Eumenides

Shakespeare’s tragedies with a difference. Shakespeare’s tragic hero Hamlet and Aeschylus’s Orestes have a great deal in common. Both the plays are set in a time when the society is going through transition. In Orestia gods are changing. Furies turn into Eumenides or the Pacified Ones. Social and political norms are changing. The old laws of revenge and retribution have to be re-established. Similarly Hamlet’s

From Avengers to Prosecutors: Ending Barbaric Justice. Every generation has felt, at one point or another, uneasy about the efficacy of their justice system. One need not look further than a few months ago with the controversial murder trial of Casey Anthony. People were enraged by the jury’s decision to let her go. Up until today, many people are convinced that there existed enough evidence for convicting her of first-degree murder of her daughter. Can we say that today’s justice system is ineffective

Shakespeare’s tragedies with a difference. Shakespeare’s tragic hero Hamlet and Aeschylus’s Orestes have a great deal in common. Both the plays are set in a time when the society is going through transition. In Orestia gods are changing. Furies turn into Eumenides or the Pacified Ones. Social and political norms are changing. The old laws of revenge and retribution have to be re-established. Similarly Hamlet’s

Language of intelligibility: it is my belief that this class, Drama in Context, ultimate goal is to use various theater styles to teach us the importance of understanding language of intelligibility. It is important to remember it is impossible to completely understand the context of when plays were written. The further through time and space we travel to the original production of a performance the harder it might be to mesh our language of intelligibility to that of the playwright. As thinking

Why does the main character in a tragedy almost always fall into a series of catastrophic events and suffer while attempting to overcome the struggles? According to the Merriam-Webster dictionary, a tragedy is defined as “a very sad, unfortunate, or upsetting situation that causes strong feelings of sadness or regret.” It is a common misconception among many people how a tragedy is written for the audience to simply mourn and experience emotional catharsis. In fact, however, a tragedy discloses the

My sympathies go toward the Furies in their argument with Athena. The Furies are more sympathetic in the sense that with this singular loss in court, they are feeling displaced in world as iterated in them saying “They have wiped me out and the hard hands of the gods and their treacheries have taken my old rights away” (155). The Furies are the older generation with a set ideology and purpose, but for the first time they are unable to complete a mission to avenge murder of blood relatives. Athena’s

Justice and Gender in the Oresteia Justice and gender are put into relation with each other in Aeschylus’ Oresteia. In this trilogy, Greek society is characterized as a patriarch, where the oldest male assumes the highest role of the oikos (household). The household consists of a twofold where the father is the head, and the wife and children are the extended family. The head of the oikos is the only one who possesses the authority to seek justice. This is because the father acquires the authority

and love. Stevie looks like the maenads along with her increasingly excited actions (Arnesen, 2007). The play likewise refers to Eumenides. Just before the interview begins, Ross hears a type of...running sound...wings, or anything, to which Martin answers, "It is possibly the Eumenides" (Albee, 2000). The commotion vanishes and Martin rectifies himself because the Eumenides do not stop. The allusion predicts Stevie's vow for revenge, doing it so completely that it closes the

proceeds to commit matricide. At this point, the chorus laments that Orestes took his own mother’s life, but they admit that their “choice is nevertheless for / this eye of the house not to fall utterly in destruction” (lines 933-934). Later on in Eumenides when

added in the ballets L’Homme et son Desir (1918), Le Boeuf sur le toit (1919), and La Creation du monde (1923). He also composed incidental music for Claudel’s Protee (1920) and for Claudel’s tragedies Agamemnon (1913), Choephores (1915), and Les Eumenides (1917-22). His other operas are Christophe Colomb (1930), Le Pauvre Matelot (1926), David (1954) and Medee (1939). He uses many characteristics in his music such as bitonality and polychords. One of the popular classics of his early works, is the