And when Agamemnon returned to Argos from the Trojan WarClytaemnestra killed him by stabbing him in the bathtub and would eventually inherit his throne. The cycle of revenge seems to be broken when Orestes is not killed by the Furies, but is instead allowed to be set free and deemed innocent by the goddess Athena.
It is easily seen as a principal motivator of the actions of almost all of the characters. That Aeschylus intended this is shown in The Eumenides, where Orestes is turned into a human symbol in the great moral conflict that is fought out on stage between Apollo, as representative of Zeus, and the Furies, as representative of the primitive, pre-Olympian religion.
This trial is made up of a group of twelve Athenian citizens and is supervised by none other than Athena herself. She begs for mercy saying that it was predestined that she kill Agamemnon.
It also deals with the related doctrines that wisdom can be learned only through experience and suffering, that one crime invariably leads to another if the criminal is not punished, that blood, once shed, can never be atoned for, and that authority is the foundation of civilization.
Both sides of the argument stand; that because of the circumstances surrounding his actions, Agamemnon cannot be seen as morally responsible, or, no matter the circumstances, he was morally responsible for killing his daughter.
Pylades The companion of Orestes in The Choephori. The Oresteia is the only surviving example of the works of ancient Greek theater. They relentlessly pursue Orestes for the killing of his mother. Any of the three plays can be presented alone without too much loss of understanding, but the meaning and dramatic effect of the works is enhanced by production or reading of them as a group.
Aegisthus Aegisthus appears briefly in Agamemnon and The Choephori. Justice through retaliation[ edit ] Retaliation is seen in the Oresteia in a slippery slope form, occurring subsequently after the actions of one character to another.
Agamemnon is complacent, egotistical, and shallow. The middle play of the trilogy takes place a few years after the first.
She then kills him with an ax as he is taking a bath. The main idea of The Oresteia is that injustice and such primitive instruments of morality as the blood-feud must be eliminated if human society is ever to attain to a high level of social organization, which can only be done by the introduction of a public morality and civic legal processes.
Therefore, she found a new lover Aegisthus. Proteus, a play written by Aeschylus as a follow-up to the trilogy no longer exists with the exception of one line.The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BC, concerning the murder of Agamemnon by Clytaemnestra, the murder of Clytaemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus and pacification of the Erinyes.
Summary and Analysis; The Oresteia: Introductory Note; Agamemnon: Prologue (Lines ) Character List That Aeschylus intended this is shown in The Eumenides, where Orestes is turned into a human symbol in the great moral conflict that is fought out on stage between Apollo, as representative of Zeus, and the Furies, as representative.
and Agamemnon of The Oresteia trilogy, Aeschylus constructs an over-arching metaphor for elements of the new Athenian democracy. The chorus in each play represents the people who feel under-represented and disrespected, by the society's changing values.
Oresteia Summary. Aeschylus Oresteia. This one-page guide includes a plot summary and brief analysis of Oresteia by Aeschylus. The Oresteia, a trilogy of Greek tragedies by Aeschylus, was first presented in a less powerful position among the gods and makes the Aeropagus her representatives and the holders of justice in the human.
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.
Throughout “The Oresteia”, Aeschylus uses a lot of naturalistic metaphors and symbols, such as solar and lunar cycles, night and day, storms, winds, fire, etc, to represent the vacillating nature of human reality (good and evil, birth and death, sorrow and happiness, etc). There is also a significant amount of animal symbolism in the plays.Download