus at the hand of her own son, Orestes, which leads into the final play of the trilogy, and the ultimate e...
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...ning with him a new system and removing the darkness that had settled over the House of Atreus once and for all. The Eumenides provided a significant growth towards a rational, and democratic civilization in the Greek world: “It is in our progress from savagery to democracy, that it would seem that the gods may find the balance which they lacked, and earn a better warrant for authority” (“The Serpent and the Eagle”, 87). The light and dark have merged together, and brought a primitive world into a new Greek civilization.
Works Cited
Aeschylus. The Oresteia: Agamemnon, The Libation Bearers, The Eumenides. Trans. Robert Fagles. New York: Penguin Group, 1979. Print.
Fagles, Robert and W. B. Stanford. Introduction: The Serpent and the Eagle. The Oresteia: Agamemnon, The Libation Bearers, The Eumenides. By Aeschylus. New York: Penguin Group, 1979. 13-97. Print.
At first glance, the picture of justice found in the Oresteia appears very different from that found in Heraclitus. And indeed, at the surface level there are a number of things which are distinctly un-Heraclitean. However, I believe that a close reading reveals more similarities than differences; and that there is a deep undercurrent of the Heraclitean world view running throughout the trilogy. In order to demonstrate this, I will first describe those ways in which the views of justice in Aeschylus' Oresteia and in Heraclitus appear dissimilar. Then I will examine how these dissimilarities are problematized by other information in the Oresteia; information which expresses views of justice very akin to Heraclitus. Of course, how similar or dissimilar they are will depend not only on one's reading of the Oresteia, but also on how one interprets Heraclitus. Therefore, when I identify a way in which justice in the Oresteia seems different from that in Heraclitus, I will also identify the interpretation of Heraclitus with which I am contrasting it. Defending my interpretation of Heraclitean justice as such is beyond the scope of this essay. However I will always refer to the particular fragments on which I am basing my interpretation, and I think that the views I will attribute to him are fairly non-controversial. It will be my contention that, after a thorough examination of both the apparent discrepancies and the similarities, the nature of justice portrayed in the Oresteia will appear more deeply Heraclitean than otherwise. I will not argue, however, that there are therefore no differences at all between Aeschylus and Heraclitus on the issue of justice. Clearly there are some real ones and I will point out any differences which I feel remain despite the many deep similarities.
If Athens and Melos went to battle against each other, the gods, if they favored anyone, would favor Athens. We have now examined Thucydides' strongest arguments for Athenian rule. It is clear that Athens had a stronger claim to rule than the Melians had to remain sovereign. We also know that Athens' claims hold up when we examine them for validity. Thucydides beliefs in Athens' claims were therefore well founded.
Aeschylus. The Oresteia. Trans. Richmond Lattimore. Ed. David Grene and Richmond Lattimore. Chicago: University of Chicago Press 1953.
Jeff Zentner’s, “The Serpent King,” has been by far, my most favorite book of the semester. I was very unsure of what to expect based off of the title. It was not what I expected at all. The plot is not easy to define. To say, “a coming of age novel about three misfit seniors in the south” doesn’t quiet cut it. The pages of this novel are filled with so much beauty and the reality of growing up. I feel like there is a voice for everyone in this novel. Maybe not literally, but most people can find a little of themselves in one of our main characters. Dill grew up in an extremely religious home, endured his father being imprisoned for child pornography, lives in poverty with his mother, and longs to escape Forrestville
Aeschylus’s trilogy The Oresteia features turmoil in the house of Atreus following the Trojan War. After a cycle of violence presents itself, Aeschylus’s intended audience learns of the dichotomy between the “old gods” and the “new gods”. Where the original set of the divine believe in individual justice and seeking reparations for those who do wrong no matter what, the newer gods prefer justice by means that emulate the legislative process. Furthermore, in John Locke’s Second Treatise of Government, the “state of nature” of the human race is outlined; in a state where no civil system exists, beings under the state of nature live in perfect equality with only the fundamental urge to preserve their own species.
Serpent- Old French from Latin serpent- “creeping”, from the verb serpere. (Oxford) From across the globe, there have been different civilizations, cultures, religions, for as long as humanity has existed. Many religions share common beliefs, such as deities, animals, or a superior being of creation, but each culture is unique. One animal that is common in most religions and mythologies is, the serpent. Serpents have existed in many religions for thousands of years. Serpents in religion play a dual role, representing both evil and good, but in most religions they play a mainly evil role. Throughout time there have been characteristics tied to serpents such as, evil, the devil, rebirth, fertility, divination, death, poison, and danger. Throughout cultures and religions, passed on through oral and written works, the serpent has played the role of the villain and has become the one of the main symbols for evil.
In the book, The Serpent’s Shadow, by Rick Riordan is a good book. The plot of the story is Carter, Sadie and the House of Life are trying to stop evil traitors that obey Apophis, an embodiment of Chaos, to release Apophis from his prison. Carter and Sadie in the book are traveling towards Thoth, the god of knowledge in Cairo, Egypt to learn a spell to stop Apophis from rising. There are two main characters in this book. One main character is Sadie and the other one is carter. They are brothers and sisters. I would be friend with both of them because they are both kind, funny and trustworthy. They are both kind because they are nice to everyone, including their enemies. In the
Johnson, W R. Darkness Visible, a study of Vergil’s Aeneid. Berkeley: Univ. California Press, 1976.
In Euripides’ play The Bacchae, the ideals that were the foundation of Greek culture were called into question. Until early 400B.C.E. Athens was a society founded upon rational thinking, individuals acting for the good of the populace, and the “ideal” society. This is what scholars commonly refer to as the Hellenic age of Greek culture. As Athens is besieged by Sparta, however, the citizens find themselves questioning the ideals that they had previously lived their lives by. Euripides’ play The Bacchae shows the underlying shift in ideology of the Greek people from Hellenic (or classical), to Hellenistic; the god character Dionysus will be the example that points to the shifting Greek ideology.
...are evoked but against the divinely spun destiny and pity is felt for Oedipus, their play-thing, with no more power to change his life than to change his past.
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.
In Greek tragedy the natural forces are destructive. These forces might be nature, gods or fate. Man is helpless in facing these powers.
In Sophocles’ greek tragedy “Oedipus the King”, the contrast between light and dark was an overriding motif throughout the downfall of Oedipus. These are symbolic for both the good and evil, and sight opposing blindness, as light is needed in order for sight to be obtained and vice versa. An example of this would be prior to the quest for vengeance upon the one who murdered Laius, late king of Thebes, when Oedipus exclaims that he will “bring it all to the light (himself)” (150), alluding to the thought that he would allow the city to see who had angered the Gods and brought the city into despair. Tiresias is another example of this, as he is a blind prophet who can only see “with the eyes of Lord Apollo” (323) and is accused to be “lost in
Sophocles’ tragic play, “Oedipus the King”, or “Oedipus Rex” as it’s known by its Latin name, is the Athenian drama that revolves around the events which lead to the demise of Oedipus Rex. The King Oedipus is forced down a preordained path that throws his entire world into a spiral of tragic providence, in this trilogy of a Theban play. Sophocles assigns the tragic hero to a downfall with the impossibility of changing the written fate; perhaps the views of today’s society would feel sympathy for the predicament that Oedipus is forced into, however, the publics of ancient Greece would accept that the path laid before them was a creation of the Gods. “Oedipus the King” reflects the ancient Greek credence in the belief that a person can do nothing to avoid their destiny, an idea that contrasts with what society believes today.
In the play Oedipus Rex, the author Sophocles uses the dualities of sight and blindness and, light and darkness in order to foreshadow Oedipus’ hamartia, in order to enhance his theme against arrogance. Arrogance is displayed as wrong and overall ignorant, and eventually worsens Oedipus’ downfall for the audience, and in the end this play was made specifically for the audience to enjoy. The audience already knew the story of Oedipus, but Sophocles put the story into a play, so powerful we still appreciate his techniques today.