Abstract The paper discusses how Euripides, Sophocles and Aeschylus are the three most significant Greek playwrights that have affected the development of modern drama. Aeschylus, the oldest of the playwrights existing in the Greek period, gave modern drama the actor, the scenery and the dialogue that is significant to how theatrical works have been constructed throughout the history of theatre. Sophocles added the third actor and then set about transforming the dialogue of the play in a manner that allowed theatrical work to develop with dramatic movement for the characters and the spectators. Euripides created the prologue to allow the audience to comprehend the world that had been created on the stage. However, the paper explains that Euripides also changed the manner in which gender was viewed in theatre and he gave women strength that affected not only the drama of his time, but the drama of the modern world as well.
Abstract This paper presents a comparative and parallel study of the dramatic art of the most prominent Greek dramatists Aeschylus and Sophocles. The writer discusses the similarities and differences between the two tragic poets, both in terms of style and content, and explains how each dramatist uses the chorus. The writer also explains that where the dramatic art of Sophocles is characterized by accomplished symmetry and harmonious grace, that of Aeschylus is hard, grand and severe, and Aeschylus (referred to as the 'Master of the Grotesque') is rightly acknowledged as the inventor of scenic pomp and hyperbole. The writer believes that Sophocles' art of characterization is more complex than Aeschylus and explains how Sophocles uses the third actor to place the audience in a position to judge the chief character from at least three points of view. The writer further asserts that unlike Aeschylus, who is simple and direct, Sophocles carries an explicit irony in his plays and he presents not only the problems, but suggests the solutions also to the intricacies of human life in relation to the cosmic and social order. The writer concludes that, as a modern reader, Sophocles is the greater of the two dramatists.
From the Paper "Of the precious and inexhaustible treasure of the Greek endeavours in the realm of tragedy, very little has come down to the readers. We are aware of the names of a few tragedians with Aeschylus, Sophocles and Euripides being the being the most prominent. And with these three too, a very little of the whole number of works is left. The extant dramas are those that had been selected by the Alexandrian critics for the study of Greek literature. The reason for being their choice by the critics was their affordability as the best illustration of the various styles of tragic art. Regarding Aeschylus and Sophocles, (the two subjects of this term paper) we are left with seven pieces remaining of each."
Abstract This paper reviews Aeschylus? "Oresteia" in which Aeschylus uses the Agamemnon myth to convey his messages. It examines how Aeschylus? main purpose in the "Oresteia" is not to explore the psychology of his characters but to narrate the story of the House of Atreus, its theological aspects and its relevance to the contemporary political situation. It focuses on Aeschylus? use of the story of the House of Atreus in order to make relevant points about the society he lived in and whether he was successful in doing so. Also discussed is the use of charter myth and gender.
From the Paper "First of all, the story of the House of Atreus is not only of one generation, but in fact includes the terrible happenings between Atreus and his brother Thyestes, and then the abduction of Helen from Menelaus; these things are implied by Aeschylus in a very circumspect manner but not actually mentioned ? although they are an integral part of the Atreus curse, they are not necessary to the plot and therefore not included. Aeschylus gets away with this because his play is not original material as such, it is based on a myth widely known throughout his culture, he can safely assume that everyone watching the play will already know the tale and will therefore "fill in the gaps" themselves. This is, of course, a major point; would Aeschylus tell a story for its own merits if he knew that his projected audience was already aware of the outcome of the tale?"
Abstract This paper explains that the trilogy of the great classic dramas by Aeschylus, which comprise the "Oresteia", embodies the competing concepts of justice as administered by a stable and unified state versus justice as administered at an individual or family level that arise out of revenge. The author points out that these dramas show the intense and often brutal conflict that existed between these two very different views of law. The paper relates that, in the end, the dramas succeed not as much in depicting an existing social reality but rather in idealistically propagandizing in favor of the importance of an objective administration of justice. The author examines each of the three Aeschylus plays in order to keep an essentially linear presentation in respect to its dramatic unfoldment and resolution.
Table of Contents
"Agamemnon"
"Choephori"
"Eumenides"
From the Paper "The core problem of subjective justice, or the rule of personal vengeance, is of course its unending cyclical nature ("Act for act, wound for wound!" cries Clytemnestra in the Agamemnon, l. 1555.) Crimes are punished, but the punishment itself becomes the seed of a future crime which itself requires further vengeance, with no obvious end. This has long been recognized as a universal situation with regard to this sort of justice, and the tragedies of the Greeks, most notably the trilogy herein examined, make it their theme to address this ancient cycle."
Abstract This paper explains that, in the play "The Eumenides", Aeschylus,
while using many tragic elements to move the plot to its conclusion, nonetheless employs the unique feature of a positive ending, which is not contrived but rather well constructed from the elements throughout the play. The author points out that Aeschylus uses consistent symbolism and does not change the characters or the symbols in the story; instead, the changes occur from within and very gradually. The paper relates that the evolution of the play echoes the evolution within the depicted society during which conflicting forces were at work and the savage practices of the past were being replaced by the civilization of the new paradigm.
Tale of Contents
The Furies
Sacrifice and Redemption
From the Paper "This is the point where forgiveness rather than revenge comes to the forefront of the play. Athena's argument rests on the new order rather than the old. The emerging civilization is to be based upon understanding, forgiveness and atonement. Indeed, the foregoing events in the play have shown that violence begets violence. Revenge upon revenge is exacted, with never an end to the blood and death of citizens that could otherwise have proved worthy members of society. In the ultimate show of forgiveness and atonement, Athena shows that the Furies can have a place in the new society. This however comes not with a warning, but with an assumption that even the Furies have a sense of justice."
Abstract This paper is a symbolic analysis of Aeschylus? Prometheus Bound. The author characterizes Prometheus as Reason, Zeus as Force, and Fate as Futility. The paper makes the further argument that there is a hierarchy of power among these three, and explores the nature of each character. It also focuses a good deal on the struggle between Force and Reason.
From the Paper "In Aeschylus? Prometheus Bound, we see Prometheus as the embodiment of Reason, Zeus as the embodiment of Force, and Fate as the embodiment of futility. Prometheus, as Reason, has a greater will, or power, than Zeus has as Force. Zeus is subject to the guiding power of Fate. Moreover, while it may seem like a controversial statement, that same force, Fate, does not bind Prometheus. From this, it is possible to extrapolate a hierarchy of power. Force restricts aspects of the material world. Fate will direct or hinder Force. However, Reason has the power to triumph over both."
Abstract Examines the relevance of gender-specific themes in the three plays of the ORESTEIA trilogy by Aeschylus. AGAMEMNON, THE LIBATION BEARERS (CHOEPHORIA) & EUMENIDIS (FURIES). Discusses curse of the House of Atreus & the Trojan War. Plots. Characters; their motivations, actions & relationships. The important role Agamemnon plays in sacrificing his daughter Iphigenia, which sets the tragedy of the triology into motion.
From the Paper "This research analyzes gender issues in Aeschylus's Oresteia trilogy, comprising the plays Agamemnon, The Libation Bearers (Choephoroi), and Eumenides. The relevance of gender-specific themes that emerge in the plays will be discussed.
The Oresteia cannot be understood without reference to the curse of the house of Atreus of Argos, which is bound up with the legend of the Trojan war. The curse began when Atreus killed sons of his brother Thyestes, who had seduced Atreus's wife. After a banquet in which Atreus fed Thyestes's children to him, Thyestes laid a curse on Atreus's descendants. Atreus's two sons, Agamemnon and Menelaus, married two sisters, Clytemnestra and Helen, respectively, and when Helen either eloped with or was abducted by Paris to Troy, Agamemnon, like Menelaus, assembled an army of Greeks and prepared to sail for Troy. But that..."
Abstract This paper discusses how Homer, Sophocles and Aeschylus were all writing about life, essentially, in which chaos and order are to be found in almost equal measure. Art, adhering as it does itself to some general rules, seems to be, like science and religion, a means of providing the world with some kind of moral order and of keeping chaos at bay.
Abstract This paper analyzes how various representations of light and dark in Aeschylus's "Agamemnon", part of the "Oresteia", seem to mirror masculinity and femininity, respectively. It explains how these images also show how the play is mostly about how the female attempts to usurp male power, ultimately achieving it. Nevertheless, because there can never be absolute darkness or absolute light, the overthrow of the male can only be temporary.
From the Paper "In Aeschylus's Agamemnon, the use of light and dark revolves around their relation to the masculine and the feminine, respectively. Throughout the play, brilliant metaphors and images are used to express this idea, most obviously when related to Agamemnon and Clytaemestra. These images also show how the play is mostly about how the female attempts to usurp male power, ultimately achieving it. Nevertheless, because there can never be absolute darkness or absolute light, the overthrow of the male can only be temporary."
Abstract This paper discusses the mythology and background to the Prometheus story. It explains that Prometheus, as portrayed by Aeschylus, was not only a God, but a symbol. Prometheus, through his plight to help man, suffered as a supreme artist, visionary and Christ-like symbol. The myth behind the play is exposed and discussed as well as the plot of the actual play.
From the Paper "Understanding the rich mythological background of Prometheus Bound is vital to understanding the play in its entirety. Prometheus was a titan, a race of gods who reigned before Zeus and the Olympians. Prometheus, whose name means "Fore thinker," was blessed with the gift of prophecy by his mother Themis, the goddess of Earth and ultimate mother of all. He was a clever deity, a master craftsman and creator. He created man and taught them the many crafts that were necessary for survival. However man lacked a crucial gift: fire."
Abstract This paper explains that the plays "Libation Bearers" and "Eumenides" are part of a trilogy of ancient Greek plays written by Aeschylus telling the story of King Agamemnon, his wife Clytaemnestra and their children. The author points out that, appearing in these plays, the Furies, who are the three daughters of Mother Earth, represent man's evil and hold him accountable for his evil actions thereby moving from justice to social change and merciful reform. The paper relates that the Furies, creatures of the underworld who become creatures of Athens, show that change and growth is good for society and good for individuals, like Orestes.
From the Paper "The Furies are not evil, they avenge evil deeds, but they certainly are frightening and cause tumult around them. As they pursue Orestes throughout this play, they do indeed seem evil and vengeful. They can smell the blood of Orestes murdered mother, and that is how they track him all the way to Athens. Ultimately, the Furies could destroy Orestes, but Queen Athena intervenes, and changes the entire aspect of Orestes torment when she takes him to trial before a judge and jury. The Furies represent an old, archaic form of justice based on revenge, and that is another reason makes them ugly. Revenge and its' motives are often just as ugly as the Furies, and so, they represent a form of justice that may be quick, but is not always fair or even just. The Furies are living in the past, and Orestes, with his crime, will pull them into the future, where they can change the way they view the world and are viewed by the world."
Abstract This paper discusses the theme of disorderliness and its relationship to the desire for social order sanctioned by law as treated in Aeschylus's play, "Eumenides", the third play of the Orestia, and Shakespeare's "Romeo and Juliet".
Abstract This paper is about "The Oresteia" by Aeschylus. It asks whether justice is ever achievable, and who defines "justice". The paper asks: How do questions of justice draw in issues of fate and human will?
From the Paper "In The Oresteia by Aeschylus the ancient law requires that blood must be paid for with blood in an unending cycle of doom. The idea was that nothing can wash away a bloodstain except for more blood. Many years after king Agamemnon's murder by his wife Clytamnestra with the help of her lover Aigisthos Agamemnon's son Orestes returns surreptitious to his home in Argos to visit his father's grave. He has returned to Argos on a mission he has been sent by an oracle of the God ..."
Tags: The Oresteia, Aeschylus, Agamemnon, Argos, Apollo, siege of Troy, Justice, revenge, the rule of law
Abstract This paper compares and contrasts the stories of two heroes returning from war, as expressed in Homer's Odyssey. The paper describes the differences in family life in the two stories. The paper explains that Agamemnon left for battle, sacrificing his daughter. As a result, Agamemnon's homecoming is a tragedy. His wife has been unfaithful and wants to avenge her daughter. By contrast, the paper explains, Odysseus goes through many trials and tribulations before he is able to return home. The author explains, though, that once he arrives at home, he finds a faithful wife with whom he is able to rebuild a good family life.
From the Paper "Aeschylus and Homer portray two different versions of a post-war homecoming by the central protagonists of the texts "Agamemnon" and "The Odyssey." Agamemnon and Odysseus are both Greek generals who fought successfully in the Trojan War. Both men are kings. While the dramatist Aeschylus portrays an ungrateful homecoming on the part of the central protagonist's wife, and dramatizes a dark prophesy of death that is ultimately fulfilled, as well as stresses the inevitability of fate at the hands of vengeful women, Homer shows a far different possibility for a wartime homecoming. Homer shows how unexpected happy endings can occur, despite the persistent influence of the gods in human affairs. Homer depicts a loyal wife and son waiting for the main protagonist, upon Odysseus' return from the Trojan War. These different family portraits suggest that in Aeschylus' point of view, war destroys family alliances and a true post-war homecoming that recaptures the past is impossible, given the moral as well as territorial destruction of war. But Homer suggests, even though years may be lost, there is still a family bond that can be sustained, despite years of separation."
