Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
aeschylus, oresteia role of women
aeschylus, oresteia role of women
aeschylus, oresteia role of women
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: aeschylus, oresteia role of women
Aeschylus’ Oresteia is the chronicles of a cursed family that includes a circle of betrayal, adultery, and murder, among other things. The Greek word oikos can be used to describe the Greek family structure. In Homer’s Odyssey, two polar opposites of oikoi are given. First, the son of Odysseus’ son Telemachus meets Nestor, who symbolizes a near-perfect oikos . The family is involved in a large sacrificial feast upon the arrival of Telemachus . He also utilizes xenia, the Greek word for manners or the ideal guest-host relationship, to perfection. The family is tight knit, and they are a prime example for any oikos found in literature. Another oikos that is explained in the Odyssey is the one found in the Oresteia. The importance of the oikos in the Oresteia can be seen in the opening seconds of the play. The physical oikos can be seen right away, as the lookout from the top of the house can be heard bellowing at the beginning of Agamemnon . The literal oikos on the stage only helps to convey the problems with the oikos both symbolically and physically. There are many problems evident with this oikos. Some problems with the oikos arise because of the sacrifice of Iphigenia by Agamemnon, but the majority of the problems with the oikos arise because of Agamemnon’s wife, Clytemnestra. A point can be made that a loyal and productive woman is necessary for the proper health and maintenance of the oikos. Clytemnestra fails this in many ways. The gender roles shown in the oikos are not common, and are reversed to a certain degree. Clytemnestra does not mourn her dead husband, and is not able to administer the funeral rites and she was the one who murdered him. The lack of funeral rites is uncommon and problematic. Clytemnestra also shows ...
... middle of paper ...
... Oikos in Aischylos' Oresteia." American Journal of Philology 125.4 (2004): 513-38. Print.
Lebeck, Anne. The Oresteia; a Study in Language and Structure. Washington: Center for Hellenic Studies; Distributed by Harvard UP, Cambridge, Mass., 1971. Print.
Nevett, Lisa C. House and Society in the Ancient Greek World. Cambridge: Cambridge UP, 1999. Print.
Roy, J. "Polis and Oikos in Classical Athens." Greece and Rome 46.01 (1999): 1-18. Print.
Widzisz, Marcel Andrew. Cronos on the Threshold. Lanham, Maryland: Lexington, 2011. Print.
The Fires of the Oresteia. Timothy Nolan Gantz, The Journal of Hellenic Studies , Vol. 97, (1977), pp. 28-38
The Theme of Corrupted Xenia in Aeschylus' "Oresteia" Paul Roth Mnemosyne , Fourth Series, Vol. 46, Fasc. 1 (Feb., 1993), pp. 1-17
Goldhill, Simon. Aeschylus, the Oresteia. Cambridge [England: Cambridge UP, 1992. Print.
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.
Dillon, Mathew, and Garland, Lynda. Ancient Greece: Social and Historical Documents from Archaic Times to the Death of Socrates. Routledge International Thompson Publishing Company, 1994, pp. 179-215
Making the transition from living a naïve existence under the protection of the father to presiding over the oikos under the supervision of the husband was the essential social norm for youthful citizen Athenian women. It is unsurprising, then, that in a patriarchal society, the young female could only fulfill her societal role as manager of the oikos when her assumed empty vessel was filled by her husband with the proper knowledge.
In the trilogy Oresteia, the issues concerned are the transformation from vengeance to law, from chaos to peace, from dependence to independence, and from old to new. These four significant changes all take place throughout the play and are somewhat parallel to the transformations that were going on in Ancient Greece.
Aeschylus. The Oresteia. Trans. Richmond Lattimore. Ed. David Grene and Richmond Lattimore. Chicago: University of Chicago Press 1953.
...r. "Ancient Greece." Gardner's art through the ages the western perspective. 13th ed., Backpack ed. Boston, Mass.: Wadsworth Cengage Learning, 2010. 101, 123,129. Print.
"Unhandled Exception." Ancient Greece - History, Mythology, Art, War, Culture, Society, and Architecture. 2008. Web. 27 Feb. 2011. .
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.
Aeschylus' The Oresteia features two characters burdened by seemingly hopeless decisions. First is Agamemnon, king of Argos, whose army was thwarted by the goddess, Artemis. Agamemnon was faced with the decision to call off the army's sail to Troy, and thus admit defeat and embarrassment, or to sacrifice his daughter, Iphigenia, to satisfy Artemis whom had stopped the winds to delay Agamemnon's fleet. Second is Orestes, son of Agamemnon, who was given the choice by Apollo to avenge his father's murder, thus committing matricide, or face a series of torturous consequences. Although both Agamemnon and Orestes were faced with major dilemmas, their intentions and their characters are revealed through their actions to be markedly different.
The thesis of the Oresteia proves to be the sacrifice of Iphigenia, for it is with the death of a woman that the tables of the curse on the house of Atreus start to unfold. The sacrifice of Iphigenia becomes the start of the continued curse within this particular generation of the house of Atreus. Agamemnon, a misogynist, did not value the life of his innocent daughter over the spoils of men. It is significant that an innocent woman, ready for marriage, an act that brings together two households, was not married but instead murdered. Her sacrifice shows a separation between men and women along with failure within the household.
1 Aeschylus, The Oresteia: A New Translation for the Theatre, Translated by David Grene and Wendy Doniger-O'Flaherty (Chicago: University of Chicago Press, 1989).
Lefkowitz, Mary F. and Fant, Maureen. Women in Greece & Rome. Toronto/Sarasota: Samuel-Stevens. 1977. Print
Frost, Frank J. "Greek Society in the Age of Polis" (5th Edition) Pages 92, 93
Aeschylus, was a master dramatist - he liked to portray conflict between persons, human or divine, or between principles.1 His trilogy of plays, the Oresteia, develops many conflicts that must be resolved during the action of the Eumenides, the concluding play of the trilogy. The central theme of the Oresteia is justice (dike) and in dealing with questions of justice, Aeschylus at every stage involves the gods.2 The Oresteia's climactic conflict in the Eumenides revolves around justice and the gods - opposing conceptions of justice and conflicting classes of gods. This essay will describe and discuss these conflicts and, more importantly, the manner in which they are resolved so that the play, and indeed the entire trilogy, might reach a satisfactory conclusion.
Nardo, Don. The Ancient Greeks at Home and at Work. 1st ed. San Diego, CA: Lucent, 2004. Print.