Free Aeschylus Essays and Papers

Language in Aeschylus Language is Aeschylus' juggernaut: he uses striking, innovative words to drive an image into the mind of his audience. Clytaemestra, notorious as a villain or perhaps an anti- heroine, effectively acts as a medium for Aeschylus’ brilliant rhetoric in Agamemnon. Clytaemestra’s rhetoric not only invokes vivid imagery, but also confuses and perverts spheres of logic and rhetoric: sacrifice with murder, liquids with cloth, and blood with wine. These images overturn the values

In “The Oresteia” trilogy, the ancient Greek playwright Aeschylus advocates the importance of the male role in society over that of the female.  The entire trilogy can be seen as a subtle proclamation of the superiority of men over women. Yet, the women create the real interest in the plays.  Their characters are the impetus that makes everything occur. The most complex and compelling character in the three plays is Clytaemnestra.  Clytaemnestra is consumed with thoughts of revenge.  She seeks vengeance

Employing an advanced technique, Aeschylus fills his tragedy, Oresteia: The Agamemnon, with layers of multiplicity. Essentially, multiplicity in this tragedy entails using dialogues containing several meanings to convey truths about Greek society and to shed light on situations outside the current action. Aeschylus’ use of this dramatic tool contributes to the success of the novel and adds depth to the meaning of the characters’ conversations. Furthermore, it affords the audience an opportunity to

Aeschylus’ well-known tragedy, Agamemnon, allows one to closely examine the treasured polytheistic religious ideas of Ancient Greece and how the Greeks relied heavily on the thought of free will versus fate determined by their gods. With the play being set and written in Greece, the polytheistic lifestyle is apparent and unabashed as the culture of the time would have seen the play to be easily believable. The entire audience would have been familiar with the various gods and goddesses, as well as

Justice and Aeschylus' Oresteia At first glance, the picture of justice found in the Oresteia appears very different from that found in Heraclitus. And indeed, at the surface level there are a number of things which are distinctly un-Heraclitean. However, I believe that a close reading reveals more similarities than differences; and that there is a deep undercurrent of the Heraclitean world view running throughout the trilogy. In order to demonstrate this, I will first describe those ways

When Agamemnon was put in command he dropped all the friends he didn’t need, and shut himself in. He got what he wanted, and didn’t care about those around him that may have helped him. In this way he wants to be thought superior, and wont associate with any lesser people. Menelaos tries to be the bigger person and tells Agamemnon not to kill his child for his sake, making it seem like he’s doing him a favor. Clytemnestra wants to be there for her daughter’s supposed wedding, She wants to be the

Justice in Aeschylus' The Oresteia How can an endless and violently destructive cycle be just? The concept appears in places along the human timeline as diverse as the Bible and West Side Story. Why do people have a tendency to amplify and repeat violence through a cycle of murder and revenge, and how can this destructive process be called justice? In The Oresteia, the cycle is a familiar one, but is also interweaved with gender issues and a sense of justice that changes within the cycle itself

Analysis of Aeschylus Agamemnon Characters- The Watchman Clytaemnestra The Herald Agamemnon Cassandra Aegisthus The Chorus 1). The Watchman: • The watchman sets the time and place for the play (Agamemnon’s palace in Argos, the house of Atreus); he describes the many miserable nights he has spent on the rooftop of the palace watching for the signal fires that will herald the fall of Troy. • The watchman is one Aeschylus’s small characters, but like the herald he serves an important

Cannibals and Vampires in Aeschylus and O'Neill Aeschylus and Eugene O'Neill have populated their trilogies with cannibals and vampires. Family members feed off one another both literally and figuratively. For the houses of both Agamemnon and Ezra Mannon, this bloodlust is insatiable and inherited, an inescapable curse. A family curse provides the dramatic force necessary to push characters toward pivotal actions and events. At the conclusion of both trilogies the curse is finally broken (or at

The Powerful Clytemnestra in Aeschylus' Oresteia What Price Glory? was the title of a Maxwell Anderson play about World War I. Although the Oresteia deals with the period following a much different war, the same question can be asked of it. In the trilogy Aeschylus presents the reader with a stunning example of ancient Greek society, in which warrior ideals were firmly held, and glory in battle was considered the supreme good. The question of moral justification in the trilogy brings in many