Agamemnon
Communication
In Aeschylus’s, Agamemnon, there is a great possibility that the death of Agamemnon could have been prevented, had the Chorus simply listened to Cassandra’s prophecy. But the words spoken between the two parties seem to have loss it’s meaning when it fell upon the Chorus; yet, they were obviously hearing what she was saying. But while they were hearing what she had to say, they did not listen to her words. Ironically, in this story, it is the women who posses all the knowledge. But once they try to share it, the men, who later suffer the consequence, ignore them. People only listen to what they want to hear, and a woman’s word is not considered important enough to listen to.
Klytaimestra has thought up an ingenious plan to uncover the outcome of the Trojan War as quickly as possible; however, when she tries to share the news, the Chorus castoffs her declaration. This constant stichomythia between the Chorus and Klytaimestra annoys her because of the persistent disbelief, “And you have proof?/That, or a phantom spirit sends you into raptures” (272-274). The Chorus, which consists of men, do not accept that a woman can have any sort of knowledge before they do. They dismiss her claims until they hear it from a male messenger, which makes Klytaimestra very angry: “I cried out long ago!/You made me seem deranged” (580-586). Further, when she explains how she discovered the outcome, the men automatically assume that because she is a woman, she got her information from gossiping. “Just like a woman/to fill with thanks before the truth is clear . . . So gullible. Their stories spread like wildfire,/they fly fast and die faster;/rumours voiced by women come to nothing.” To the Chorus, a woman to devise a plan as clever as Klytaimestra’s, is inconceivable. But even after Klytaimestra’s facts are proven, the Chorus will later undermine her abilities again.
After coming out of the house with blood stained hands while announcing her murder, all the Chorus can do is talk about what a great loss they suffer. They accuse Klytaimestra for being a backstabber, and tell her she should be punished. When Klytaimestra defends her actions by pointing out how Agamemnon killed her daughter, they ignore her and keep mourning. Even though they can see with their own eyes that Klytaimestra killed her husband and Cassandra, they still refuse to really listen to her, as if they do not want to believe that a woman committed the murder of their almighty king.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
Around the time where Greece was known to be the greatest civilization on earth, many people used myths and stories as an extension of their belief because they were culturally significant and important. Ancient Greece was a male-dominated civilization that created laws which would benefit only those with power, which let to the suffering of those without power. The relationship of the sexes was very important, because it showed how men were more superior and woman were frowned upon because they were treated more like minorities. Aeschylus’ “Agamemnon” is about a Greek king who would do anything, including sacrificing his daughter, because he feels as a man and a king whatever decisions he makes are always just. Sophocles’ “Antigone” is about a girl who goes against the religious values of the society, and get persecuted because state laws restrict her
The Achaeans are more concerned with personal glory and achievement rather than the well-being of the city. Two Characters who definitely display this characteristic are Agamemnon and Achilles. Agamemnon is selfish and is only concerned with his own honor. This is seen almost immediately in the poem. In book one, during the tenth year of battle, Chryses visits Agamemnon and offers ransom for his daughter, Chryseis who was taken as plunder early in the war. Although the ransom is attractive, Agamemnon refuses the money because the girl represents power and glory and that is far more important than wealth. Plunder represents victory; therefore, the more women Agamemnon possesses, the more glorified and powerful he feels. Eventually, Agamemnon returns the girl to her father; however, he insists that someone give him a female to compensate for his loss and restore his honor. He views the situation as a challenge to his authority and complains, "I alone of the Argives go without my honor. That would be a disgrace" (1.139-40). Agamemnon demands, the "Argives will give me a prize, a match for my desires, equal to what I have lost, well and good. But if they give me nothing I will take a p...
One can hardly deny that in Euripides’ plays women are often portrayed as weak, uncertain, and torn between what they must do and what they can bring themselves to do. Other women appear to be the root of grave evils, or simply perpetrators of heinous crimes. In a day when analysis of characters and plot had yet to be invented, it is easy to see why he might have been thought to be very much against women. However, when looking back with current understanding of what Euripides was doing at the time, armed with knowledge of plot devices and Socratic philosophy, this argument simply does not hold up. In fact, a very strong argument can be made to the opposite, that Euripides was in fact very much in support of women’s rights, and thought they were treated unfairly.
Aristophane’s Lysistrata is a flawed classic filled with the power struggle between man vs. woman. It is entirely focused and written from the male perspective, in which male-privilege dominated and disregarded the women’s outlook entirely. This “classic” is full of misogynistic perspectives, and should be disregarded as a great piece in Athenian literature.
Christa Wolf tells a tale about a woman, Cassandra, the story’s narrator, a princess of Troy in Anatolia, a seer, and a priestess of the god Apollo. In many ways, this is both a feminist and an anti-war novel. The struggle between patriarchy and matriarchy was present throughout the story and can still correlate in some ways today. The whole story is seen and experienced through a women’s eyes which gives a different perspective of war and why it is prominent. This idea parallels the position of many women in Wolf’s time, showing how they were dominated and suppressed. Apollo gave Cassandra the gift of being able to see the future but since she turned down his advances, she was cursed with the notion that nobody believes her prophesies. Cassandra
Saxonhouse, Arlene W. “From Tragedy to Hierarchy and Back Again: Women in Greek Political Thought.” The American Political Science Review: Vol. 80, No. 2. June 1986. JSTOR. http://links.jstor.org. 8 Dec 2004.
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.
“Lysistrata” is a tale which is centered around an Athenian woman named Lysistrata and her comrades who have taken control of the Acropolis in Athens. Lysistrata explains to the old men how the women have seized the Acropolis to keep men from using the money to make war and to keep dishonest officials from stealing the money. The opening scene of “Lysistrata” enacts the stereotypical and traditional characterization of women in Greece and also distances Lysistrata from this overused expression, housewife character. The audience is met with a woman, Lysistrata, who is furious with the other women from her country because they have not come to discuss war with her. The basic premise of the play is, Lysistrata coming up with a plan to put an end to the Peloponnesian War which is currently being fought by the men. After rounding up the women, she encourages them to withhold sex until the men agree to stop fighting. The women are difficult to convince, although eventually they agree to the plan. Lysistrata also tells the women if they are beaten, they may give in, since sex which results from violence will not please the men. Finally, all the women join Lysistrata in taking an oath to withhold sex from their mates. As a result of the women refraining from pleasing their husbands until they stop fighting the war, the play revolves around a battle of the sexes. The battle between the women and men is the literal conflict of the play. The war being fought between the men is a figurative used to lure the reader to the actual conflict of the play which is the battle between men and women.
Despite the male dominant society of Ancient Greece, the women in Sophocles’ play Antigone all express capabilities of powerful influence and each individually possess unique characteristics, showing both similarities and contrasts. The women in the play are a pivotal aspect that keeps the plot moving and ultimately leads to the catharsis of this tragedy. Beginning from the argument between Antigone and Ismene to Eurydice’s suicide, a male takes his own life and another loses everything he had all as a result of the acts these women part take in. The women all put their own family members above all else, but the way they go about showing that cherishment separates them amongst many other things.
Within the writings of Greek mythology women commonly display certain attributes that the Greek society associated with women or femininity back in the day. A common quality demonstrated amongst the women in Greek society, and more specifically in Greek mythology, is deception. Throughout the Greek literature discussed in class, women have commonly showed their deception and trickery in different ways and for numerous different reasons. The Odyssey, Theogony, and Homeric Hymm all displayed Greek women showing some form of deception within the stories and poems. These stories show various ways and reasons for Greek women being deceiving and disingenuous, reasons for which there needs to be more discussion.
After Agamemnon’s death, Aegisthus is next in line to become king and Clytemnestra is his queen. Her desire for power is hidden by her claims of justification. She challenges anyone to take her power. “[H]e who conquers me in fair fight shall rule me” (45). She threatens the Chorus to a fight for power. She knows she has all the power now the king was dead and she is his queen. Clytemnestra is aware she killed him for his power, but her arrogance makes her put the deed on the curse of the House of Atreus and vengeance for
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
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.
Agamemnon is the first part of the trilogy known as the Oresteia. Agamemnon is a story where the main character sacrifices his own daughter to a God, Artemis to win a battle and then his wife revenge him for the sacrifice. The concept of fate plays an important role in the tilogy Agamemnon which led to the tragic endings of the play. According to the meaning of fate it means the development of events outside a person’s control, regarded as predetermined by a super natural power. Fate is what send Agamemnon to the war with Menelaus to fight against Paris, fate is what predetermined Agamemnon to sacrifice his own blood for the sake of his ship and companions and fate is what determined Cassandra his wife to plot to kill him and to revenge him for her daughter.