In the Greek play, the Oresteia, suffering acts as a vital role in the lives of the main characters. One character, the chorus, discusses suffering at great length. The chorus is made up of old men who were too old to fight against Troy, and who often give the audience an inside view to the actions happening on stage.
The chorus sites hubris, the Greek word referring to mortal pride or arrogance, as being the cause of many bad fates. Someone guilty of hubris aspires to be more and do more than what the gods allow, resulting in severe punishment and a tragic destiny. As an example, the chorus recites the story of Ouranus in lines 168-175 of Agamemnon. They tell of his pride and arrogance, and how both ultimately led to his fall. They continue to list two of his successors who suffered the same fate. Hubris is also discussed in lines 461-470, explaining that, "The gods are not blind to men who... unjustly prosper." The chorus views this arrogance as a terrible offense to the gods, and warns all those who dare set themselves beyond Justice to limit their belongings to what they need and what the gods allot them. They offer this warning so that all people might "avoid this suffering," (Agamemnon, lines 370-381).
But once someone commits hubris or any other offense towards the gods, can their fate be changed? The chorus suggests that one's destiny is set and unchanging, leading to a great deal of suffering. In lines 67-72 of Agamemnon, they chant, "It is the way of Destiny/ that what will be, will be,/ and neither by burning offerings on high,/ nor pouring sacred wine below,/ can you calm the relentless rage." Nearly as often as Destiny is discussed, pain and suffering are included. In line 130, the chorus speaks of Troy as, "do...
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...rying out twice, "You young gods have ridden roughshod over/ the ancient ways,/ wrenched them from our grasp./ We are dishonored and dejected,/ and our anger rises..." (lines 778-781 and 808-811).
In this case, Orestes's suffering was answered. His fate was changed. However, it is important to note that Orestes did not commit hubris. He did not go out of the bounds of what the gods had set for him. Apollo told him to kill his mother, and he obeyed. Even though this contradicted the laws of the Furies, the help of the young, "new" gods prevailed. So, an answer to suffering is found in the end, but only for certain cases. Even in the final verses, a hint of change is found in the voice of the Furies, "All -seeing Zeus/ and Destiny, unite to seal our truce," (lines 1045-1046). It appears to be a case of a new generation of gods taking over an out-of-date decree.
A central part of the libation “the outpouring of liquids.was one of the most common sacral acts during prehistoric times and especially in the civilizations of the Bronze age”. Burkett, 71, a.d., a.d. ‘pour’ is employed in Latin, Greek, and Old Indic not only for the pouring out of liquids, but also in speech, particularly that concerned with sacrifices in Indic.and elevated passages of poetry in Greek,”. Therefore, by putting the two developments together, a fuller understanding of libations is gained. An understanding of Aeschylus possessed. In Greek works, “the term indicates ‘to pour a libation’ on the occasion of some particularly difficult situation as a way to invite the support of the gods to protect someone”.
“(Zeus): 'Oh for shame, how the mortals put the blame on us gods, for they say evils come from us, but it is they, rather, who by their own recklessness win sorrow beyond what is given […].' (1.32-34)” This quote proves that the people of the Odyssey are in some control over their lives because their actions decide what will happen to them in the future. So, when the humans in the Odyssey mess up, the gods see it as their job to punish them.
Aeschylus’ tragic trilogy, the only play to survive from Ancient Greece, repeatedly calls our attention upon a central concept of justice: justice as revenge. This is a relatively simple concept, with a powerful emotional appeal, linking vengeance to the family and their feelings for each other and for their collective honor. However, one must look past this superficial theme in order to fully appreciate and understand the depth and beauty of Aeschylus’ work, and regard it as a philosophical investigation into the concepts of justice rather than a great artistic fiction or a poetic exploration. The former approach is unfortunate because the Oresteia is not a rational argument. It is, on the other hand, an artistic exploration of abstract and theoretical issues. What matters in this case is the complexity of the feeling that emerges from the characters, the imagery, the actions, and the ideas in the story. In other words, the writer is dealing with a case of how human bei...
The great Saint Augustine once said, “It was pride that changed angels into devils; it is humility that makes men as angels” (Enchiridion of Augustine chap. 27). Hubris “a great or foolish amount of pride or confidence”. This is a very important word in the play and for the characters. It is displayed in the play because it makes it more interesting in so many ways. Many of the conflicts are caused because of hubris. In a way it is good to have pride, but an excessive amount of pride can be harmful. In the play Antigone, Creon is the one that has the most pride.
ORESTES: What? Pyrrhus! I meet thee once again! Pierced by so many blows, how hast thou escaped? Hold! here is my blow, which I have saved for thee. But what do I see? Hermione before my eyes clasps him in her arms. She snatches him from the threatened blow. Ye gods, what looks like she casts upon me! What demons, what serpents she brings after her!
Such is the greatness of these characters' vengeful natures that only through the divine is there an end to this violent circle of vengeful retribution. It is through the chorus of the Argive Elders that one begins to see the significance of the increasing role of vengeance as an underlying theme in the trilogy. In volume one the chorus speaks of "Atreus' sons and their quarrels" (18) and the discontent of the citizens because "their voice is dull with hatred" (18). Already, the outsider begins to understand the setting of events for which this trilogy will exemplify.... ...
“There is no safety in unlimited hubris” (McGeorge Bundy). The dictionary defines hubris as overbearing pride or presumption; arrogance. In The Odyssey, Homer embodies hubris into the characters Odysseus, the Suitors, and the Cyclopes. Odysseus shows hubris when he is battling the Cyclopes, the Cyclopes show hubris when dealing with Odysseus, and the Suitors show it when Odysseus confronts them at his home.
Hubris is defined as excessive, personal pride. As Oedipus is about to learn the devastating truth of his origin and destiny, the chorus observes “Audacity sires the tyrant…” Creon accuses Oedipus of being irrational, and for allowing his pride to lead him into a journey that will affect his life forever. The greeks held reason to be the greatest gift of man, therefore a tyrant’s actions should be governed by reason. Hubris was not the essential cause of Oedipus downfall because of Oedipus’ prophecy, and Religious Incest. Hubris was not the essential cause of Oedipus downfall because of Oedipus’ prophecy.
The act of constantly tricking others, boasting, and the blatant disregard for others needs or feelings can be considered “hubris” in Greek myth. In the Odyssey many characters show self-confidence, but only a select few actually seemed to have “hubris” such as the suitors and Odysseus. The suitors were immediately characterized as selfish individuals, for instance when they were described in book 1 “suitors trooped in with all their swagger and took their seats”. (Odyssey 1. 169-170) Simply in the way they carry themselves it is obvious they disregard others. “They reached out for the good things that lay at hand, and when they’d put aside desire for food and drink the suitors set their minds on other pleasures” this line proves their lack of Xenia and their abundance of hubris. (Odyssey 1. 176-178) In book 22 the suitors finally meet their fate by the
These few instances of revenge: Orestes’ revenge on Aegisthus, Zeus’ revenge on Odysseus and his men, and Poseidon’s revenge on Odysseus in The Odyssey, lay the background for Odysseus’ story of struggle in his journey home from Troy. Revenge proves to be the main reason not only as to why Odysseus cannot return home, but also as a means of proving the importance of the gods’ role in the epic journey. Without these occurrences of the gods getting revenge on Odysseus and other mortals, there would be no passionate tales of the perseverance that Odysseus had in achieving his goal: getting home to Ithaca.
Chorus A are introduced as "the old citizens of Thebes" (p65). The effect of age upon their demeanor is immediately evident in their description of the defeat of Polynices and his armies. The elders are certainly triumphant, calling out: "Glory! ...great beam of the sun, brightest of all that ever rose against the seven gates of Thebes, you burn through the night at last!" (117-19). In these lines there is also a shade of relief. Born of freedom from the fear of their enemy's ...vast maw gaping closing down around our seven gates, his spears thirsting for the kill..." (132-34). These men are not the brave Theban warriors who fought with Eteocles. They are the elder citizens who cowered through the night of war hoping for, and receiving, "Victory! Glorious in the morning..." (164). They are cautious enough to stay out of the physical battle and they display the same self-interest when involved in the coming political confrontation between Antigone and Creon.
In Histories, Herodotus’ uses a variety of themes to narrate historical events and a common theme revolves around hubris. Extremely common amongst Greek literature and Greek mythology, hubris appears to be the infamous human trait. Greek mythology sees hubris as a great atrocity and results in an unrelenting punishment. The idea of hubris is that an individual with an authoritative position, a strong or influential leader, becomes extremely proud of his exceptional qualities and forms a delusion of his position to be on par with even the Gods. This blinds the hubristic individual into believing he can defy the Gods and elude ones inevitable fate. Herodotus’ Histories is no exception to containing individuals that display hubristic qualities similar to many other significant historical entities. In Histories, the theme of hubris assists the reader in making a connection between the excerpts from the end of book 1 (1-204-206) to other books and excerpts in Herodotus’ Histories.
In The Odyssey, many of the occurrences in the character’s lives are blamed on fate and a predetermined plan. When Zeus decided to help Odysseus, he tells Hermes, “the exile must return…. on a lashed, makeshift raft and wrung with pains, on the twentieth day he will make his landfall,” (5,35-38). Zeus demonstrated that he has the power and control to make
In the Odyssey, the gods play a significant role in the fate of the mortals for Odysseus to find his family after fighting at Troy, and his long journey home. There was belief in destiny by not just Odysseus, but the gods in the story too, and in the story, they are able to change the destiny of a human. Odysseus’ journey from Troy back home to Ithaca was remarkably longer than planned, due to many antagonists this took 10 years, but relying on fate and love got him through this voyage.
Oresteia is a script whose story goes on by recalling Orestes’ lost memories. The main idea which is prevalent throughout this story is about finding the truth hidden in the acts of revenge, lies, and fates which are intricately intertwined. However, as the truth does not always give us hope and pleasant, in this story, the characters are suffered by the truth and the way to find it.