The Thematic Purpose of the Powerless Underclass in Agamemnon
Marx defines the “underclass” as a social group, conscious of itself, that is being oppressed and exploited by the ruling class and thus possesses a common hostility towards this higher class. This concept is reflected in various literature from throughout history and can also be seen in modern societies all around the world. In Greek drama the powerless underclass is, for the most part, disregarded and seen as a mass without individual identities. Yet, in both Greek literature and our contemporary society the lower classes serve very significant purposes. Aeschylus’ Agamemnon, in which Clytemnestra murders her husband, Agamemnon, upon his return from the battle of Troy, features an extremely important and meaningful underclass. Besides the simple function of narrating the background of the play, the powerless underclass in Agamemnon, represented by the chorus and the watchman, also serves several important thematic purposes, namely portraying both the disregarded individual and the oppressed masses, as well as emphasizing negative aspects of the main characters by offering a sharp contrast.One of the purposes of the underclass is that it reflects the situation of the disregarded individuals who lack the power to influence the course of action and who suffer from a lack of individual identity. This lack of individual identity is portrayed through the watchman at the beginning of the play, when he explains his elation about the victory in Troy by saying that his “master’s luck is [his]” (34). The watchman has no control over his personal desires. His happiness is dependent on the situation of his superiors and of the society in general. The suppression of the individuals who freely express their thoughts and thus attempt to actively take part in the action becomes apparent in a dialogue between the chorus leader and the herald. They are debating the glorious victory in Troy when the chorus leader starts hinting at certain suspicions about Clytemnestra and of how life has been since the departure of Agamemnon:”Leader: For years now only my silence kept me from harm.Herald: What, with the kings gone did someone threaten you?Leader: So much… now as you say, it would be good to die.” (538-541)He not only hints at his fears that the conflict about the sacrificing of Agamemnon’s daughter, Iphigenia, hasn’t been resolved yet, but he also suggests that the freedom of the individual to express his opinion has been oppressed and that one must be careful with what one says. The climax of the disrespect towards the underclass, however, is reached after Agamemnon’s death, when the chorus is arguing against Clytemnestra and Aegisthus. In a mournful speech, they chant,All plans dashed, all hope! I cannot think […]”You can dare this?To kill your lord with your own hand.” (1560, 1571-1572)Because the chorus is using the first person singular, one can conclude that it is, in this case, speaking as an individual. This individual is expressing his worry and confusion about his king’s death and is verbally attacking his rulers. However, he is disrespected and oppressed by the ruling elite. The powerless individual thus has no say in the plot and illustrates the oppression of the underclass.What lends additional importance to the powerless underclass in Agamemnon, beyond the significance of representing disregarded individuals, is its role as a representation of the oppressed masses. A first indication that the people of Argos are being oppressed is the watchman’s complaint about the hash conditions that he has faced under Clytemnestra’s rule.”So she commands […]That woman -she manoeuvres like a man.” (12-13)By comparing her to a man, the watchman is indicating that she does not follow the stereotype of the loving woman, but that she is rather a strict and disciplined absolute ruler. The actual oppression doesn’t occur until after Agamemnon’s death and after Clytemnestra and Aegisthus claim the throne. After the masses have expressed their strong objection to all this, Aegisthus replies:”You slaves at the oars -while the master on the benches cracks the whip?You’ll learn, in your late ageHow much it hurts to teach old bones their place.” (1659-1663)It now becomes apparent that Aegisthus is willing to use severe physical punishments and other measures to threaten the people and to keep the masses in line. Furthermore, in later a dispute with the chorus leader about Agamemnon’s murder and the future of Argos, he expresses his intentions to become the ruler.”We’ll see if the world comes dancing to your song […]I’ll make you dance, I’ll bring you all to heel.” (1663, 1665)One can tell that the schism between the two parties, the masses and the rulers, has deepened. In this case, the chorus leader is trying to rally the masses against the newly self-proclaimed rulers but the oppressed passive underclass stands no chance against the tyrannous regime of Aegisthus and Clytemnestra.Finally, the most important role of the underclass in Agamemnon is to offer a harsh contrast to the culprits and thus emphasize their evil characteristics. In order to accomplish this, the underclass is portrayed as being extremely kind, caring and loyal people. This can be seen in the watchman’s speech after he has realized that the king will soon be returning.”Just bring him home.My king, I’ll take your loving hand in mine and then… “(36, 37)Here one can not only detect the intimate bond that the king has to his subjects, but also the subjects’ loyalty and their dedication to the king’s well being. Unlike Clytemnestra, who is merely acting as if all were well in order to deceive Agamemnon and murder him, the underclass shows true devotion. When the king arrives, the chorus hints at the disloyalty of the rulers.”Search, my king, and learn at last who stayed at home and kept their faithAnd who betrayed the city.” (792-794)Though the chorus does not directly accuse anybody, it is apparent to the reader that those who remained loyal were the underclass and that those who betrayed the city were Clytemnestra and Aegisthus. Without the good-hearted underclass to provide the contrast to these actions, however, the role of Clytemnestra and Aegisthus would appear significantly more human and understandable. This division between “good” and “bad” reaches its climax after Agamemnon’s death. The underclass takes on a course of direct confrontation with Clytemnestra and Aegisthus and accuses them of having committed terrible acts.”Leader: You appal me, you, your brazen wordsexulting over your fallen king.” (1424-1425)Again, without the contrast that the chorus offers, the reader would be more inclined to accept Clytemnestra’s and Aegisthus’ actions as a result of human emotions and perhaps even consider the revenge to be justified. Through the good example of the underclass in the play, however, the reader automatically identifies more with them and condemns the murder of Agamemnon as being unjust and inhumane. The powerless underclass thus presents a contrast to the murderers of Agamemnon and consequently acts to portray them as malevolent characters.Therefore, although the underclass serves no active role in the plot, they do have important thematic purposes, depicting both the disregarded individual and the oppressed masses, and presenting a positive contrast to the immoral main characters and thus helping to deliver the intended message to the reader. These characteristics of the lower classes in Greek drama have contributed to motivating historians, sociologists, psychologists, and philosophers to intensely study Greek drama and draw comparisons to contemporary societies. For, indeed, many of these characteristics can be seen in today’s cultures, as well as in various pieces of literature and have therefore often been identified as basic human patterns. In large masses of people, the importance of the individual is often easily lost, especially when the mass consists of people of the lower classes of society, especially when the ruling class is additionally oppressing these people. Also, when the ruling class is acting against the needs and benefits of their population, the masses will automatically shift their views to represent a radical opposition to the ruling class and are thus often perceived as being more sympathetic. So, though interpretations of Agamemnon and other Greek plays may vary, one belief has been almost unanimously confirmed by literary analysts: the Greek drama offers an excellent reflection of true human nature.
Analysis of Tragedy in Agamemnon
Historically, Greek tragedies have been used as a means to convey particular political and ethical testimonials about society, usually in order to convey certain morals or to ensure order. In such chronicles, a protagonist grapples with a particular conflict or sets of conflicts, usually pertaining to some universal moral code. Aeschylus’ The Oresteia, like many Greek tragedies, is no exception to the rule. The Oresteia, like many other Greek tragedies of its time, deals with issues of justice, honor, and kinship. However, the play itself does so in a way that even mystifies the audience. Unlike other Greek tragedies, it is difficult to ascertain whom exactly the protagonists and antagonists are. Moreover, The epic itself presents the audience with characters who are righteous in a sense, but very flawed morally. Agamemnon is such a character.From what we are told by the chorus in the beginning play of the trilogy, Agamemnon is first presented to us as a man of honor, bravely leading his troops into victory during the Trojan War. But then we are told that Agamemnon, in order to change the winds to win the battle of Troy, sacrificed his own daughter, Iphigenia. The complexity of Agamemnon’s character leaves the audience spellbound- is the man cruel, ambitious, virtuous? Before examining Agamemnon’s acts, it is important to note the historical and political context for which the play was written. In the context of this particular story, the act of sacrificing one’s kin for the sake of the state could indeed be deemed as righteous. Because Greek plays were very political, the theme of family loyalty was oftentimes presented as a danger for society and order. Unlike the Romans who worshipped family, Grecians were more focused on the importance of the state. Like in Sophocles Antigone, going against the state for the sake of family loyalty is seen as a very dangerous thing to do, resulting in dire consequences for all. Because of the historical and political context of the play, Agamemnon’s decision to sacrifice his daughter could be deemed as a logical decision, especially since the sacrifice was for the sack of Troy and the victory of the Greek army.However virtuous the act itself may have seemed given the context of the play, Agamemnon sacrifice of his daughter was faulted nonetheless, therefore making him a complex, multi-faceted character. It could be argued that out of sheer ambition, Agamemnon murdered his daughter. This is very important to note because the theme of ambition is what began the conflict of the trilogy in the first place. Remember, ambition is what originally sparked the ill-fated curse upon the house of Atreus (Agamemnon’s father) when he maliciously murdered Thyestes and his children. Now, Agamemnon’s responsibility for the bloodshed of his daughter for the sake of ambition is another ill-fated curse that has come upon his household for which the consequence will be his own death.Despite the ill-fated decisions of Agamemnon’s ambition, he is depicted as virtuous nonetheless. The chorus presents Agamemnon as a moral character, facing a dilemma whether or not to kill his own daughter. This kind of dilemma is the kind of dilemma a protagonist would be faced with. Remember, Agamemnon fought the city of Troy for the sake of virtue, therefore making him a virtuous character. And like a protagonist, the heroic Agamemnon is faced with a conflict regarding whether or not to kill his daughter Iphigenia after he is commanded by the goddess Artemis to do so in order to spare the lives of his cavalry. Agamemnon contemplates this conflict with much grief:If I obey the goddess, and kill my daughter-What do I become?A monster to myself, to the whole world,And to all future time, a monsterWearing my daughter’s blood – .But if I deny the goddess, then what happens?Will it be worse?An utter defeatFor us all. And for me-Disaster. As if I deserted this army,Disguised, a traitor to my oath,Shorn of honour.Agamemnon p. 13This statement gives us some insight on Agamemnon’s psyche and hence, his character. Although we are told of his act against his daughter, Iphigenia, we are given insight on Agamemnon’s moral dilemma, therefore giving the audience the impression that this character does in fact have a sense of virtue and principles. In a sense, Agamemnon’s sacrifice of his daughter is somewhat justified in that if he did not obey the command of the goddess, Artemis, it would have led to utter destruction of his army and of the honor code he must follow in order to be a noble ruler. Like a classic protagonist of Greek tragedies, Agamemnon is faced with a trying conflict in which he must make an ill-fated decision.However virtuous and honorable a picture the chorus portrays of Agamemnon, it is not long before we see that Agamemnon is flawed yet again. When Agamemnon makes his victorious return from Troy he proudly parades Cassandra, his mistress, before his wife and the chorus. We now are presented with an Agamemnon who is very arrogant and disrespectful to his seemingly faithful wife (surprisingly even to the standards of the Greek Hellenistic period). When Agamemnon speaks to his wife, he does so with contempt and disrespect:Guardian of my name, of my home,Great-hearted woman that you are,Daughter of Leda-Your eulogies are like my absence:Too long, too muchAgamemnon, p. 43Yet again the audience is left questioning whether or not Agamemnon is the protagonist or the antagonist. Unlike classical tragic protagonists, Agamemnon’s flaws are dishonorable. Despite Agamemnon’s long absence from Argos, he does not greet his wife with words of delight as she does to him. Instead, he embarrasses her in front of the chorus and his new mistress, Cassandra.Agamemnon presents to us another dishonorable flaw in his character during this dialogue between he and his wife. Although he initially refuses to step on the carpet Clytamenstra has had prepared for him, she cunningly induces him to do so, thereby coercing him to go against his principles. This is a key scene in the play because originally Agamemnon refuses to walk the carpet because he does not want to be hailed as a god:Do not speak these purple clothsThat should be spread only for gods,Yes, only for the feet of gods,For the feet of descended gods.Do not spread them for me.Greet me as a man.Greet me as a god and the godsWill punish us all.Agamemnon p. 43However, through much badgering, Cytemnestra finally convinces Agamemnon to walk on the carpet. Because Agamemnon defies his principles we see another weakness of this arrogant king.Although Agamemnon’s physical presence in the Oresteia trilogy is very brief, his character’s moral dilemma sets the stage for the entire play. Each character in the play has some sort of dilemma that he/she must face for the sake of justice. Clytemnestra must face the dilemma of avenging her daughters death by murdering her husband, both Orestes and Electra must murder their own mother and her lover in order to avenge their father’s death, Aegisthus must avenge the death of his brother, and all the while the furies maintain responsibility for making sure no one kills their own blood relation. With this set up of the story, moral conflict for the sake of justice is inevitable and there is bound to be a blood bath.Because Agamemnon sacrificed his daughter for the sake of ambition and the curse of Atreus (Agamemnon’s father), both crimes ignited a spark in the trilogy that compels each character to seek a revenge that has no end. Appropriately enough for Greek drama, each of these characters feel some sort of moral and ethical responsibility to murder or torment for the sake of justice. But had not Agamemnon and Atreus sparked the initial flame to the curses, this vicious cycle would have been less likely to occur and such bloodshed would have not transpired.Ruler of Argos and wife to Clytemnestra, Agamemnon is quite a complicated character and it is very difficult to distinguish whether he is virtuous or immoral. Like a two-sided coin, we are given multi-facets of Agamemnon as a character. At times he is depicted as being very moral, and at other times, very immoral. Although presented very briefly in the play, his actions are the reasons for much of the conflict in the play regarding the other characters. Not only that, but Agamemnon’s hopeless dilemma to seek vengeance through the use of violence sets the stage for much of the dilemmas yet to come in the trilogy, thereby making Agamemnon an essential character in this Greek tragedy.
Misogyny in Ancient Texts
Misogyny tends to devastate the authority of woman by depriving her of equal treatment to her male counterpart. There are two conversations that seem to circle around ancient texts and misogyny. Did religious texts directly affect the perceptions of society on women or did the mentality of society play a role in cultivating what is written in these religious texts? As Dean Frisina states in his lecture, this subject matter can be associated with the renowned riddle, “who came first, the chicken or the egg?” Woman being created for man, from the rib of man, in ancient holy texts can be the origin of sexism in its various forms of patronizing physiognomies. Nonetheless, it may also simply be the reflection of an already existing mindset that has lingered among mankind from the era of hunters and gatherers where men were seen as the physically dominant sex and women, the tenuous caretakers. Along with ancient religious texts from the Hebrew, Christian and Islamic Bible, plays such as “Aeschylus II” whose writings present clear evidence to the misogynistic ideals that were (and very well may still be) believed. Misogyny is traceable through the story plots as well as the characteristics and personalities being depicted by the women in these texts.
The story of Adam and Eve, and the forbidden fruit, has frequently been placed in the center of a heated debate on whether or not sexism resided within these early writings. Biblical scholar Phyllis Bird suggests that the misogynistic ideas bound to biblical stories are misconceived. She states, “woman is, along with man, the direct and intentional creation of God and the crown of his creation. Man and woman were made for each other” (The Hebrew Bible Accounts). This side of the argument has a solid reasoning behind its claim of equality between the two, even though Adam was formed first and Eve from Adam. The two were made from the same rib, perhaps to show two halves of a whole. But it seems more as if Eve would not be complete without Adam whereas Adam was born whole. Later on, Eve was the one who was drawn to the serpent and the wisdom which would come from the forbidden fruit. She was portrayed as weak minded and foolish for giving into her temptation. On the other hand, Adam was merely a compliant husband who ate the fruit given to him by his wife.
Women in early writings were often vilified for the same actions that a man would be praised for. They would be disparaged for having the same personality traits that a man would be admired for. Clytemnestra, for example, was seen as duplicitous for killing her husband, although the reason behind it was to avenge her daughter’s murder. Her daughter and her son both despised her for her actions. However, when Agamemnon killed his daughter Iphigenia in order to win a war, his other two children, Orestes and Electra, commended their father’s heroic sacrifice. Electra mourned Agamemnon’s death stating, “To call you father is constraint of fact, and all the love I could have borne my mother turns your way, while she is loathed as she deserves; my love for a pitilessly slaughtered sister turns to you” (Aeschylus, 239-242). This quote illustrates the admiration of a man whose actions of killing his daughter is justified by his incentive to win a war. One may think that the sacrifice of Iphigenia for another woman (Helen of Troy) demonstrates that women were valued, but this is not the case. Helen was seen as stolen property; something that belonged to her husband Menelaus; a cause for which Menelaus and Agamemnon had to destroy Troy. Iphigenia, the slaughtered daughter, was a pawn in their nonsensical retaliation and symbolized how women are of only physical use to men. They are a currency, a piece of property.
Sarah, Abram’s wife in the Hebrew Genesis, was also a woman whose actions were pejoratively scrutinized and assumed the worst of. As professor Keller states in her lecture, Sarah was narrated as villainously going back on her own decisions and casting out her surrogate maid out of jealousy. Sarah, distraught, claimed “I myself put my maid in your bosom; now that she sees that she is pregnant, I am lowered in her esteem” (Genesis 16.2). She indicates, to Abram, that she could not stand feeling inferior to Hagar and for that, Sarah treated her harshly. However, Sarah’s actions can be justified as, in Professor Keller’s lecture, we learn that Sarah was merely doing what she believed to be religiously legal. Codes of law of the time state that the surrogate is of no relevance after birthing the father’s child, and that child will grow to care for his birth father and his wife. The Hebrew Genesis, nevertheless, depicts Sarah as not only physically incapable (at first) but also, emotionally unstable in her own decisions. Sarah also questions God’s ability in the bible and is shown to mock his power. She is portrayed as a cynical woman who did not believe that God could allow her to conceive a child in her old age. The Lord asks Abram “why did Sarah laugh saying ‘Shall I in truth bear a child, old as I am?’ Is there anything too wondrous for the Lord?” (Genesis 18.9). God himself mentions Sarah’s lack of faith as a displeasing mention of his command. Although some women and men today may see Sarah as an intrepid woman of her time, she was, in fact, originally depicted in an unfavorable and misogynistic way.
It seems as if man and woman both have been assigned specific roles that each must play in order to remain inside an acceptable level of societal norms. Men must be bold and strong and women must be nurturing and unobtrusive. Of course there is no definitive interpretation of these writings and one can easily be understanding them as a reflection of his or her own judgments; what some may call, implicit bias. My own interpretation of these texts is instituted from the misogyny I see today. Society today still glorifies mothers and wives but objectifies independent women, much like Clytemnestra. Society still values a woman but only up until she is of physical value.
Metaphors as Euphemistic Action in Tragedy: Indirection, Staging, and Bloodshed in Agamemnon and Antigone
There is no shortage of violence and death in the stories and myths adapted to the stage by the Ancient Greek tragedians. However, these actions are almost never depicted explicitly onstage: murders play out offstage while the audience is only privy to the sound of the victim’s last cries, characters onstage recount violent events in words after they have already occurred unseen by the audience. Typically, the audience only views the aftermath of such an event, if that at all. In lieu of actually reenacting such fatal encounters onstage, Greek tragedians of Classical antiquity (such as the fifth century Aeschylus and Sophocles) perhaps opted to communicate these events through vivid metaphors. The enactment, or reification, of these metaphors can be done in an entirely bloodless way while still evoking powerful, emotionally resonant images of real violence and death. In this way, metaphors in tragedy—such as the carpet scene in Aeschylus’ Agamemnon and the “marriage” of Antigone to Death in Sophocles’ Antigone—allow a tragic poet working under the constraints of Ancient Greek staging to depict violence onstage in a way that more effectively informs the audience about the characters or themes of their work.
In Aeschylus’ Agamemnon, the Argive king, recently returned from a ten-year battle with Troy, is killed by his wife Clytemnestra for having sacrificed their daughter Iphigeneia at the outset of the war. Despite being a defining moment of the Greek myth surrounding Agamemnon’s return to Argos, this act happens out of view. The true climactic scene of the play comes, instead, when Clytemnestra brings out a red carpet for Agamemnon to step onto from his chariot. Ostensibly, this is an act of love and reverence for her dear husband who valiantly fought and conquered the Trojans in battle, and clearly this is how Clytemnestra wishes Agamemnon to receive her gift: “Such is my greeting to him, that he well deserves” (Aeschylus l. 903). However, like much of Clytemnestra’s speech in this play, her words here are expertly double-edged. She counts on her husband’s pride to infer that she thinks so highly of him that he could rightly walk on (and in so doing ruin) expensive, luxurious red robes. Indeed, such a presumptuous action is acknowledged by Agamemnon as “befit[ting] the gods, and none beside,” so he initially refuses his wife’s request (l. 922). On the other hand, from Clytemnestra’s point of view, Agamemnon is the wretched killer of her beloved daughter; these red robes thus represent the innocent blood he shed and the life so rashly tread upon in the pursuit of glory in the Trojan War.
The sacrifice of Iphigeneia is of course never shown in Agamemnon, but this scene offers the audience something of a metaphorical reenactment of Agamemnon’s commitment of the act that also serves to illustrate vividly Clytemnestra’s own stance on the matter. While Agamemnon initially turns down Clytemnestra’s offer to march upon the red carpet, her persistence eventually wins out, and his “feet crush crimson” as he walks with his wife toward their home (l. 957). This action has two layers of meaning. The first is that it demonstrates Agamemnon’s pride and aggrandized sense of self, a trait that Clytemnestra knows she can rely on. After a few lines of exchange between the husband and wife, he deigns to perform an act he has recently described as permissible only for the gods. This is not to say that he now believes himself a god, but rather that he had always thought himself worthy of it. Any prior objections were likely an attempt to save face in the eyes of his peers. This scene reveals his true character as perceived by Clytemnestra: prideful and shameless. The second layer of meaning is that of the metaphor for Iphigeneia’s death. Agamemnon’s feet destroy precious crimson fabric, much like how, in the eyes of Clytemnestra, he destroyed the life of her precious daughter. While subtextual, this reading is no doubt evoked within the audience by the blood-coloration of the carpet and the act of destruction. Agamemnon’s treading on the red carpet is an echo of his previous actions, and Clytemnestra sees it as yet more proof of the wretchedness of his character which condemns him to die at her hands. This metaphor for Iphigeneia’s death thusly acted out onstage serves dual purposes of providing a way to depict this violent action (while still adhering to the conventions of Ancient Greek tragic theatre) and of manifesting physically just how Clytemnestra views her husband’s misdeeds.
Likewise, in Sophocles’ Antigone, the metaphor of “marrying death” expresses more than just the action symbolized. In this play, the cursed daughter of Oedipus is sentenced to die for having performed the proper funeral rites for her brother Polynices against King Creon’s orders. Once again, the actual event of Antigone dying is not shown, but the imagery of her metaphorical death is repeatedly provided throughout the play preceding it. Once Antigone is convicted of this crime, other characters and even Antigone herself begin to talk as though her death will be more of a marriage. Upon interrogating her and discovering her motives for defying his decree, Creon responds, “Go down below and love, / if love you must—love the dead” (Sophocles ll. 591-592)! Antigone is a being made to love, in her own estimation, but the unfortunate circumstances of her birth and her family line preclude any possibilities of normal, non-incestual love. She cares deeply about her family, a sentiment that likely reflects her father’s relationship with their mother in being incestual. Her father and two brothers now dead, though, Antigone’s love can only be directed at the deceased. The metaphor continues with references to her eventual tomb, a place described by the sympathetic chorus as a “bridal vault where all are laid to rest” (l. 899). This combining of marriage and death in one image is reinforced with Antigone’s words as she faces the reality her fate: “O tomb, my bridal-bed” (l. 977). Here, no husband is explicitly provided for Antigone to wed, but it is clear enough through the repeated pairing of these two major life events that the very act of dying will be a “marriage” of sorts to death.
Although Antigone later describes herself as going to “wed the lord of the dark waters” and a messenger designates her as “the bride of Death,” this metaphor of marrying death is more about Antigone’s unwavering love for her late relatives than it is about a suicidal infatuation with the concept of dying itself (ll. 908, 1238). Discussing Antigone’s death in such terms is somewhat euphemistic, but the real aim in employing this imagery is to highlight her feelings of love that go beyond the grave. Again, her death is not displayed onstage, but the realization of this metaphor is shown in its aftermath: the messenger’s narration of the discovery of Antigone’s body hung by her wedding veils corporealizes this hitherto only alluded to imagery. Even though it occurs out of sight, her passing can be vividly imagined, and the presence of this metaphor throughout the play allows for it to be so striking and to mean something more to the audience. Instead of simply taking her life to avoid dying a slow death in her tomb, Antigone’s suicide comes to embody her undying, incestual love for her family. This exhibits the tragic poet’s adeptness at finding ways to best utilize the conventional constraints of staging of the time to enhance his work.
Although Ancient Greek tragic theatre typically did not allow for much show of physical violence onstage, poets like Aeschylus and Sophocles found ways to work around or even use this constraint to their advantage when crafting their works. As can be seen in the carpet scene of Agamemnon and the marriage of Antigone and Death in Antigone, metaphors made real can present visually descriptive scenes and pregnant events that communicate more to the audience than if the violence or death itself had been enacted onstage. Such metaphors allow the poet to express more information and in a more visually or conceptually compelling manner.
Aigisthos: Insight on a Fool
The Oresteia by Aeschylus is a trilogy of tragedies expressing the strength women possess, but, on the flip side, it also expresses the cowardice of some men—one man in particular. This man’s name was Aigisthos. Aigisthos is only present in the first and second plays of the trilogy, and he barely shows up for the majority of each tragedy. Despite this, Aigisthos’ seemingly minor role, has a clandestinely powerful contribution in the shaming and demise of Agamemnon. With his cunning trickery, his power-hungry cowardice, and his dimwitted blunder, Aigisthos does more than simply avenge his father. He induces his own annihilation. Aigisthos, a man defending his honor as many men do during this time, goes about his scheme in an unexpected way. Like the serpent from Genesis, Aigisthos cunningly deceives the woman and the household without raising a weapon—unless his lustful thinking and sharp mind are categorized in the archives as artillery.
During this era, the men were superior, so, in relation, men were allowed to have many wives, concubines, and mistresses without raising reproof. In correlation to this, it was humiliating for men to have their wives stolen from them. Klytemestra is mentioned twice as “Agamemnon’s queen,” thus proving her position as the one and crucial wife of Agamemnon (Agamemnon ln 25, 83). Aigisthos lustfully weasels his way into Klytemestra’s bed in Agamemnon’s absence, however, and in doing so he is not only taking over the household, but is also disgracing Agamemnon’s family name. Along the same path, Aigisthos is never mentioned to have loved Klytemestra, though Klytemestra, herself, acknowledges her love for Aigisthos numerous times. She says, “Aigisthos makes the fire shine on my hearth, my good friend, now as always, who shall be for us the shield of our defiance…” (Agamemnon ln 1402-1404) Orestes also, while conversing with Klytemestra after murdering Aigisthos states, “While [Aigisthos] was alive you thought him better than my father…. You love him, and hate the man you should have loved” thus noticing himself how she truly loved Aigisthos (The Libation Bearers ln 896-898). Aigisthos, in contrast, rarely ever refers to the woman, and when he does do so, he quickly speaks about his own intentions. The chorus plainly states Aigisthos’ relationship with Klytemestra by saying, “…you… waited the war out, shaming the master’s bed with lust” (Agamemnon ln 1590-1591). Strictly speaking, the chorus refrains from expressing the word “love” when referring to Aigisthos’ relationship with Klytemestra.
Though Aigisthos was a cunning trickster, he was also a dastardly tyrant, hiding behind his woman, his guards, and his words. Aigisthos is not present for the majority of the first play in the trilogy; he is not even mentioned until Cassandra speaks of him in riddles as a “Strengthless lion rolling in his master’s bed” (Agamemnon ln 1190), and he finally turns up with bodyguards after Agamemnon’s death to praise himself for the murder. Clearly, Aigisthos is a tyrant without the bravery tyrants stereotypically display. He is never present without this guards, and he proudly claims the rights to the murder of Agamemnon. Aigisthos’ words are sharp and threatening when he is speaking with the chorus after Agamemnon’s death, but he still must have his “henchmen” on hand when a battle is about to break out. He first admonishes the chorus of elders by saying that they “are old men” and “shall learn how hard it is at [their] age, to be taught how to behave…” (Agamemnon ln 1584). He then ignores the questions of why it was Klytemestra that killed Agamemnon instead of Aigisthos (the man), and finally answers it by passively plotting his own plans. “…The deception was the woman’s part… still with [Agamemnon’s] money I shall endeavor to control the citizens” (Agamemnon ln 1601-1603). With this statement, Aigisthos is not only desperately trying to prove that he is the mastermind, but he is also expressing his true intentions that have absolutely nothing to do with avenging his father. The only one to calm Aigisthos and keep the brawl from commencing is Klytemestra. Aigisthos seeks cover behind her like a child shyly crouching behind his mother’s skirts. When he is threatening the chorus near the end of Agamemnon, the chorus states, “Crow and strut, brave cockerel by your hen; you have no threats to fear” (Agamemnon ln 1638). This indicates Aigisthos’ cowardice and requirement for Klytemestra’s presence. It also proves Klytemestra’s power over his own.
Aigisthos can speak and appear as a tyrant with his many armed guards and flying tongue, but, despite all this, the chorus sees him for what he truly is: an oppressive weakling. Aigisthos may simply be cunning and dastardly, but to add to his hated character, he is also a blundering buffoon. With a weakened sense of fear after Agamemnon’s death, Aigisthos seems to allow his pride to take over. He threatens the chorus of elders in Agamemnon, as stated earlier, and later on, in The Libation Bearers, he is looked at as a despised man by the slaves of the household. Though the chorus of slaves does not say it directly, the slaves do tell Electra to wish those that hate Aigisthos good tidings, and Electra responds by adding the Chorus to this group (The Libation Bearers ln 103). Oppressing the citizens and slaves of the house he conquered shows how Aigisthos did not think about outside threats to his reign. Along with the hatred searing from the household and town, Aigisthos appears to ignore the most important foreshadowing in the second play: Klytemestra’s dream followed by the sudden appearance of a strange man claiming Orestes’ death.
Aigisthos is not present in The Libation Bearers very often, but, in bringing him to the same level as Klytemestra, it is evident that he is did not put two and two together. Klytemestra dreams about giving birth to a snake and being struck down by that very creature. She knows this serpent must be Orestes, for she would not have sent libations to Agamemnon’s tomb if she had no fear of her son coming to avenge his father (The Libation Bearers ln 510-535). Yet, despite this, Klytemestra and Aigisthos both seem indifferent to the stranger bringing the news of Orestes’ death the very morning after Klytemestra has this dream. They do not take the proper precautions (Aigisthos does not bring his guards when consulting with the stranger), and they both are struck down because of this. Aigisthos is also foolishly prideful about his leadership in the household. The mention of “speaking man to man” is a reoccurring theme in The Libation Bearers, happening four different times in the text. Orestes starts this idea by first speaking to the chorus about it (The Libation Bearers ln 555), then by calling at the house, begging to speak to the man of the house instead of the woman so he can get right to the point (ln 651-653). Next, the Nurse relays to the chorus what Klytemestra said about needing Aigisthos to speak to the stranger directly (ln 795). And, finally, taking the idea from Klytemestra, Aigisthos steps up, relaying his intentions in speaking with the stranger so the man “…won’t steal away [Aigisthos’] clear-sighted mind” (ln 844). Ironically, Orestes takes more than Aigisthos’ mind. He takes his life.
Aigisthos may seem like a minor character with little significance in The Oresteia, but he plays a major role in the murder of Agamemnon and the demise of his own soul. He is a trickster that fools the household and his mistress, a coward according to many, and a fool in his actions—all attributes leading to his own destruction. Aigisthos is no more than a stereotypical antagonist, but, as with many villains like himself, he utterly fails.
Orestes’ Sun: Apollo’s Importance to the Oresteia
Spanning an elemental and violent family conflict, The Oresteia by Aeschylus is a trilogy containing the plays Agamemnon, The Libation Bearers, and The Eumenides. As a whole, the trilogy deals with Agamemnon’s murder at the hands of his wife Clytemnestra, Orestes’ revenge on his father’s killers, and his ultimate trial for matricide. Although not present throughout the whole trilogy and only a supporting character in The Eumenides, Apollo is the character that prompts Orestes to kill his mother and he also tries to save him at the trial by claiming half of the blame. In examining Apollo’s contribution throughout the play, it can be inferred that Aeschylus uses Apollo as a narrative instrument in order to move the plot towards his desired end. This is why Apollo, though only a peripheral character, has such a substantial impact on the storyline.
In The Libation Bearers, Apollo is present only through the words of Orestes, making him an enigmatic character. “The big strength of Apollo’s oracle will not forsake me,” Orestes proudly proclaims as he explains his plans of revenge to his sister Electra. He continues to explain that “the god’s urgency” drives him on. Apollo is used here as a background force that makes Orestes to go on with his revenge and kill his mother. As a god that has the power of prophecy, Apollo is an important instrument in the fulfillment of Orestes’ destiny and the author’s aim of the text. In order to make Orestes heed his prophecy, Apollo also foresees great hardship and punishment for Orestes if he decides not to kill his mother and avenge his father’s death: “He said that else I must myself pay penalty/ with my own life, and suffer grim punishment.” Both the danger of such repercussions and his own desire for revenge then prompt Orestes to kill Clytemnestra. Though Apollo’s words are not heard directly, but are reconstituted through Orestes’ speech, they are powerful and threatening enough to make Orestes commit the ultimate act – matricide. It is surprising for the reader when Apollo makes his physical appearance in The Eumenides, where his first words are directed to Orestes: “I will not give you up.” It is very unusual for a god to be this involved in the humans’ lives and take such a responsibility for a mortal. His words are extremely powerful in this instance and they anticipate his complete involvement in Orestes’ fate and ultimate trial. Apollo continues to reinforce his steadfastness with the following lines: “Through to the end standing/ your guardian, whether by your side or far away, / I shall not weaken towards your enemies.” He is appointing himself as Orestes guardian and he manages to go through with his promise by keeping him safe.
Besides his interaction with Orestes, Apollo is also seen engaging in dialogue with the furies, Athena and the judges. His defense of Orestes is visible throughout the play. When the furies come to make Orestes pay for his matricide, Apollo is very direct and concise in stating his allegiance: “Get out, I tell you, go and leave this house.” His defense of Orestes does not stem only from the fact that Orestes is his suppliant, but also from the fact that Apollo himself is indirectly guilty of the murder of Clytemnestra by urging Orestes to do the deed. The dialogue between Apollo and the furies also serves to show how each of them interpret justice. Apollo agrees that Orestes should have killed his mother to “exact the price for his father,” yet the furies consider Orestes’ murderous acts against his own blood to be even worse than Clytemnestra’s crime against Agamemnon, “Such murder would not be the shedding of kindred blood.” Apollo continues to defend Orestes and even promises repercussions for the furies if they continue with their pursuit: “Keep after him then, and make more trouble for yourselves.” Later, when the trial begins, Apollo makes a surprising appearance and claims half of the blame for the murder. “I come to testify. […] I have also come to help him win his case. I bear/ responsibility for his mother’s murder.” Just as Orestes follows up by directly stating his guilt, “Yes, I killed her,” so does Apollo, claiming a part of the blame for the murder. It is worthy to note the contrast between the fact that although Apollo indirectly urges Orestes to kill him mother, he comes and bears responsibility for the murder in a very direct way. In this instance Aeschylus uses the character of Apollo to give strength to Orestes’ case and to have him ultimately acquitted.
It is also curious to analyze exactly how just and unbiased the trial is, as it is led by Athena. Apollo tries to appeal to her by bringing into discussion her origins and lack of a mother. “There she stands, / the living witness, daughter of Olympian Zeus, / she who was never fostered in the dark of the womb.” Considering the fact that Athene’s vote was the one that changed the course of the trial, Apollo’s choice of words might have won him the favor of the goddess. Apollo also states his arguments in an eloquent manner, like a true lawyer, invoking the name of Zeus to reinforce his power as a prophet and implicitly to buttress the fact that Orestes did nothing wrong by following his prophecy. “This is justice,” Apollo proclaims in front of the judges. As soon as he sees that the judges aren’t moved by his account he resorts to insults “You foul animals,” which serve to show how much winning the case for Orestes means for Apollo. He goes on to use a threatening and somewhat ominous tone while talking with the judges “Watch.” This simple sentence comprised of the verb to watch in the imperative mood serves to show the confidence that Apollo has in the fact the he will win the trial. “I shall win this suit” he continues, which might suggest that as a prophet he has an idea of what the result of the votes is going to be and is playing his hand accordingly, just as he did with Athena, as mentioned above. The same can be inferred from the following lines: “Shake out the votes accurately, Athenian friends. / be careful as you pick them up. Make no mistake. / In the lapse of judgement great disaster comes. The cast / of a single ballot can restore a house entire.” His words are enigmatic and up for interpretation, exactly as a prophecy. There is an ominous undertone, almost like a threat that goes with these lines. As the god of prophecy, this may be interpreted as both a warning and a glimpse of the future that Apollo offers: the fact that Orestes is going to win the suit and his house is going to be restored.
Considering all of the above evidence, the reader can infer that Apollo is a narrative instrument employed by Aeschylus both in order to give Orestes a push to kill his mother and to conclude the trilogy with Orestes’ victory over the furies. Although he is a minor character, his actions mold and shape the whole narrative. Moreover the fact that he is a god gives him legitimacy to act and also to have a strong influence in the trial, which is very convenient for the plot. His intervention is not only physical but also spiritual in a way, having his words conveyed to the audience through Orestes. Also the fact that he has the power of prophecy makes him the perfect peripheral character to help with the direction of the action and to bring the whole narrative exactly where Aeschylus wanted. Looking closely at his interventions throughout both plays, either by being physically present or not, it is clear that he is used both to lead the action and to offer a “happy ending” to Orestes. Apollo also offers more insight into the character of Orestes, as he refers to him as a “noble man” multiple times. Moreover, his actions themselves speak for Orestes, for example, the fact that he goes to such great lengths to protect him and even appoint himself as Orestes’ guardian. This is very telling of Orestes’ value as a person for he manages to gain the favor of a god and not only that, he manages to have Apollo’s ultimate protection. Apollo has a minor yet a pivotal role not only in Orestes’ journey throughout the plays but also in the fact that his actions drive the plot on and bring forth the conclusion to the trilogy.
Subconcious Motivations and Conscious Triggers of Clytemnestra in Agamemnon
From its first performance in Ancient Greece several centuries ago to present day, Aeschylus’s Agamemnon remains a quintessential example of the definitive Greek tragedy, continually captivating audiences with its progressive depiction of feminine complexity. In the play, women are represented by the anti heroine, Queen Clytemnestra of Mycenae, who in the climax of the first act, vindictively murders the titular King Agamemnon. While psychoanalytical and archetypical criticisms differ in regards to what desire inherently drives the character to murder her husband (power and freedom, or revenge) both identify that Clytemnestra is driven primarily by pre-existing subconscious desires (centered on her identity) that are only ‘realised and awakened’ by conscious life events, specifically, the death of her daughter Iphigenia.
Although the term ‘femme fatale’ was not coined until the twentieth century, literary history has been continually blessed with images of strong women who use their sensuality to skillfully manipulate those around them. Clytemnestra, protagonist of Aeschylus’ Agamemnon, is one such example. As Sneed writes, Aeschylus’s anti heroine ‘embodies every characteristic of a classic femme fatale’ by ‘avoiding traditional romance and domesticity.’ Even before her initial appearance, the watchman describes his queen as ‘a woman in passionate heart and man in strength of purpose’. The chorus also joins in, stating that the character ‘is a woman with no fear of the husband’ and who speaks ‘as wisely as a prudent man’. The awed, wary and even fearful tones in which supporting male characters describe the protagonist demonstrate the extent of which Clytemnestra disfigures typical ‘womanly behaviour’, with her cunning, intelligence and strength of purpose, thus justifying her femme fatalistic classification. By looking at other literary characters with the same archetype, the subconscious workings of Clytemnestra’s own character can be revealed. Femme fatale character arcs generally revolve around a pursuit of freedom, dominance and empowerment, achieved by eliminating figures that restrict them. Given this, Sneed concludes that Clytemnestra’s inherent motivation is her subconscious desire for power.
This is not the only motivation that has been brought forward by literary critics. Alsop paints Clytemnestra as a vindictive individual seeking retribution for the gradual destruction of her identity by her husband. Again, the expositional speech of the chorus provides evidence for this particular motivation. The old men of Argos are heard calling their queen an ‘architect of vengeance’, and a ‘mother’ of ‘child-avenging fury’. Clytemnestra herself also betrays her grief in her dialogue. In her return speech, she compares the king to a tyrannous ‘Zeus’ who ‘tramples the bitter virgin grape’, alluding to the daughter he trampled in his war conquest. Additionally, her own justification of the murder: ‘he sacrificed his own child, she whom I bore,’ evokes strong emotional images of a devastated, grieving mother robbed of her motherhood and maternal identity.
On a more psychosexually charged note, Alsop also suggests that Clytemnestra’s unconscious ‘male’ personality, also desires justice. This notion is also implied as she describes her husbands mistress Cassandra ,who lies dead beside him as someone who ‘… has brought for my bed an added relish of delight.’ For Clytemnestra, Cassandra represents the unfair double standards of men and women regarding infidelity. Despite being in the same position of power as her husband, Clytemnestra was condemned for taking a lover and forced to deny her affair, while he was celebrated and rewarded with an object to commit adultery with. Thus, it can be ultimately concluded that she was driven to murder both for the repression/theft of her subconscious and conscious identities.
Despite the obvious differences in what the two critiques believe to be Clytemnestra’s primary subconscious motives, both authors agree that without a conscious world event, these dormant desires would never have gained the ambition to reach action and cite the sacrifice of Clytemnestra and Agamemnon’s daughter by the latter, to be this igniting event. The name Iphigenia is never explicitly mentioned by any of the main characters. However, the brutal nature of her death is constantly alluded to leading up to the events of Agamemnon’s murder. The earliest occurrence of this is by the Chorus, who recounts the young girl’s final moments: ‘…the bridle chokes her voice…saffron robes pouring over the sand…glance like arrows showering/wounding every murderer through with pity.’. While the act of war sacrifice would be common in pre-democratic Greece, the vivid, melancholic passages strike the audience in the same way that they impact the anti heroine, causing them to better understand and sympathise with her subsequent action.
The resounding effects of Iphigenia’s demise are depicted in the entirety of The Oresteia’s first act, Agamemnon, which takes place ten years from the sacrifice. Clytemnestra is depicted to have shifted from an insignificant maternal figure to a hardened, independent woman, capable of running a kingdom in her husband’s absence. In addition to this, her vengeance has become intelligent—and she is able to recognise that patience is a necessary burden in exacting a perfect revenge. According to Sneed, this increased intelligence is awakened following the development of the protagonist’s animus (male identity), from one who simply craves physical power, to one that craves social power. This notion is indicated in her actions following the return of her husband to Argos, in which she utilises ‘Agamemnon’s patriarchal sense of value’ in her deception. By playing the part of the typical ‘submissive and modest’, ‘simpering’ ‘coy wife’, Clytemnestra demonstrates the patience required to exact the perfect revenge. In a similar way, Alsop also recognises that following the event, Clytemnestra exhibits a change in mentality. The murder of her daughter causes a ‘realisation’ of her identity’s continual repression, and also presents a means of which she can consciously, justify her later immoral action. This idea is demonstrated in her dialogue following the death of Agamemnon, in which she states that the late king was a ‘man who did her (me) wrong’. The quote presented highlights that while Iphigenia’s death causes the heroine grief, and allowed her to become the woman she was required to be, the event was not what she was truly avenging.
Regardless of what motives ultimately drove her to murder, Aeschylus’ brilliant characterization of the Clytemnestra as both an avenger and villain can be ambivalently interpreted in two ways. It is possible that he wrote the character of with misogynistic intent to reflect Athenian attitudes and horrify his audience, something he was renown for. This has been put forward by several scholars who cite that common Athenian attitudes of the time would have ‘shuddered’ at the homicidal tendencies of a woman and consider her mad. This is reflected in the chorus’ attitudes to the murder of their king. More radically, the author was an early feminist who believed that the complexity of such a woman could cause reflection of the traditional gender role of women in society. This is supported in her character’s unrepressed ambition and drive, and also in the admiration of the strength of her character by the male characters surrounding her . Given the admirable strength of the character, the latter seems more potent as a plausible explanation. The given evidence above demonstrate that Aeschylus did not wish to present women as perfect, angelic beings or submissive vassals of men as they were traditionally portrayed in art. Rather, he chooses to depict them as average humans— capable of possessing inherent flaws and intimate desires, and acting on them as their male counterparts do.
In the end, both critiques presented above are correct in their recognition and analysis of Clytemnestra’s possible motives for liberating action. However, to give one particular desire precedence over another then corrupts Aeschylus’ supposed intention. That is, to portray women as intrinsically complex human beings, equal to men. Given this, it is not possible to discern a single motive as the sole drive of Clytemnestra’s ambition without damaging her utter complexity. It is more fitting to say that the character was driven to murder by a myriad of reasons that cannot fully be comprehended by anyone other than Aeschylus himself.
Revenge and Violence in Agamemnon
Aeschylus’s play “Agamemnon” seeks to show his audience that revenge only leads to more violence. This is shown prominently through the character’s central beliefs and motives that are encouraged through the actions of others, which inevitably repeats itself over and over again. The play focuses predominantly around the house of Atreus, and the curse lay upon it that resulted in generations of misery and acts of revenge. The play uses a poetic and metaphorical style that emphasizes the true nature of each character, the background and settings.
All the events of the play could be linked to the very beginning when Tantalus, one of the sons of Zeus, chose to murder his son, Pelops, and serve his flesh to the gods- committing an act of ‘hubris’. This was the first act of violence that occurred. Pelops had been saved, but the sins of his father remained within the bloodline. Atreus, Agamemnon’s father, and Thyestes were two of Pelops’s children. They killed their half-brother, and as a result were banished. Again, this added to the curse and stemmed from the hatred and revenge that consumed them. Aegisthus, who’d been raised by Atreus, killed him, yet another act of revenge and thus his children, Agamemnon and Menelaus were exiled to Sparta, where the king accepted them as the royalty they were. The betrayal of those who they were closest to, begun a hatred toward one, and their lust for power and revenge became a pattern within the bloodline. Atreus had killed his brother to take the throne, and Aegisthus, who’d later been revealed to be Clytemnestra’s lover, had killed Agamemnon in the name of his father, Thyestes, the very man Agamemnon had killed. Perhaps it was a matter of Karma or just by coincidence, but this violent behavior was without question, derived from acts of revenge upon one another and formed a pattern, weaved in pursuit of creating a profound piece of story telling by non other than Aeschylus himself.
The lust for revenge was passed down the line furthermore- as it would be should they have continued to make the same mistakes as their ancestors before them. When the King of Troy’s son Paris took Helen to Troy with him (where she married his brother despite being wedded to Menelaus) Atreus’s sons, Agamemnon and Menelaus, saw it fit to go to war with them- believing their actions were justified and an act of ‘dike’. Their revenge upon Troy blossomed from the pride they beheld, and made them delusional in that sense. When Artemis asked for an offering, specifically the carcass of his daughter, Iphigeneia, Agamemnon took little time to think it over, “Desert the fleets, fail the alliance?” however, despite the fact that his daughter’s life was on the line, Agamemnon was too possessed by his lust for revenge to rightly see how his actions would affect others, “Law is law!- Let all go well.” Aeschylus had purposely sculptured Agamemnon’s dialogue to show that pride had blinded him, and that, above all, Agamemnon was a foolishly arrogant man who’d go to any lengths to remain above everyone else- whether or not it took ten years and millions of innocent lives to do it.
The blood lust and raging violence served 10 years of deaths, and what for? But the small life of a woman who’d willingly wedded another man- not that she too deserved death’s fate, only that her life was not worthy of the millions Agamemnon had sacrificed. Aeschylus, in writing the play, had purposely written off any common sense one might use in these sorts of situations. Their emotions and religious views had full control of the direction the story was headed, and was clearly displayed within the play, as is evident in the moment when Iphigenia was sacrificed, “feed their lust, their fury? –feed their fury! –”. Agamemnon’s beliefs had been tempered with, and as he had his daughter killed, he asked his men to, “gag her hard, a sound will curse the house.” The irony of his words may have been purposely written this way by Aeschylus, as the gods knew of every action the humans dwelled upon. In reality however, the action itself would have been enough to add to the curse, but his heart had too long been set on receiving the justice he so wrongly believed that he deserved.
The question surrounding whether or not Agamemnon’s actions were justified is ambiguous. Aeschylus is forcing his audience to question the meaning of justice over revenge, or whether the two are one in the same. If in trying to save a life, you are forced to kill millions, are you truly acting justly? What is the true measure of justice? Do your emotions morph your beliefs or simply contradict the methods you choose to use against said beliefs? Agamemnon’s failure to see how his lust for revenge or ‘justice’, bestowed upon him the wavering of his people, “it kills our spirit, kills our hope”. However, he would not have failed to see the severity of his actions, had he not been blind sighted by his anger, therefore clarifying the notion that emotions do indeed have an impact in the way we go about ourselves. Agamemnon’s revenge was primarily driven by his emotional state and his renowned reputation, as such, when Helen was taken to Troy, his pride had over run any common sense.
The revenge Agamemnon had so greatly yearned for caused him to act out in violence, and in the process, it killed many. His revenge brought him to believe the life of his brother’s wife was far more important than that of his daughters. He did not even for a moment stop to think how the death would impact the woman who’d bore the child in the first place. In fact, had he not killed Iphigenia, perhaps his wife would not have been so eager to end him and thus further continue the pattern of betrayal through out the bloodline, “…but he sacrificed his own child, our daughter, the agony I laboured into love..”.
When Agamemnon came back from Troy bearing a woman sex slave, Cassandra, at his side (who also had, mind you, been cursed- furthering adding to the house’s misfortune) Clytemnestra fooled him into stepping on the god’s velvet carpet manipulating the situation and giving her reason for murder. She stabbed him as he bathe- killing Cassandra only shortly after (or before? I don’t believe it’s specified.) Whilst the audience had been given a reason to dislike Agamemnon, by having the main protagonist killed, the author had then given the audience a reason to dislike Clytemnestra also, or at least cause them to question the morality of what she’d done. None of the characters were created to be ‘perfect snowflakes’, and their actions often resorted in the murder of one another. It’s the whole, ‘eye for an eye’ perspective. But as Ghandi said, ‘An eye for an eye makes the whole world blind’. It’s these contrasting beliefs that highlight the ambiguity that lies at the heart of Aeschylus’s play.
Conclusively, ‘philos-aphilos’ is a vigorous force throughout the story, and is shown in Agamemnon’s killing of his daughter, and Clytemnestra’s killing Agamemnon. Iphigenia and Agamemnon’s death may have been prevented, however, and the author had purposely sorted these events the way he did as to illuminate the effect it can have on others. How one act of revenge might have an impact on many more, bringing insurmountable deaths and evidently more misery than its worth. Desire for revenge was passed down from generation to generation like an inevitably horrible heirloom, and in instilling that key element into his play, Aeschylus is able to create a kindling of tales and ideas that expand and reform from but a singular event.
Socrates: Piety and Its Flaws
Piety was an important concept in ancient Greek civilization, as it shaped the culture and actions of Greek citizens. What exactly piety means has varied over time, and the definition differs throughout Greek literature. Characters such as Odysseus from The Odyssey and Orestes from The Oresteia reflect a more traditional view of piety, while Socrates in Plato’s Five Dialogues views piety differently as he questions and challenges previous notions of what is pious/impious. Due to his actions it appears that Socrates rejects traditional notions of piety, although he is still a pious man who has different views of piety than previous Greek figures such as Odysseus and Orestes.
Based on the writings of Homer and Aeschylus, traditional Greek piety is defined as following the will of the gods without question, and one must honor the gods in order to have good fortune. Odysseus exhibits this belief in piety as he and his crew repeatedly make sacrifices and pray to the gods in order to have a safe journey home. Most of the troubles Odysseus experiences is due to him displeasing the gods; Odysseus’s journey is prolonged when he angers Poseidon by blinding the cyclops, and Apollo punishes the crew for eating his sacred cattle. Odysseus tells Eurycleia in reference to the suitors to “rejoice in [her] heart, but do not cry aloud. It is unholy to gloat over the slain. These men have destroyed by divine destiny and their own recklessness” (Homer 349). He believes that since the suitors were being impious by disrespecting the gods’ laws, their deaths were justified by the gods’ will (“divine destiny”). In Homer’s view of piety, one must always honor the will of the gods’, or else they will face their wrath.
Orestes also reflects a more traditional view of piety. When told by Apollo to kill his own mother, Orestes obeys willingly. Although matricide is typically considered an impious act, because it is the will of a god it is thus justified. Even when Orestes questions whether killing his mother would be morally right, he is convinced to do it because “Apollo wills it” and it is better to “make all mankind your enemy, not the gods” (Aeschylus 217). This shows Aeschylus’s view of piety is to always follow the will of gods, because to disobey them would be considered impious and lead to bad fortune. Orestes is at the mercy of Apollo, and it is the knowledge that the god is on his side that gives him the confidence to commit a violent act that would typically be frowned upon.
Socrates however, does not accept these views of piety. He instead seeks a more “universal” definition of piety, and rejects the definitions given to him as being flawed. For example, “when told what is dear to the gods is pious, what is not is impious”, Socrates challenges this notion, as he notes that “gods consider different things to be just, beautiful, ugly, good, and bad, for they would not be at odds with one another unless they differed about these subjects” (Plato 7). Orestes faces this in his worship of the gods; by following Apollo’s will, he puts himself in conflict with the Furies and has to go to trial to defend his actions. Socrates believes that since the gods have conflicting ideals, then it is impossible to determine what is truly pious; thus he disagrees with the more tradition views. He is also unsatisfied with Homer’s ideal that piety is the act of prayer and sacrifice between people and the gods, as he feels that the gods do not actually benefit in this exchange and there is a flaw to the logic.
He also openly disagrees with the views upheld by citizens such as Homer and Aeschylus from traditional societies. When speaking on poets and the writer of tragedies he says “…because of their poetry, they thought themselves very wise men in other respects, which they were not,” (Plato 27). By rejecting the idea that the writers and poets were wise, Socrates is inferring that their lack of proper wisdom means they cannot have the correct definition of piety. Due to his belief that he is possibly wiser than all men, he chooses to follow his own definition of piety until someone else can provide a satisfactory one for him.
Some may say Socrates dissatisfaction with previous views of piety would make him impious; however, while his beliefs may differ from Greek tradition, he is still pious in his own way. Due to his unwillingness to conform to traditional views of piety, Socrates is being accused of corrupting the youth of Athens by “teaching them not to believe in the gods in whom the city believes, but in other new spiritual things” (Plato 30). The jury sees his actions as impious; however, although Socrates has different religious views than them, that does not necessarily make him impious. During the trial he says “I myself believe that there are gods…not, however, the gods in whom the city believes…but others..” (Plato 31). It is clear that the real issue between Socrates and the jury is not that he is acting against the gods, but rather is sharing a different way of religious thinking.
Instead, Socrates lives by his own belief about what is pious. For example, he believes “…that it is wicked and shameful to do wrong, to disobey one’s superior, be he god or man” (Plato 33); therefore, it is pious to be obedient towards the gods because they are superior, and it is what is right. Socrates uses his own interpretations of the gods to shape his spiritual beliefs. He describes his mission as a philosopher is to get people to examine their own lives, to not to be satisfied with popular stories from the past, and to think and inquire about ethical questions such as what does it take to be a good person and what is true happiness. Socrates believes he is completing the will of the gods by questioning other citizens around him, although others reject his way of thinking. While his belief in obeying the gods is similar to the traditional notions of Greek piety, it still differs because Socrates inserts his own wisdom until his actions while others choose to only follow what the gods want them to do. By encouraging others to think for themselves rather than blindly following the gods, the citizens view him as disrupting the norm of society. It is these religious differences, along with previous scrutiny towards Socrates, that cause him to be accused of being impious, when in actuality he is still a pious person–albeit one who does not conform to how others view piety.
Socrates uses the claim of pious motivation for him doing philosophical work, but he does state that human reasoning within his own person is the final arbiter of what he finds to be right and wrong. This manner of operating differs from the actions of Odysseus or Orestes, in which the gods had the final say in what was right or wrong. It could be argued that this belief would make him less pious than previous characters, but the fact Socrates still seeks to obey the gods and service them shows that he is just as spiritual. It also difficult to determine how he can be called ‘less pious’, because due to the lack of a universal definition of piety it is harder to describe whether or not it is Odysseus or Orestes or Socrates who is following the true meaning of piety. Thus, it can be determined that Socrates is just as much as a pious man as the Greek figures before him despite their conflicting beliefs.
Although piety is a subjective concept, by looking at the works of writers such as Homer and Aeschylus, readers can see how ancient Greek society interpreted it. and we can see how the real character of Socrates changed the interpretation. Based on Homer and Aeschylus, the traditional notion of Greek piety is sacrifice, prayer, honor and respecting the gods’ laws/will, and fear of their retribution. Socrates is not pleased with these notions, and instead defines piety based on his own experience of service and obedience towards the gods. He is not necessarily less pious than previous Greek figures such as Odysseus and Orestes, but he does not agree with their way of piety and practices his own.and fear of their retribution. Socrates is not pleased with these notions, and instead defines piety based on his own experience of service and obedience towards the gods. He is not necessarily less pious than previous Greek figures such as Odysseus and Orestes, but he does not agree with their version of piety and practices his own.
Homer, and Stanley Lombardo. Odyssey. Indianapolis: Hackett Pub. Co., 2000. Print.Aeschylus, and Robert Fagles. The Oresteia. New York: Viking Press, 1975. Print.Plato, and G. M. A. Grube. Five Dialogues. 2nd ed. Indianapolis, IN: Hackett Pub., 2002. Print.
Multiple Perspectives in “Agamemnon”
The play Agamemnon involves a variety of characters who introduce and contribute towards some of the major themes of the play, such as justice and revenge. While the play is dominated by Clytaemnestra and the Chorus, we are introduced to different angles in the story by minor characters, such as Cassandra and the Herald. The diversity of characters plays a large role in Aeschylus’ drama, as they provide the audience with multiple perspectives on the concepts central to the plot. With the introduction of each new character, new ideas are brought about, leaving the audience with an understanding that the characters have different opinions of or knowledge about the events that take place throughout the play. The play lacks on-stage action, but keeps the audience’s interest by allowing audience members to interpret each character’s views. The difference in perspectives adds depth to each character and dramatic interest to the play, and complexity and variety to the dominant themes.
Early in the play, we learn that there is a difference in the characters’ beliefs with regard to justice and revenge. When the sacrifice of Iphigenia is discussed, we can see that there is a difference in perspectives between Agamemnon and Clytaemnestra, providing the audience with insight on the nature of both characters. Agamemnon believes that the sacrifice was performed as an act of justice, but Clytaemnestra refuses to agree. Agamemnon committed the act in order to appease the God of nature, Artemis, who bore “a grudge” after the Danaans’ army had killed a hare. Upon killing the animal, the army faces strong winds, which stops their voyage to the city of Troy. Thus, Iphigenia was sacrificed to appease the god. The controversy over whether this was an acceptable act is between Agamemnon and Clytaemnestra, scarcely including Cassandra. In the play, we see that Agamemnon placed duty above family. He describes that his heart would be “heavy”, regardless of whether or not he kills his daughter, but in the end he felt that he could not be a “traitor” to his fleet. His act was performed in the name of justice, but simultaneously follows the common Greek belief, that “Learning comes through suffering”. Using this ideology, we can relate how Agamemnon felt that the suffering he would face, from having sacrificed his daughter, would allow him to repent the sin of upsetting Artemis. In contrast, Clytaemnestra believes that the killing was an act of murder – not a sacrificial procedure. She claims that Iphigenia “did not deserve” to be betrayed. Clytaemnestra especially conveys her lack of agreement when she claims that it is Agamemnon who deserves to suffer, for being willing to commit the act. Here, the difference between the characters’ perspectives is evident.
Additionally, Cassandra adds a very interesting perspective to the play by bringing in the theme of family, and relating this theme to matters of justice. She states that Clytaemnestra “shares” Agamemnon’s guilt for his murder, as she herself commits murder against a family member – her husband. Cassandra’s role ironically demonstrates an idea that the Greeks believed: “Revealed to that man’s descendants / Is the price for recklessness”. The correlation between this belief and Cassandra’s statement shows the way that acts of evil can affect the entire family. This idea closely follows the theme of revenge in the play, for example, as seen in the murder of Thyestes’ children. The sacrifice of Iphigenia allowed Clytaemnestra to believe that she needed to act against her husband. Each event affects the family as a whole. Cassandra emphasizes this idea by prophesizing that Agamemnon’s son will seek revenge. Cassandra allows the audience to understand that revenge and family are closely tied. With all the different perspectives presented here regarding the death of Iphigenia, the audience must decide which character to support. The disagreement also touches upon the difference between societal classes. Throughout the play, the audience is exposed to the differing morals of royalty and the common people, and this divergence adds to the dramatic intensity of the play.
We can further see a difference in perspectives over the theme of justice later in the play, when the Chorus speculates whether Clytaemnestra’s act of murder was in the name of her daughter or for power. The queen believes that the murder has done her daughter justice, and therefore was a necessary act, but the Chorus does not agree. After the Queen confesses her crime, they believe that her “mind is unhinged”, and they weep for their King. They are appalled by Clytaemnestra’s actions, but also believe that Agamemnon’s death will bring justice for the children of Thyestes, who died at the hands of Agamemnon’s father. This realisation surprises the audience, as they may have only been concerned with bringing Iphigenia justice. The Chorus acknowledges that while Clytaemnestra’s actions were shocking and deserved retribution, they balanced the “scales of justice” for another incident. The personification of justice in the line, “Justice tilts against those who are to learn / By suffering” allows the audience to visualise a scale with justice and suffering on opposite sides. If we compare this with the Chorus’ opinion, we can assume that the Chorus believes that Clytaemnestra has balanced the scales of justice – through Agamemnon’s suffering, the children that Atreus murdered were avenged. On the other hand, the Chorus also suggests that the suffering is not over, and that the Queen is yet to pay for her mistakes. At this point, it is clear that Clytaemnestra is not bothered about the words of the old men of Argos, as she feels that she has done her duty. Here, the difference in perspectives gives us insight on the characters beliefs and Greek culture.
In the play, Cassandra not only reiterates the theme of revenge, by repeating the events that have already taken place, but she also foreshadows the revenge that is yet to come. In her short appearance on stage, Cassandra recollects all the events that have taken place in the name of justice and revenge, from the abduction of Helen, to her own death. She claims to be aware of the “age-old wrongdoings” that have taken place in the castle, reminding the audience that revenge and justice have taken their toll on multiple characters. Before her death, Cassandra prophesized that somebody will come to Argos and “seal these killings” in the name of family, again focusing on the relationship between revenge and family lines. This hint is intriguing and ambiguous to the audience, turning their attention towards who will return and what actions they will take.
Through multiple characters, the audience is exposed to different forms of justice, such as the form which is dealt by the gods. The different forms add variety to the theme of justice. Cassandra’s character tells the Chorus that she possessed the gift of prophecy before deceiving Apollo. She then explains that after her “offence”, the god made it so that people would no longer believe her prophecies. Thus, we see that Cassandra believes that the curse was a punishment for her actions – an act of either revenge or justice. Since the gods hold the highest positions of power, it is only appropriate for them to punish those who deceive them. The Chorus also participates in communicating this message, by often looking to the god, Zeus, to take decisions. This mentality is clear at the beginning of the play, when the members of the Chorus state that it was Zeus who was appalled by the abduction of Helen, and he who “sends the sons of Atreus after Paris”. We later witness another character, the Herald, claim that Zeus ultimately “brings justice” in the battle between the brothers and Paris. In the course of the play’s action, we can see that the gods are seen as respected figures of the highest authority, and they are seen treating everyone equally, no matter whether a king or common man, since “Wealth is no safeguard”. In Agamemnon, spectators must understand the relationship between the gods and the people in terms of the way that justice is dealt. Through all the various characters’ perspectives, nobody questions the gods, but rather everyone accepts them and believes them to be fair. This not only highlights the link between the Gods and the justice system, but also the understanding between the mortals and the gods.
The various perspectives that are introduced in Agamemnon are useful, especially for highlighting the themes of justice and revenge. The different opinions given by each character add depth to the topics by including other relevant themes, such as family, respect, and authority. A variety of ideas about these major motifs help give the audience an idea of the mentality of each of the characters, creating a relationship between the audience and the characters. Aeschylus has used multiple perspectives to add variety to themes, thus adding complexity to the play by including conflicting ideas and giving characters remarkable depth.
Works Quoted From: Aeschylus, and Philip De May. Agamemnon. Ed. John Harrison and Judith Affleck. Cambridge, UK: Cambridge UP, 2003. Print.