¶ … Character and Personality Traits of Agamemnon
Agamemnon's virtue of tolerance and liberalism turns out to be his weakness as a king.
Aeschylus' play Agamemnon is actually not the first performance of the story. The tale of Agamemnon's return from Troy and consequent death is handled in Pindar, Hesiod, Homer, Stesichorus, in addition to other poets and was quite familiar to the Athenian audience watching Aeschylus. Aeschylus, however, picks and merges these customs, expanding a simple tale of betrayal and murder by providing the essential characters with reasonable motives, not only at the human, but also divine level. This gives him the opportunity to come up with a play founded on tragic disagreements that are way more complicated than those in the mythological sources that he utilizes. Apart from minor details, we see Aeschylus making modifications in the background accounts of the characters before the major action of the play via the details given in the parados. The chorus' very first statement of Agamemnon presents to us an essential adjustment:...
Achilles' speech Agamemnon's embassy Book 9 " Illiad" it Achilles reflects codes behavior heroes The Right to Pride The Trojan War was fought for a variety of reasons, the most fundamental of which was because Helen was abducted from Sparta and delivered to Paris of Troy. Yet for many of the individual combatants, and particularly for those who were regarded as heroes, the war was fought for far more personal and
The imagery she uses also reflects the pain that she experiences as she envisions the murder about to take place and the fact that she too will killed: she speaks of Clytemnestra as a lion: "Vengeance broodeth still, a lion's rage, which goes not forth to kill / But lurketh in his lair, watching the high hall…" Then she speaks of her as a wolf and as a serpent. The
Aeschylus - the Oresteia (Agamemnon, Libation Bearers and Eumenides) The Oresteia offers the reader a close and intensive immersion with a truly pained universe of suffering: each play still has at its core a sense of flush of promise and vibrancy of Athens that was pushing forth and evolving into greatness. Even so, the author Aeschylus is able to captures a sense of the undercurrents of the primal vengeance that still
Mourning Becomes Electra It must have come as something of a shock for the original audience of Eugene O'Neill's Mourning Becomes Electra in 1931 to take their seats, open their programs, and discover that this extremely lengthy trilogy of plays does not actually contain a character named "Electra." This may seem like an obvious point, but it is one worth considering as we approach O'Neill's American analogue to the Oresteia of
Many have seen her as Aeneas's counterpart, as she herself has led her people from Tyre to Carthage in an attempt to escape environmental vicissitudes. Like Aeneas, she is a true leader, a strong willed character and independent woman. Juno and Venus (the Roman counterparts of Hera and Aphrodite) manipulate them and Dido is soon seen infatuated with Aeneas, neglecting all ruling duties. She cannot change destiny and realizes
Clearly, there are more characters in these three plays individually and together than in Prometheus Bound, and the ethos of individual characters is maintained so that their character is consistent through the three plays. This differs from what might be seen in the three plays by Sophocles about Oedipus, but Oedipus Rex, Oedipus at Colonus, and Antigone were not linked and were indeed each part of different trilogies of plays
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now