Myths About the Institution of Marriage

Reading the Aristotle's work On a Good Wife from Oikonomikos that was written in c. 330 BCE, one may see the reflection of the leading ideas, opinions, and rules in the Ancient Greek society. This work concentrates its attention on the guidelines for the young wives and husbands, their chords, values, and relationships. Reading through a long list of the requirements the wife should meet in order to acquire the respect and understanding of the husband, it becomes clear that the wives were expected to accomplish all the monotonous routine work and keep away from complaints. The author puts a strong emphasis on the importance of the reciprocity of the appropriate treatment in order to make the patriarchal way of life seem more democratic and

Sophocles’ Theban tragedy, Oedipus the King, is not sexist. The prominent play portrays both men and women justly. The events presented by Sophocles exemplifies a level of admiration and respect for women that was not ordinary in ancient Greece. This is predominantly achieved through the dialogue of Jocasta and Oedipus, illustrating a corresponding relationship. In addition, the behavior of Jocasta, analysis of other literature, as well as the bad fortune of the male characters reaffirm that the Oedipus the King is not sexist.

In Classical Greece, roles played by males and females in society were well-defined as well as very distinct from each other. Expectations to uphold these societal norms were strong, as a breakdown within the system could destroy the success of the oikos (the household) and the male’s reputation—two of the most important facets of Athenian life. The key to a thriving oikos and an unblemished reputation was a good wife who would efficiently and profitably run the household. It was the male’s role, however, to ensure excellent household management by molding a young woman into a good wife. Women were expected to enter the marriage as a symbolically empty vessel; in other words, a

Misogyny pervades the picture Aeschylus, Aristophanes, and Sophocles paint of Athenian society. In their literature, however, female characters catalyze plot by challenging this picture. Such characters--from Sophocles’ Antigone to Aristophanes’ Lysistrata--face grim consequences for acting independently. Clytemnestra and Cassandra from Aeschylus’s Agamemnon exemplify this archetype of autonomy and destruction. When they confront injustice, male characters perceive them as vindictive and hysterical. This paper will compare the standards of justice Aeschylus’s society imposes on men and women. I will argue that Clytemnestra and Cassandra are protectors of divine justice who reject subservience and thereby transcend the sexism of their society.

Euripides’ Iphigenia at Aulis provides important context regarding the sacrifice of Iphigenia and Clytemnestra’s past with Agamemnon. Clytemnestra is ashamed after talking to Achilles about the wedding between him and Iphigenia that he is unaware of. After discovering Agamemnon 's true intentions, she decides that she will no longer “let shame prevent” her from seeking Achilles’ help to stop Agamemnon because “whose interests should [she] consult before [her] child’s?” (Iphigenia at Aulis 24). Her concern for Iphigenia overpowers the indignity she feels because her child’s well being is greater than her own. Both women’s anger and desire for vengeance grow as their children are endangered or harmed as “vengeance makes grief bearable” (Medea 2.55). The playwrights show each as either a good or bad woman based on if their vengeful actions are ultimately in favor of their children or not.

The female characters portrayed in Aeschylus and Sophocles’ works have considerably different personalities and roles, yet those females all have the common weaknesses of being short-sighted and stubborn. They intensify the conflicts within their families while being inconsiderate of the impacts that they may bring to their nations and societies, which leads to consequences that they are incapable of taking responsibilities for. Clytemnestra and Antigone, two major characters in their respective author’s works, possess different motivations for their deeds in the stories. While Clytemnestra is driven by the desire of revenge to murder her husband Agamemnon, Antigone acts against Creon’s will and strives to properly bury her brother. Despite having different motivations and personalities, Clytemnestra and Antigone both commit

Clytemnestra is Agamemnon’s wife and has been ruling Argos while he was away fighting. With help from Aegisthus, Clytemnestra made a plan to kill Agamemnon. She killed Agamemnon for the political power, for the ruthless revenge and for the curses blame. (Core 22: Series of introductory phrases using the same preposition – phrases must have balance.) Clytemnestra murdered Agamemnon to avenge their daughter Iphigeneia. Agamemnon sacrifice her in order to have success in the war, but never told Clytemnestra. Clytemnestra, feeling fake sadness over her daughter’s death, felt that she was wronged and had to get back at her husband. Not only did she kill him, but she had an affair while he was away. The sacrifice is why she had the affair with Aegisthus.

Agamemnon in the realm of Hades goes on to reveal how, “ There is no being more fell, more bestial than a wife in such an action, and what an action that one planned! The murder of her husband and her lord. Great god, I thought my children and my slaves at least would give me welcome. But that woman, plotting a thing so low, defiled herself and all her sex, all women yet to come, even those few who may be virtuous,” (Homer 6.496-504). This had been spoken by Agamemnon to Odysseus in the Underworld after his wife had plotted his murder along with one of her servants. Readers had been past exposed with Telemachus to this situation , “ But the Lady Klytaimnestra, in the first days, rebuffed him, being faithful still; then, too, she had at hand as her companion a minstrel Agamemnon left attending her, charged with her care, when he took ship for Troy,”(Homer 3.285-289). This had been discussed by Nestor to Telemachus when he inquired about the events after the Trojan War. While Agamemnon was revealed as an honorable man his wife was portrayed as a scheming backstabber or adding to the foil between husband and wife The Odyssey experiences.

When Agamemnon is away at war, Clytemnestra takes over and is in charge. Everyone tends to show her respect and she gains great power. When Agamemnon kills their daughter, Iphigenia, Clytemnestra seeks revenge and kills both Agamemnon and his lover, Cassandra, with an axe. Agamemnon was seen as king, someone who was very strong and victorious. When Clytemnestra takes over and kills him, it leaves everyone to wonder where such a powerful woman should be placed in society.

illustrated the struggle between men and women, democracy at play and the rise of a tyrant. With the theme tyranny in mind, we look to find examples that illustrate the former. The most appropriate example of tyranny is the famous carpet scene between Clytemnestra and Agamemnon. It begins with Agamemnon returning from the Trojan war along with Cassandra, is greeted at the palace with a long red carpet presented by Clytemnestra his wife. The carpet symbolizes tyranny in it’s imagery through colour, betrayal and logic.

In any era of ancient society, only a wealthy man could afford to surround himself with a number of women, each playing a different role in his life. However, the Olympian pattern survived as the ideal. On the human level, Pomeroy shows how the "ahistorical oral tradition (Pomery 1995)" of epics by Homer provides us with a set of attitudes toward women which may reflect back to the Bronze Age. Pomeroy provides a good discussion of marriage patterns alluded to in the epic cycles, based on the marriages of royal women such as Helen,

Euripides and Sophocles wrote powerful tragedies that remain influential to this day. The vast majority of work recovered from this time is by male authorship. What remains about women of this time is written through the lens of male authors’ perspective and beliefs about the role of women in Greek culture. The works of these two playwrights frequently characterize women as unstable and dangerous. Agave, Antigone, and Medea are all undoubtedly the driving force behind the tragic action in these plays. It is their choices that lead to the pain and death of the people around them. Through an examination of the evidence from three separate works, Antigone, The Bacchae, and The Medea, the role of women in ancient Greek tragedy becomes clear. The actions of Agave, Antigone, and Medea repeatedly prove their characters instability and danger.

In Robert Fagles’ introduction to Aeschylus’s tragedy Agamemnon, he calls Clytemnestra a “female Odysseus” who “has the right of retaliation on her side.” Fagles’ comments on Clytemnestra’s actions and comparison of her to Odysseus can be justified. In The Odyssey, Odysseus is seen as a very masculine authority figure whose character is defined by his strength, courage, and confidence. His most distinguishing trait, however, is his sharp intellect, which helps him out of some very tough situations he finds himself in throughout the epic. Similarly in Agamemnon, Clytemnestra is portrayed as a strong, independent, and quick-witted character who defies every convention of the female gender role. Within the beginning of the tragedy, the watchman and the chorus describe Clytemnestra as, although being just a woman, a man in strength of purpose. This provides a clear distinction between gender roles but also presents Clytemnestra as having ‘manly’ qualities. One such being her dominant leadership, a trait shared by Odysseus too, during her husband’s absence. Fagles’ notion of Clytemnestra having “the right

Women in the ancient Greek world had few rights in comparison to male citizens. Unable to vote, own land, or inherit, a woman’s place was in the home and her purpose in life was the rearing of children. However, in greek tragedies, women were written as complex characters that took the role of the villain, the victim, and the heroine. Clytemnestra , Cassandra, and Antigone all show the characteristics of important women in greek tragedies. Clytemnestra was the daughter of Leda and Tyndareus and wife of Agamemnon.

Readers of the three Greek plays, Oedipus the King, Antigone, and Medea, can easily gather an abundance of information about the different cultural details within the Greek society at that time. One of the major cultural values that can be picked up from these three plays, is the roles of women in this society. The roles of women can be observed through a comparison between them and their male counterparts.