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Concept of justice
The role of justice
Problems with justice in the oresteia
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When a person is accused of a crime they are either found innocent or guilty. This is the basic idea of justice and it is what many feel needs to happen if someone has done something controversial. In the play The Oresteia by Aeschylus, the story of Clytemnestra guilt or innocents is questioned. She does many things that people are not too happy with and those controversial actions throughout the story, mainly in the first part Agamemnon get her into the trouble. As we explore the case that builds against her innocents by exploring the killings of Agamemnon and Cassandra and the boastful expression about the killings.
This action causes a great deal of rage in Clytemnestra. One could very well understand why she would act this way. Clytemnestra see’s the killing of her daughter as just being killed for her husband’s gain. She also feels that he could have chosen a different virgin to sacrifice. One the other hand, if one looks at Agamemnon’s problem they could be otherwise. Agamemnon was the general of his army and the leader that his men looked up to. So when the profit came to him saying I will give you wind for a virgin sacrifice he took it as sacrificing someone close to him. He thought along the lines that he was asked for a reason to be the one doing the actual sacrifice. So Agamemnon chooses his daughter the virgin and sacrificed her with good judgment for what was best for the army. The issue is that Clytemnestra does not see it this way and that is what causes the future events that make us to question her innocence.
Agamemnon is the husband of Clytemnestra, father of three and the leading General in the Trojan War. The Prophet Calchas approach Agamemnon and tells him that the sacrifice of a virgin will send wind to allow his troop’s ships to get off to battle. Agamemnon decides to sacrifice his daughter, Iphigenia, to get the wind needed to go to battle. Iphigenia does not realize what is happening to her until it is too late. Although she tries to escape her fate, she still is given to Calchas as the virgin sacrifice.
Clytemnestra has the ten years of the Trojan War to plan her revenge on Agamemnon. Upon his return Clytemnestra shows him some love. That love she showed quickly changes to rage and hatred when Clytemnestra she’s Agamemnon with his mistress Cassandra.
There are obviously many obligations at hand in Iphigenia at Aulis. The one however that widely catches my attention is Iphigenia’s ending decision to accept her fate. Iphigenia’s fate of death is a sacrifice that her father Agamemnon has to uphold to his brother Menelaus. Agamemnon like any father would not willingly offer his child as a sacrifice, however he does so because of his “commander-in-chief” position and the oath he took on behalf of Menelaus.
In the literary works of the Oresteia there is a relationship built between the perpetuated cycle of violence and monarchy. The cycle of vengeance began with the slaughter of Thyestes children and continued throughout the generations of hierarchy. The wisdom of the gods has instilled the right to vengeance after wrong doing as read in the Libation Bearers. “Almighty Destinies, by the will of Zeus let these things be done, in the turning of Justice. For the word of hatred spoken, let hate be a word fulfilled. The spirit of Right cries out aloud and extracts atonement due: blood stroke for the stroke of blood shall be paid. Who acts, shall endure. So speaks the voice of age-old wisdom.”(lines 306-314). The sla...
Clytemnestra is portrayed in the Oresteia as a heavily emasculated character, with male traits such as ambition, cunning and strong manipulation of language, and a lack of the traditional female traits of submissiveness and modesty. She seeks to defend
The first chapter of the trilogy is the story of Agamemnon, the war hero of Troy who returns home after 10 years. The King had left on a rather sour note, having murdered his daughter Iphigenia to appease the Gods in order for the fleet to sail for Troy. Clytomnestra, the Queen, cannot understand the sacrifice. This is the first occurrence of the so-called gender battle in the trilogy. Agamemnon’s actions are typical of the classic Greek ‘male’ point of view. He is mostly concerned with issues of war, honor and the welfare of the city. Clytomnestra, in contrast, is more concerned with ‘female’ issues, such as the welfare of the family. The Queen, during the King’s absence, becomes obsessed with her daughter’s death, and takes a new lover to the exclusion of her remaining children in an attempt to steal control over the city. When Agamemnon returns, instead of a faithful wife he finds a quick death at the hands of Aegithus. It is interesting to note that another person is also killed, an innocent. Clytomnestra kills Cassandra, a prophetic girl brought home from Troy, on a whim...
The deeds enacted by Agamemnon and Orestes were the same by definition, but different by motive. Agamemnon's motives were impure in his decision between his daughter and his war. He chose to conquer Troy at Iphigenia's expense. For such a ruthless act, consequences are inevitable, and Agamemnon met his punishment at the hands of his vengeful wife, Clytemnestra. Orestes was able to escape such a fate due in part to his faith in the gods, his reluctant desire to kill, and one goddess' (Athena's) mercy. The matricide committed by Orestes was padded by vengeance, and validated by retributive justice. Athena identified with Orestes during his trial on the basis that neither she nor Orestes had a true mother, and thus cast the final stone in favor of Orestes.
“Thus to me the conflict born of ancient bitterness is not a thing new thought upon, but pondered deep in time” she reveals in the play that her husband led himself to this unfortunate fate because of the anger that was brewing deep inside her after the death of her child (Agamemnon 1344-1346). The love a mother has for her child is unrestricted and losing that child can make a women do irrational things, so to call Clytemnestra vile is unjust, taking all the new facts about Agamemnon into consideration. (1399-1411). She shows that he is not the moral man everyone thinks he is and “ No shame, I think, in the death given this man.” (1488-1489).
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
Orestes pretends to join Aegisthus in an animal sacrifice but murders the usurper and wins over the king's guards to his side. He parades the severed head to Electra, who is elated but not sated. Orestes balks at the idea of killing Clytemnestra, their mother. Electra sends word that she has given birth. Clytemnestra visits and does a rather convincing job of explaining her side to all the famous events, particularly her wrath at Agamemnon for tricking their daughter Iphigenia to her sacrificial death before the Trojan War. She was also less than pleased that Agamemnon brought back Cassandra as his new slave toy. The Chorus is characteristically idiotic: "Your words are just; yet in your 'justice' there remains / Something repellent. A wife ought in all things to accept / Her husband's judgement, if she is wise. Those who will not / Admit this, fall outside my scope of argument" (141). Electra aligns Clytemnestra with her sister Helen. She accuses her mother of primping before the mirror long before Agamemnon's crimes, obviously for someone else. And Electra claims Clytemnestra's rationalizations do not address the persecution of Orestes and herself. Clytemnestra accepts that Electra favors her father, but as to this business of the new baby?
Odysseus and Agamemnon are heroes who fought side by side to take down the city of Troy during the Trojan War. In Homer’s The Odyssey, why is Agamemnon slaughtered when he arrives home while Odysseus returns to find his loved ones still waiting for him? The reasons for the heroes’ differing fates are the nature of their homecoming and the loyalty of their wives.
Like other heroes of the war, Agamemnon is a powerful king. He was able to raise men to follow him to Troy. He is referred to by the epithet “sheperd of people” (III, 156). In the underwold, Achilleus tells Agamemnon,
In Aeschylus’ Agamemnon there are many different opinions about what kind of king and commander Agamemnon was. Some argued that he was good, while others dispute that his motives were wrong. Clytemnestra, Agamemnon’s wife, gained a strong hatred for him, after he sacrificed his own daughter so he could go to war. Many believe that this was not necessary and could have been overcome. The chorus seems to agree with this to an extent, and feels that Agamemnon could have prayed and requested that he not sacrifice his daughter.
The cyclic thread of vengeance runs like wild fire through the three plays in Aeschylus’s Oresteia. This thread, with its complexity of contemporary and universal implications lends itself quite well to – in fact, almost necessitates – deeply interested study. While a brief summary of the Oresteia will inevitably disregard some if not much of the trilogy’s essence and intent, on the positive side it will establish a platform of characters, events, and motives with which this paper is primarily concerned. As such, I begin with a short overview of the Oresteia and the relevant history that immediately precedes it.
Agamemnon faces a difficult decision when deciding if he should sacrifice his daughter to allow the fleets to continue on to Troy so he can aid his brother. Artemis demands he do so, which leads to some serious family problems to say the least. Is his sacrifice justified? In Greek mythology, Zeus is in charge of the major decision-making. He gets a say in basically everything. There is no court system for the Greeks during that current time, but between Zeus, the gods, and the goddesses, they practically had one. If gods and goddesses demand you to do something, it is in your best interest to listen. So maybe Agamemnon’s sacrifice was justified because he did not have a choice. However, the war against Troy was all about a woman, so was the ending result really that crucial to Agamemnon and Argos? His decision causes his wife Clytemnestra to despise her husband and she now wishes to seek revenge. The text says, “Apollo there! Healer indeed, I call on you, lest make contrary winds for the Danaans, long delays that keep the ships from sailing, in her urge for a second sacrifice, one with no music, no feasting, an architect of feuds born in the family, with no fear of the man; for there stays in wait a fearsome, resurgent, treacherous keeper of the house, an unforgetting wrath which avenges children”. Agamemnon is warned ahead of time what kind of result the sacrifice will bring, so his murder should not have been much of a
In Aeschylus’ The Agamemnon, Agamemnon and Clytemnestra have to make tough decisions throughout the play, decisions they believe are justified. The actions of Agamemnon and Clytemnestra are not justified because they are caused by their blinding hubris and desire for power. Agamemnon makes the choice to kill his daughter just so he could lead his troops to Troy. Clytemnestra kills her husband, not just for revenge, but for his position and power as king of Mycenae. They make selfish choices and do not believe they will be punished for them. By exposing their true motives, Aeschylus makes it clear they are not justified in their actions.
Klytaemnestra in Agamemnon is a strong and wilful woman, who relishes her part in the downfall of Agamemnon himself. She is proud of her action, accepts full responsibility for his death at her hands; she takes her vengeance against him for the death of Iphigeneia2. This is shown in lines such as 'I exult' (A 1417) and after she kills him, 'you think I'm some irresponsible woman?' (A 1425). Aeschylus uses her to embody the powerful 'heroic' ethic of vengeance - blood for blood.