¶ … Oresteia story, as trilogy of events written by Aeschylus, revolves around revenge.
In the first sequel, Agamemnon, Clytemnestra murders both her husband Agamemnon and his concubine, Cassandra, a priestess of the Greek god, Apollo. Cassandra had received prophecy of her imminent murder as well as future events that will befall the House of Atreus, but she had been restrained by Apollo from publicizing her vision since she had rejected his advances. Aegisthus's cousin and Clytemnestra's adulterer now assumes the throne with the chorus reminding the audience that avenge will soon ensue. In sequel two, The Libation Bearers, Agamemnon's children Electra and Orestes kill Clytemnestra to avenge the death of their father. He flees the palace with the Furies, deities that avenge patricide and matricide, chasing him and the Chorus informing us that the cycle of revenge will continue.
In the final sequal, The Eumenides, the ghost of Clytemnestra pushes the Furies to continue changing Orestes until they track him down. Apollo intercedes at the last moment and summons all to a trial bringing in eleven Athenians to serve as jury. There, Orestes (represented by Apollo) defends himself against the ceaseless torment endured from the Furies, whilst the Furies represent Clytemnestra the trail results in an equal vote. The Furies submit. Apollo announces that from hereon, hung juries should always consequent in acquittal, as mercy should take precedent over harshness.
The play, although ending fortuitously, orbits on the theme of revenge. The ancient law of the Furies mandates that blood must be reciprocated with blood in an unending cycle of doom. This has been the law for generations, and the Furies emphasize this at several points urging the play:
It is the law: when the blood of slaughter wets the ground it wants more blood.
Slaughter cries for the Fury of those long dead to bring destruction on destruction churning in its wake! (LB,...
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
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
Odyssey/Libation Bearers The Odyssey, which was written by Homer, and the Libation Bearers, which was written Aeschylus are some of the ancient Greek writings that act as classic literature. These writings depict events and tragedies that happened in the traditional Greek society and provide important lessons for modern literature given their classical nature. One of the pertinent passages from the Odyssey by Homer and the Libation Bearers from the Greek
The skene or 'tent' was the building that was directly behind the stage, and this was where the actors of the drama could enter or exit from. It would usually be decorated as a temple or a palace, and it would have at least one set of doors from where actors could enter the stage. At times, there would be access to the skene form the roof, so that
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