Eventually, as dramas evolved from poetic speeches recited by choruses to dramatizations of scenes by distinct characters, a class of professional actors evolved out of the festivals of Dionysus Eleuthereus, also called the Dionysia.
It is in terms of them that the good life must be gradually worked out. Taken on its own terms it may offer rewards of a different kind. Explicitly focalising his narrative from the point of view of the Greeks, however, Eurybates implies that their fate is worse than that of the defeated Trojans.
Orestes has fled to the shrine of Apollo at Delphi in order to pray and seek purification. And as the first chorus already warned, victory itself can be easily overturned into disaster. Clytaemnestra keeps Aegisthus's involvement in the murder plot a secret until after she has killed her husband.
Referring to Aeschylus' inspired interweaving of extended metaphors and his grand manner, Sophocles commented that the first tragedian must have composed while under some form of Dionysian intoxication. Aegisthus waits even longer—his entire life since infancy—to exact his revenge, as his cause is more complicated and the crime committed against Aegisthus's family was even more barbaric.
Since they do not know of the signal the Watchman has seen, they do not know what to make of the cry of excitement that Clytaemnestra lets out within the palace. As a person, it is not wrong motives which Agamemnon exhibits but lack of insight and an abeyance of will.
Incorporate the newscaster into the events of your play as one of the characters. After praying at Athena's shrine on the Acropolis, Orestes makes his way to the Areopagus, the Athenian court. Cassandra is a guiltless sufferer and toward her Clytemnestra is no longer an agency of retribution; she is simply vengeful.
She has been an unpopular ruler. Watchman The Watchman is the first character to appear in the play. They stand up to the armed guards who face them with spears and swords, and are ready to face death before Clytaemnestra calls the guards down. Thus Agamemnon reveals few signs of personal depth and no indication of inward search or struggle such as might make his action significant as an issue of character.
Her conclusion is unequivocal: The imagery of light, with its traditional connotations of liberation and of hope, is force- fully initiated there, carried verbally through the Choephori,26 -cnd brought to its final positive turn at the close of the 25Ag.
Nonetheless, in the years after his death his tragedies appear to have been far less popular with Greek audiences than the more accessible plays of his younger contemporaries, Sophocles and Euripides. She brings out Aegisthus, Agamemnon's cousin, who she says is going to rule by her side.
If there is a protagonist at all in the second half of the tragedy it is Cassandra, not the queen. But Cassandra is no Aeneas, and there is no promised land in wait for her —just death. In a magnificent foundation myth, Aeschylus imagines a brilliant and auspicious beginning for the real court that played such a part in the polis of his time.
Amidst all this variety there is perhaps some specific guidance for our interest in the fact that recipes for "Tyrian purple" and "Phoenician purple," the two most famed and prized oriental porphyrai, were found to produce a dark reddish brown.
On one hand, it is true that Agamemnon has the responsibilities of a leader, which sometimes might necessitate committing acts for the greater good that would not, individually, be acceptable in peacetime. Nevertheless, the Greeks continue to be of critical importance to twenty-first-century theatre academics and practitioners.
When first we meet Clytemnestra in the Agamemnon, long before the germ of her hate is shown explicitly, the inward nature and seed of her purpose is sug- gested by the reiteration of the womb image, applied to the dawn, in her first ten lines The Chorus is horrified that she has killed the king, but Clytaemnestra defends herself on the grounds that he killed Iphigenia, their daughter, in sacrifice to the goddess Artemis.
Consequences of his past lie in wait in his future to reduce him perforce. In poetic drama such develop- ments are invited either in the order of language, or in the embodied action of agents, or as a matter of the setting accorded to the action.
It is certain that Aeschylus, as well as many of the audience members who would have attended performances of his works, would have been familiar with Homer's accounts of the Trojan War and its aftermath.
Rohde, Psyche London,pp. Resources English translation by E. More than agent he becomes a patient. Agamemnon and his fellow Greek leaders are punished for the atrocity of the sack of Troy.
Jealousy Although it is not the major motivator in this play, jealousy is certainly a driving force that stimulates the bad feelings between Clytaemnestra and Agamemnon. Rhetoric is persuasion's means, and in this scene Clytem- nestra's rhetoric is of the boldest sort, successful even in voicing patent untruths.
The debate crashes to a close with the reminder that Orestes is under an injunction from Apollo to avenge his father's death. She mentions their absent child, raising the memory of Iphigenia, whom Agamemnon sacrificed on an altar at the beginning of the war.
His father, Thyestes, was the brother of Agamemnon's father, Atreus, and had equal claim to the throne. All these factors together make it possible for a modern audience to feel that, whatever Aeschylus does to shift our sympathy away from Clytemnestra, we understand her and forgive her.“Agamemnon” is the first of the three linked tragedies which make up “The Oresteia” trilogy by the ancient Greek playwright Aeschylus, followed by “The Libation Bearers” and “The Eumenides”.
2 In this paper I want to address –briefly- the issue of the play’s dramatic structure and develop some considerations on its relationship with epic models. There is no question that the structure is unusual even by Senecan standards. No main character provides a unifying link.
Indeed this last fact constitutes one of three developed aspects of the internal, verbal-dramatic structure of the Agamemnon and of the trilogy which join with the obvious fact of Aga- memnon's murder to indicate that the colors of blood and death lurk in the carpet and have significance there.
Agamemnon: Character Profiles, Free Study Guides and book notes including comprehensive chapter analysis, complete summary analysis, author biography information, character profiles, theme analysis, metaphor analysis, and top ten quotes on classic literature.
Cassandra: Cassandra is the daughter of Priam, king of Troy. She. Beginning with the position that Aeschylus expresses in Agamemnon a conflict between the character of Agamemnon and his wife Clytaemestra, it is discussed what form that conflict takes, how it is depicted, and how it is understood by its intended audience.
- Revenge and Violence in Cassandra In "Mycenae Lookout," Seamus Heaney tells the story of Agamemnon, Clytemnestra and Cassandra after the Trojan war. "Cassandra" is the second part of "Mycenae Lookout" and chronicles Cassandra, Apollo's ill-fated prophetess, who is captured by Agamemnon at the war's end and brought back to Mycenae as a slave.Download