By Simon Goldhill
Simon Goldhill specializes in the play's themes--justice, sexual politics, violence, and the position of guy in old Greek culture--in this common creation to Aeschylus' Oresteia, some of the most vital and influential of all Greek dramas. After exploring how Aeschylus constructs a fable for town during which he lived, a last bankruptcy considers the impression of the Oresteia on extra modern theater. The volume's prepared constitution and consultant to additional studying will make it a useful reference for college students and lecturers. First version Hb (1992): 0-521-40293-X First version Pb (1992): 0-521-40853-9
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Extra resources for Aeschylus: The Oresteia (Landmarks of World Literature (New))
351): ‘Woman, you are speaking like a sensible man . ’ This is picked up when the messenger enters to confirm Clytemnestra’s proclamation, and she taunts the chorus for failing to believe her ‘as a woman’ (Aga. 592). It is not surprising, then, when Agamemnon, as he is being persuaded The Oresteia 35 to walk across the tapestries to his house, says to Clytemnestra (Aga. ’ He sees her desire as a wish to play a male role, battle, warfare; and if he is being ironic in his use of such language for what is as yet a war of words, he will shortly discover the aptness of such terminology when she kills him in his bath with a male military weapon.
Clytemnestra’s killing, then, is claimed as revenge for the death of Iphigeneia, which is itself the product of a complex web of cause and consequence, transgression and punishment. The story of Agamemnon’s decision to sacrifice his daughter shows clearly how the action of taking revenge leads the revenger into a position of tragic conflict – and of transgression (Nussbaum). The chorus, who narrate the sacrifice of Iphigeneia as part of the history of the Trojan War’s genesis, tell of the omen of the eagles and the hare, and of Calchas’ interpretation of it.
So Aegisthus, in the The Oresteia 27 final scene of the Agamemnon, boasts that his part in the king’s death is a revenge for what Agamemnon’s father, Atreus, had done to Thyestes, Aegisthus’ father. Agamemnon is part of a family history he cannot escape. Agamemnon’s death, then, is overdetermined, that is, it is seen to be the result of several different patterns of revenge and reversal, familial horrors. In her turn, Clytemnestra, the agent of Agamemnon’s destruction, even as she boasts over the bodies of her victims, vainly hopes that ‘the thrice gorged demon of the family’ can be appeased.
Aeschylus: The Oresteia (Landmarks of World Literature (New)) by Simon Goldhill