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Aeschylus? "Oresteia", 2001.
An analysis of Aeschylus? "Oresteia" with an emphasis on the story of the House of Atreus.
2,350 words (approx. 9.4 pages), 4 sources, APA, $ 72.95
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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?"
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"The Oresteia of Aeschylus", 2007.
This paper discuses the themes of objective and subjective justice in Aeschylus' "The Oresteia of Aeschylus" (Oresteia).
1,915 words (approx. 7.7 pages), 1 source, MLA, $ 61.95
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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."
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"Oresteia" by Aeschylus, 1990.
Analysis of the classic Greek tragedy The Oresteia. The Oresteia is a trilogy, composed of Agamemnon, The Libation Bearers and The Eumendzes. The first two concern revenge, the final concerns the primacy of law over personal revenge.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"In the three plays of the Oresteia by Aeschylus, legal issues are discussed and used as important motivations for much of the action. Different legal metaphors are utilized in the first two plays, culminating in the courtroom references and structure of the third play, The Eumenides. The first two plays in the trilogy present an image of private vengeance as something that goes against the grain of the law, while the third play emphasizes the need to replace this private vengeance with the rule of law, embodied here in the courtroom. Throughout, the actions of the leaders of Athens determine the fate of the society of that city, whether the people prosper or not, because the gods--her represented by the Eumenides, will punish the entire region for the transgressions of the House of Atreus.
In the first two plays, Agamemnon and The Libation Bearers, the..."
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"Oresteia" ( Aeschylus ) and "The Odyssey" ( Homer ), 1997.
Analyzes the relationships between Clytaemnestra and her mother Electra and husband Agamemnon; Penelope and her husband Odysseus and son Telemachus.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"Agamemnon and Ulysses both fought in the Trojan war and then set out to return home. Agamemnon managed to go directly home, but Odysseus had offended Poseidon and was made to wander for many years before he was able to make his way home. Each man had a wife waiting for him, though these women show very different natures while at the same time reflecting the fact that they have very different husbands. Clytaemnestra has a lover and is plotting the death of her husband, but she has reason for doing so given that he killed one of her children. Penelope is dutifully waiting for her husband to return as she is surrounded by suitors who want Odysseus's kingdom. The two women have different reactions not only to their husbands but to their children, and each story shows a social complexity that helps shape the reactions of the women. Each woman possesses a role in ..."
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"The Oresteia", 2005.
An examination of Clytemnestra's rage as a narrative catalyst in Aeschylus' "The Oresteia".
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper examines the topic of rage in Aeschylus' "The Oresteia", a triad of plays that chronicle the downfall of the royal house of Argos. The paper focuses on the role that rage, as a psychological phenomenon, plays in facilitating the dramatic and tragic action and consequences that characterize this play. Specifically, the author focuses on the character of Clytemnestra."
From the Paper
"Psychologically, we can think of rage as being a kind of all-consuming anger that facilitates and encourages irrational behavior. A person enraged is likely to do things that are not in his or her own best interests and which can have far-reaching consequences beyond the immediate, visceral pleasure of satisfying the rage. This is evident in Aeschylus' The Oresteia, specifically in the character of Clytemnestra, whose enraged actions in the play Agamemnon create significant ripples that fuel the drama and tragedy of that play as well as the following two of the triad. Rage is the basis of Clytemnestra's actions; her rage is the catalyst for the death and carnage that follows."
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Justice In "The Oresteia", 2004.
Examines concepts of justice in Aeschylus' "Oresteia" .
1,356 words (approx. 5.4 pages), 2 sources, MLA, $ 47.95
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Abstract
Concepts of justice in Aeschylus' play, "Oresteia" are examined and discussed in this paper.
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Transformation in "The Oresteia", 2002.
Looks at how matriarchy and patriarchy in society are portrayed in Aeschylus' tragedy "The Oresteia".
908 words (approx. 3.6 pages), 1 source, $ 32.95
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Abstract
This paper studies the concepts of matriarchy and patriarchy as portrayed within the ancient Greek tragedy "The Oresteia" by Aeschylus. Aeschylus believed a matriarchal society was destructive and used his play to make this point. The paper examines how he used both human characters and gods to represent both sides of the issue.
From the Paper
"The Oresteia, a trilogy by Aeschylus, contains many independent themes woven in amongst one another. Perhaps the most prevalent theme in the plays is the conversion from a matriarchal society to patriarchal a society. In antiquity, societies were by and large patriarchal and, because he is of this time, Aeschylus attempts to describe how bad things would be if this wasn?t so. In order to understand how and why the transformation from a matriarchal to patriarchal society takes place in the Oresteia, one must examine these changes on both the human and the divine levels."
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Hamlet and Orestes, 2007.
Compares the situation and characteristics of the character, Hamlet, from Shakespeare's play "Hamlet" with those of the character, Orestes, from Aeschylus' play "The Oresteia".
1,637 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper relates that two of the most prominent characters in revenge tragedy plays are Hamlet, from William Shakespeare's play, "Hamlet" and Orestes, from Aeschylus' play "The Oresteia". The paper notes that, even though there is a vast time period separating the two plays, the main characters, Hamlet and Orestes respectively, are placed in several similar family situations and have identical characteristics that are displayed throughout the texts. The paper further notest that, while there are many situations and characteristics that the characters have in common, there are also differences. The paper attempts to show that Shakespeare and Aeschylus use these familial situations and characteristics so that the audience of the plays can both relate and respond to their dramas.
From the Paper
"Although Hamlet and The Oresteia were both written many years apart, the familial situations surrounding both plays are strikingly similar. In Hamlet, Hamlet is plagued by the death of his father who is murdered by his uncle, Claudius. After his father's death, Hamlet's mother, Gertrude, does not waste any time marrying Claudius. Even though Gertrude does not know until later in the play that Claudius killed her late husband, Hamlet still resents her for abandoning his father so quickly. Shakespeare uses this tragedy-ridden family's situation to elicit a response of shock within the audience when they learn about the state of affairs of Hamlet's family. A family that has a character who is murdered, a widow who marries the murderer, and a son looking for revenge brings shock to the audience and gets their attention. In The Oresteia, Orestes's father, Agamemnon, is murdered by his wife Clytaemnestra after coming home from battle. "
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Clytemnestra's Role, 2007.
An analysis of Clytemnestra's role in Aeschylus' "Oresteia."
2,329 words (approx. 9.3 pages), 4 sources, MLA, $ 71.95
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Abstract
The paper provides a brief overview of the "Oresteia," a three part cycle of plays that include the Agamemnon, the Choephoroe and the Eumenides. The paper portrays how Clytemnestra's role is ultimately one of a weak woman in society; although she is queen and is very persuasive, she remains unsuccessful in the end.
Outline:
Introduction
Brief Overview of the Oresteia
The Role of Clytemnestra
Conclusion
From the Paper
"The Oresteia is a three part cycle of plays; the Agamemnon, the Choephoroe, and the Eumenides. The Agamemnon sets the tone for the role Clytemnestra plays as a woman whose advice and words are completely disregarded by her husband. In the Agamemnon, Clytemnestra is deceived by her husband, Agamemnon, into sending him their youngest daughter Iphigenia. Agamemnon cuts Iphigenia's throat on an alter as a sacrifice. Furthermore, Clytemnestra's advice to respect the defeated Trojan temples and people is deliberately disregarded by Agamemnon, and the city is wildly looted, destroyed and burned. Clytemnestra finally kills Agamemnon after the Trojan War, when he brings home a raped and captured Trojan priestess."
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Revenge in Drama, 2008.
Compares the theme of revenge in Henrik Ibsen's "The Wild Duck", William Shakespeare's "Hamlet" and Aeschylus' "The Oresteia".
1,325 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
This paper states that revenge makes for some of the best stories ever written and suggests that "The Wild Duck" by Henrik Ibsen is one of the best revenge tales ever told. The paper maintains that the theme of revenge in "The Wild Duck" is far stronger than that in "Hamlet", which is more similar to "The Oresteia". The paper relates the plots of each of these stories and argues that, in "Hamlet" and "The Oresteia", the characters are motivated by the death of someone they love. Thus, their revenge is more justified than Gregers' motivation in "The Wild Duck" because they are avenging the death of a loved one.
From the Paper
"Gregers' first plan of action is confronting his father about his past. He argues with him about his mother and tells his father that it was the "suffering and humiliation she had to undergo, till at last it broke her down and drove her to such a miserable end." It is clear from their conversation that nothing is going to be resolved. What we do learn from this conversation is Gregers inability to forgive or forget his father. That is not to say that Werle asked for forgiveness or deserved it even but the fact that Werle is not remorseful at all does not make things between the two men any better."
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Gender Issues in Aeschylus, 2002.
An examination of the relevance of gender-specific themes in the three plays of the ORESTEIA trilogy by Aeschylus.
2,025 words (approx. 8.1 pages), 9 sources, $ 71.95
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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..."
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"The Oresteia", 2005.
An overview of the play, The Oresteia" by Aeschylus.
904 words (approx. 3.6 pages), 0 sources, MLA, $ 31.95
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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 ..."
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?The Oresteia Trilogy?, 2002.
Discusses gender issues in the collection of plays by ancient Greek writer, Aeschylus.
2,458 words (approx. 9.8 pages), 7 sources, MLA, $ 74.95
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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.""
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"The Oresteia" and The Parthenon, 2001.
Examines Greek views and ideals through the play "The Oresteia" and the friezes from the Parthenon.
1,370 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
Using the art of the Parthenon and the play "The Oresteia", written by the Ancient Greek playwright Aeschylus, this paper determines a number of morals and ideals that the Ancient Greeks held in high esteem. In the first few paragraphs, the paper describes the various metopes in the Parthenon. It examines which gods and important Greek characters are depicted, what it is they are doing and how this represents a given Greek ideal. The paper then explores "The Oresteia" and uses important lines to either determine other Greek ideals or uses them to underscore the importance of an ideal already talked about in the segment on the Parthenon. Through comparing the Parthenon and "The Oresteia" the paper determines that the Greeks were a highly civilized people that believed highly in bravery, pride, civic duty, civility, order and justice.
From the Paper
"Greeks were the most civilized peoples in the fifth century BCE as well as the best fighters. This was, of course, according to their standards. Their success as warriors and the importance of the Apollonian way of life is inscribed on the walls of the Parthenon and within the pages of The Oresteia. The Parthenon?s gracefully sculpted friezes unite with ?schylus? trilogy and both are founded on pride and bravery. There is an obvious mindset, almost a moral code among the Athenians. They believed moderation and civility were the keys to success and it was up to them to impose this onto other races. An Athenian who didn?t abide by this code was a pariah of sorts, to say the least, and was portrayed as such through the Parthenon and The Oresteia."
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A Comparative Study of Aeschylus and Sophocles, 2008.
A comparative analysis of the dramatic art of the Greek tragedians, Aeschylus and Sophocles.
4,055 words (approx. 16.2 pages), 9 sources, MLA, $ 109.95
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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."
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