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The Oresteia
In Sophocles's Oedipus the King and Antigone, the state is the perpetuator of abuse, and the mortals in power are punished by the gods. However, in Aeschylus's Oresteia, individuals err, and the...
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The Oresteia
The Erinyes are the Furies and usually consist of three deities of destruction and vengeance. They are understood to be advocates for the dead. In the play, the Erinyes want Orestes to pay in blood...
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The Oresteia
The Oresteia is one of many Greek literary works that takes places immediately after the Trojan War. Both the plot of the story and the characters within it would have been familiar to its...
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The Oresteia
There are many ways in which Clytaemnestra in Aeschylus' Oresteia is a proto-feminist, or a character who anticipates the advent of modern feminism. Most prominently, Clytaemnestra acts according...
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The Oresteia
The Erinyes were the chthonic deities responsible for vengeance, responding to blood spilled on the ground with the demand that new blood should be shed in retribution. They are portrayed as three...
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The Oresteia
The Oresteia by Aeschylus is a true trilogy containing three plays that are performed in chronological sequence. In the first play, the Agamemnon, Clytemnestra hills her husband Agamemnon, in part...
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The Oresteia
Apollo suggests that the trial will stand as a permanent resolution to the problem and thus rid Orestes of his pursuers, rather than simply being a temporary sanctuary. The Furies are opposed to...
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The Oresteia
In The Oresteia by Aeschylus the Erinyes or Furies are female chthonic deities. Three aged crones, they were born from the drops of blood that fell on the ground when Cronus castrated his father...
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Agamemnon
Agamemnon and Medea are two intense characters in Greek literature. Much of what they offer represent the very essence of human definition. In both good and bad terms, they embody the reality of...
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The Oresteia
Part of the complexity in Aeschylus's text is that it shows the logical consequence of what happens when justice is seen in the eyes of the beholder. Agamemnon sees it as "just" that he sacrifice...
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The Oresteia
In many respects, Aeschylus makes the argument that the "lust for power" leads to destruction. The lust for power that is displayed in The Orestia is one in which revenge is a vehicle for power....
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The Oresteia
There are three primary motifs in The Oresteia: 1) Light 2) Dark and 3) Nets. (A "motif" is an object or idea repeatedly used in literary work.) The use of light and darkness is a literary trope...
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Medea
Both women are shown as extremely strong. However, their strength is limited by the conditions in which they live. Their demonstrations of power are not active solutions based on strength....
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The Oresteia
One of the most significant uses of the Agamemnon narrative that Aeschylus employs is to show how the cycle of human violence is a never- ending one. Homer emphasizes human violence from a...
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The Oresteia
The Chorus fills the traditional role of narrating events that are unseen along with discussing upcoming events with principal characters. In this capacity, they hope to have influence over the...
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The Oresteia
This a good question. I would say that there are two points that are worth considering. First, Agamemnon is coming home after the long Trojan war. However, the first death that he encountered in...
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The Oresteia
The final play of "The Oresteia" trilogy by Aeschylus, the "Eumenides", finishes with a promise by the Furies, now transformed into the Eumenides, or Kindly Ones, to benefit Athens: Farewell, once...
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The Oresteia
Both Cassandra in "The Oresteia" by Aeschylus and Tireisias in "Oedipus Rex" by Sophocles are prophets with an authentic gift of prophecy. In both cases though, the gift is a mixed blessing,...
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The Oresteia
The purpose of Athena's intervention at the end of the trial of Orestes in Aeschylus' "Eumenides", the final play in the "Oresteia" trilogy, is to resolve what appears to be an intractable moral...
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The Oresteia
This is a difficult question because both characters engage in words and deeds that are equally brash. At first glance, it would be easy to say Clytemnestra because she is having sexual relations...
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The Oresteia
I think that this line comes from Aeschylus' Agamemnon, which was first staged in 458 BCE. I believe this line is spoken by Cassandra, who is a female Trojan war captive whom Agamemnon has brought...
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The Oresteia
This quotation comes from Aeschylus' Agamemnon, which was first staged in 458 BCE. These lines are spoken by Chorus (or the Chorus Leader in some translations), who are addressing Agamemnon at...
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The Oresteia
This quotation appears to come from the prologue of Aeschylus' Agamemnon, which was first staged in 458 BCE. The words are spoken by the Watchman, who has been perched on the roof of Agamemnon's...
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The Oresteia
Aeschylus' Agamemnon, first staged in 458 BCE, is the first play of the so-called Oresteia trilogy. The play opens with a watchman sitting on the roof of the palace. He has been waiting for a...
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The Oresteia
I think that Clytemnestra represents the great extent to which women were silenced in Greek society. Interestingly enough, I think that a revisionist view of history also can view Clytemnestra as...