Eumenides

his son avenged his father death by murdering Aegisthus and his mother Clytemnestra. The consequences of murdering Clytemnestra and Aegisthus Orestes provoke the Furies of the Female deities by committed a grave crime, referring to the PowerPoint “Eumenides”.

When choosing a poet to give Athens much needed advice to hopefully save it from what seems to be the inevitable end to the Peloponnesian war, one might consider either Euripides or Aeschylus. Both are excellent tragedians. Based on one’s political beliefs, one will probably easily choose one over because they stand on opposite sides of the political spectrum. Euripides is for a more socially progressive state whereas Aeschylus is for a more conservative form. However, there is a third, and in fact

charge meets counter-charge” (1588-1594). The death of Agamemnon comes as revenge, the revenge of the death of Iphigenia and the revenge from the sins of the house of Atreus on Aegisthus’ family. The theme of revenge as justice carries on into The Eumenides

says that the oracle told him, “By not taking their lives my own will be taken but not before tasting great torture and torments” (Aeschylus 56). However, the involvement of the gods goes much farther than just what is described in Choephori and Eumenides. From the events of the Trojan War, to the system of honor that demands that Orestes avenge his father, the gods were the directors of all of the action. The gods of Greek and Roman mythology are portrayed in very human terms. They are fallible

People are often a product of their environment and fictional characters prove to be no exception. After all, it wouldn’t make much such for a happy character with a delightful life to be surrounded by torture and turmoil. Similarly, a wretched king certainly wouldn’t rule a peaceful, patriotic country. No, these places would need to work in tandem with their inhabitants. A happy character deserves a sunny countryside. The wretched king deserves a country full of dissent. A cursed Oedipus deserves

A little over two thousand years and a few revolutions separate the writing of Aeschylus’ tragedy the Oresteia and JK Rowling’s Harry Potter and the Deathly Hallows. In terms of themes, they are remarkably similar - something purposefully done as Rowling litters her work with little literary jokes. While a several hour long Youtube documentary could surely list out all of the allusions and intertext that make up the Harry Potter novels, I mean to demonstrate a very specific, and rather troubling

Aeschylus’ Oresteia is a trilogy of books about the aftermath of the Trojan War in Agamemnon’s family. The trilogy contains many themes including tragedy, deception, justice, vengeance, and most importantly betrayal. Many of Agamemnon’s family members turn against each other, including Agamemnon himself. However, the betrayals in Oresteia are not betrayals committed purely out of hatred. Vengeance plays an important role in Clytemnestra’s murder of her husband, and Orestes murders his mother out

the order to slay Clytemnestra , but to provide him asylum when the Furies begin to haunt him (Bates 2-3). Orestes’ responsibility to avenge his father was held to a high standard throughout the tale, to the point where the entire 3rd play, The Eumenides is about Orestes going to trial to be told that his actions were just. Although there is the issue of Orestes’ conundrum, where he is bound both by his duty to avenge his father, and his duty to be loyal to his mother, Athena, god of law and justice

In this paper I will discuss Aeschylus’ The Libation Bearers. Close reading reveals that Electra is Orestes’ mirror image of a Fury. This thesis will be demonstrated through the analysis of passages through the lens of the following principles of close reading: anomaly and parallel stories. To prove this theory, the interpreter needs to offer evidence to show that Electra is a mirror image of Orestes, a physical copy of himself meant to display his emotional and ‘Fury-like’ motivations towards killing

In this essay I intend to discuss how Aeschylus presents Clytaemnestra in the Oresteia and how he marks the extent to which traits of Clytaemnestra's character remain defiantly unchanged as she manipulates events and characters around her. Clytaemnestra is the only character who appears in all three plays in the trilogy, but despite her immense stage presence she remains a troublesome character to interpret due to the highly ambiguous nature of her words. I intend to show that the key to unlocking