The Oresteia By Sophocles, The Libation Bearers, And The Eumenides

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.

Justice in the Oresteia Justice is often taken for granted in the world we live in today with a judicial system that gives fair punishment for most crimes. In the Oresteia justice works much differently, where there are no judges or a court system to resolve disputes, instead there is revenge. Revenge is very messy because somebody will and has to get hurt first to desire revenge, and it leads to a cycle that cannot and will not end until everybody is dead. Justice does not and cannot only be revenge because in the end nobody would be left in that system. Aeschylus' Oresteia focuses on revenge as justice, with the old system that no longer works and that someone must fix, and a new system that has

Have you ever acted out in retribution for something done to you? Some examples could be if you punched someone for intentionally kicking you, or if someone deliberately hurt the feelings of someone you love and you retaliated in kind. You probably thought the punishment you received for your actions was too harsh or lenient. Many factors went into the decision of what discipline you received for this act and some were fair while others probably were not. This is true for the actions of many people in Aeschylus’s Oresteia. In each of the three plays, someone is seeking vengeance for a wrong done unto them, someone they know/love, or both. For this paper, I will be focusing on the vengeance enacted by Clytemnestra, Orestes, and the Fates. The vengeance that each person enacted was deemed just or unjust depending on many factors including the people who were doing the judging. Vengeance in Aeschylus’s Oresteia is viewed through the social lens of the society that it was enacted in. This lens is made up of the popular values, beliefs, and social conventions of the period as well as the judge’s personal views and/or experiences. These factors (such as gender and relation to the victim, as well as the presence or absence of transgressions on the characters part) lead to different opinions about the guilt of the accused individual and the individual themselves. The view of vengeance in Aeschylus’s Oresteia is very subjective.

In the Oresteia, revenge drives the characters to act. Although they call it justice, it is not. Aeschylus uses net imagery to symbolize faith and destiny. When Clytemnestra murders Agamemnon and Cassandra, the net imagery acts as a symbol of terrible fate. However, then fate reverse. Now, Orestes is caught in Apollo’s net and kills his own mother. Lastly, Athene changes the meaning of the net from one of chaos to that of order and justice. These uses of the net imagery help the reader focus on a crucial theme in the play: the superiority of a formal justice system to one based on the individual quest for revenge by progressively altering the nets meaning and its affect on those around it.

Everyone is going to die. This is no secret to the audience of the Greek play Agamemnon. Rather than surprising us with the murders that befall at the hands of vengeance, the Greek playwright uses this common story to display the underlying theme that one must first suffer before they can reach the truth. To understand the significance behind the story of Agamemnon, one must understand the passions and how they relate to the human person, Zeus’s law of suffering into truth, and Aeschylus’s motives for writing Agamemnon and how he reflects Catholic teaching.

Through the three plays of The Oresteia, we are exposed to many opposing forces of power. Elements such as darkness, light, fate, patriarchy, and justice are intertwined to make up Aeschylus’ tragic tale, however all of these elements are directed by one central force: balance. The word balance itself suggests a state of equilibrium or a stable environment. Balance is often looked at as a scale; if one side of the scale is overpowering the other, then it creates a state of disorder, irregularity, and even chaos. Aeschylus meddles with the scales of balance but, in the end, reinforces the equipoise of power. I would argue that, not only does The Oresteia include balance as a critical underlying theme and is strategically used in determining the outcome of the play, but that the role of Athena is vital in creating this balance.

The Oresteia is a trilogy of Greek tragedies written by Aeschylus. It was originally performed at the Dionysia Festival in Athens where it won the first prize in 458 B.C. The play wants to reveal the idea of justice. Men and women are in conflict. This situation leads Clytemnestra to become not a wife and mother (which were the only appropriate roles for respectable women in ancient Greece), but a tyrant. Clytemnestra in ancient Greek, was the wife of Agamemnon. She is one of the main characters in the play and I can say that it is the most interesting one. By “interesting” I don’t mean that is a likable character because she is considered a murderer but it is important to analyze the reasons

Even though Agamemnon made a success for his homecoming, what was waiting for him was her wife’s conspiracy with Aegisthus and his death (262-263). Namely, his nosmos was rather a failure and he also faced fate of his failed household. This Agamemnon’s gives a comparison with Odysseus future success for preserving his family and throne. Furthermore, Clytemnestra’s unfaithfulness and infidelity provides a foil to Penelope’s faithfulness and loyalty. Clytemnestra’s merciless and brutal actions, not sealing Agamemnon’s eyes while he was dying, adds contrasting characteristics between Odysseus and Agamemnon’s wives. Note that here, the story of successful vengeance for Agamemnon by Orestes gives a foil to Telemachus’ weakness and deficiency. Orestes here is depicted as a heroic example with murder of Aegistus after he comes of age (264). On the contrary to Orestes who saved his household and restored order in his family’s kingdom, Telemachus, as he came of age, couldn’t serve as protecting his household and repel his mother’s suitors in the absence of his father. In the light of comparing each heroic figures’ sons, the son of Achilles is also depicted as successful warrior with great strength and fame in the battlefield against Trojan, adding a foil to Telemachus’ unsuccessful position as a son (266).

Justice is essential, for with a lack of justice, chaos would be brought about in society. In The Eumenides, the Furies value justice without truly being just. Throughout the play, the Furies, protectors of the law, pursue Orestes because of the crime he has committed. They yearn to "trace him by his

Aristophanes’ play, The Clouds, has an inconsistent message about morality. Morality is the difference between what is right and what is wrong. Morality affects our action, thoughts, and what is perceived as good and bad. For the ancient Greeks nomos was the concept of law and moral conduct, while physis was natural behavior. In both plays there were incidents that have a moral argument. In The Cloud, there are scenes where morality is question about what a character is doing. Compared to Euripides’ play, Electra, morality is a key issue. Some people may say that in The Clouds, the moral argument is view differently than in Electra. In this paper I will argue that the concept of what is moral is different yet the same for the characters in both plays and some characters are more vulnerable to having their sense of morality swayed.

“If you want peace, work for justice.” – Pope Paul VI. The Oresteia trilogy, which contains the plays Agamemnon, The Libation Bearers, and The Furies, uses justice as its dominant theme. Aeschylus wrote these plays sometime after the end of the Persian wars, around 449 BC, when the star of Athens was on its superiority. It was the commencement of a new era, marked by the establishment of a new social and political order built on democracy and the rule of law. The rule of law designed the institutionalization of justice. Justice was not a personal responsibility to be handed out according to the rule of family dispute of blood for blood anymore. It was now a state responsibility representing the community as a whole that the law was set down. It was an advancement in the direction of realizing a more peaceful and orderly existence. Though, this institutionalization of justice was also an advancement in the

The concept of justice is manifested through the three plays of Aeschylus' Oresteia. The old tradition of justice, the private blood feud, caused an ungoverned succession of violent acts that spiralled uncontrollably. Aegisthus, Clytemnestra's lover, is introduced in Agamemnon; he desires vengeance for the plot contrived by Agamemnon's father (Ag: 1605-1611).1 Neither Agamemnon nor Aegisthus took part in this "plot" and yet as the chorus explains (Ag: 755-6)

Reading through three related stories, we discover different motifs denoting author’s thought in different time.Without any doubt, the tragic essence goes through the Three Theban Plays. As Sophocles meditates the philosophy of the tragedy all along his life, the tragic essence expands from individuals in a society. The conflict in each play becomes increasingly complicated. In Antigone, we can clearly distinguish the conflict between Antigone and Creon, family and politics. However, in Oedipus at Colonus, the play merges all the conflicts happened to former plays and enhances the theme of the story. The later part of this trilogy, especially the ending of Oedipus the King and Oedipus at Colonus, reveals a darker and deeper phenomenon of Thebes and projects it to Oedipus. The prophet plays important role of forming the story line and tragic image of Oedipus, but the root causing the series of tragedy of the characters is not gods’ command. It is degeneration of people, which is pathetic to humanity. Finally, after suffering from family complex and exile, Oedipus is not only a victim of the society, but also the reflection of the twisted humanity of Thebes.

Retributive justice is a very common element found not only in literature but in almost all text that tries to evoke moral values. A nemetic ending is often used to provide the reader or spectator the satisfaction of seeing the hero be rewarded for his or her virtuous actions. Alternatively, the evil or malicious characters are usually punished thanks to the hero 's actions and thus brings a somewhat “happy ending” to the conflict. Many authors and playwrights would mostly hesitate to bring an unpleasant end to their stories so that the audience may leave their seats with a more positive outlook on the play. Nevertheless, it might be debatable if a standardized nemetic ending would transmit a more poignant message to the spectators, numerous plays that do not follow this norm are well known to have a very similar, if not equal, impact. To illustrate this tactic, we will mostly focus on the ending of “Snow in Midsummer” by Guan Hanqing that may end in a slightly ambiguous note rather than directly rewarding our hero Dou Er. Henceforth, we will also look over the case of Oedipus the King by Sophocles, that challenges the ideal retributive justice at the end of the play. We, as spectators, have a desire to connect with the characters and the issues they try to get through, as long as the heroes remain praiseworthy and villains fall and get defeated.

In this paper, I will discuss a play by Athenian playwright Aristophanes, The Wasps. First, I shall give a brief overview of the The Wasps. Then, I will examine the courtroom scene of the play and argue that Philocleon is not an impartial juror. Next, I will discuss generational gap in Athens. Finally, I will conclude the paper with my outcome of the investigation of the conflict between Misocleon and Philocleon.