Abstract
This paper examines the ancient myth of the murders at the House of Atreus. It analyzes the different versions of what happened in the story as interpreted by three Greek playwrights ? Sophocles, Euripides and Aeschylus. In particular it discusses the part played in each of the versions by two women, central to Greek mythology- Clytemnestra and Electra and attempts to determine which of the women can be considered the most villainous. It looks at how Sophocles does not take one side or another but how the other two playwrights do not hesitate to condemn both Clytemnestra and her children for their murders of their husband and mother respectively. It shows how in Sophocles? play, Electra is the protagonist and how she is determined to avenge the death of her father at all costs.

From the Paper
"The story behind these murders has been explored by all three great playwrights - Sophocles, Euripides and Aeschylus. The former two call their play "Electra" while the latter calls his play "Libation Bearers." While Sophocles does not take one side or another, the other two playwrights do not hesitate to condemn both Clytemnestra and her children for their murders of their husband and mother respectively. Sophocles has written the most analytical play as far as characters? feelings are concerned. His play was the one I found the most interesting of the three. I will use excerpts from mainly his play to analyze this great myth."

Tags:aeschylus, agamemnon, euripides, orestes, sophocles

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?"

Tags:aeigisthus, agamemnon, areopagus, athens, clytemnestra, delian, electra, eumenides, gods, menelaus, thyestes, troy

Abstract
This paper examines the qualities of Seneca's "Thyestes" in respect to a comparison between the character of Atreus and the Emperor Nero. The madness of these two men, one fictional and one very real, is expressed in both Seneca's writings and those of the historian Suetonius.

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 research analyzes topics related to gender in ancient Greek playwright, Aeschylus' "Oresteia" trilogy, comprising the plays "Agamemnon", "The Libation Bearers" (Choephoroi), and "Eumenides". The relevance of gender-specific themes that emerge in the plays are discussed.

From the Paper
"The importance of engendered social roles is important to the action of the Agamemnon, although as Kitto points out, the play by no means makes clear that Aeschylus shares any particular social values articulated by the characters in the play. In any case, Clytemnestra literally plays the homebody, offering Agamemnon fulsome and public praise upon his appearance, fussing at her women to facilitate his grand entry into the palace. In words that drip with irony, she calls for justice to "lead him to a home unlooked for. The rest my care that never sleeps will order justly" (Ag. 21). Olson says that despite her wickedness, "it is impossible not to respect her, not to admire her.""

Tags:Atreus, of, Argos, Thyestes, Iphigenia, Menelaus, Helen, Troy