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The Oresteia
Aeschylus’ Tragic Trilogy on the Family of Agamemnon
Aeschylus
Background
524? – 456 B.C.
Born to an aristocratic landowning family
Was conservative, patriotic, and religious
Fought at the battles of Marathon and Salamis in the Persian
wars
Introduced the second character, creating true dramatic
dialogue
Characters conversed in iambic trimeter (three measures of
short-long-short-long), which Aristotle claimed was closest to real
speech
Chorus continued to be set in difficult lyric meters
Later in his career he adopted the Sophoclean innovation of a
third character
Invented “spectacle”
Painted scenery, elaborate costumes, machinery for technical
effects (e.g., entries of gods and ghosts)
Agamemnon
Historical and political contexts
Basileus and aristoi = Agamemnon → represent traditional authority
even if failed
Demos and tyrannoi = chorus/citizens Aegisthus → represent revolution
and (violent) change
Note effects of war in chorus’ response to the fall of Troy (Grene, 15–19, esp. Ag. 429–
457)
But the people are oppressed in the end by Aegisthus
Characters: Watchman, Clytaemnestra, Herald, Agamemnon, Cassandra,
Aegisthus
Review basic storyline
Clytaemnestra’s motivations
Iphigneia’s sacrifice
Affair with Aegisthus
Emotions and Behaviors Represented
Love in hate
Male rationalism and female irrationality
A lady’s male strength of heart . . . A woman-lioness who goes to bed with the wolf
Pivotal Points
Agamemnon’s hamartia or “mistake”
Hybris in walking on the tapestries, accepting extravagant honors and
treading on the images of the gods?
“ . . Let not your foot, my lord, sacker of Ilium, touch the earth . . . Strew the
ground before his feet with tapestries. Let there spring up into the house he
never hoped to see, where Justice leads him, a crimson path.” (Aesch. Ag.
905–911)
“ . . . Such state becomes the gods, and none beside. I am a mortal, a man; I
cannot trample upon these tinted spendors without feat thrown in my path. I
tell you, as a man, not a god, to reverence me.” (see Aesch. Ag. 918–925)
Cassandra’s echo of Agamemnon’s hamartia
Rips off the prophetic regalia of Apollo and tramples it
“Why do I wear these mockeries upon my body, this staff of prophecy, these
flowers at my throat? At least I can spoil you before I die . . .” (Aesch. Ag.
1264–1267)
Difference?
Agamemnon does not know the full import of what he does, she
purposefully rejects Apollo’s protection and walks knowingly to her
death
Her prayer: to die quickly and have rest . . . the Chorus is amazed at her
serenity in the face of death