By Simon Goldhill
Simon Goldhill specializes in the play's themes--justice, sexual politics, violence, and the function of guy in historical Greek culture--in this common advent to Aeschylus' Oresteia, some of the most very important and influential of all Greek dramas. After exploring how Aeschylus constructs a delusion for town during which he lived, a last bankruptcy considers the effect of the Oresteia on extra modern theater. The volume's prepared constitution and advisor to extra analyzing will make it a useful reference for college kids and academics. First version Hb (1992): 0-521-40293-X First variation Pb (1992): 0-521-40853-9
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Extra info for Aeschylus: The Oresteia (Landmarks of World Literature (New))
Sample text
599–601): Desire, corrupt desire, female in power, Perverts and conquers the yoked society Of beasts and men. The desire of women is corrupt; it is th¯elukrat¯es. I have translated this word ‘female in power’; it implies that such desire gives women power (kratos); or that desire overpowers women; or that desire for the female overpowers marriages; or desire empowers women to pervert and conquer. This negative desire destroys the ‘yoked society of beasts and men’ – that is, all forms of union that make up society.
As Agamemnon returns to Clytemnestra’s trap, then, he has been depicted both as a victor punishing transgression and as a transgressor awaiting punishment. From the first ode’s representation of the sacrifice of Iphigeneia, Agamemnon is locked into a narrative of revenge and reversal: revenge which punishes wrongdoing, but which, in turn, establishes the revenger as a wrongdoer in need of punishment. Cassandra, however, offers a further perspective on Agamemnon and his death. For in her prophecies she recalls the violent past of the house of Agamemnon.
Her hopes are vain because Orestes, in the central conflict of the Choephoroi, returns to repeat the tragic double bind. Orestes suggests that a powerful set of motives drives him on (Cho. 299– 305). He is fulfilling the god’s command to exact vengeance, but he is also being forced to kill within his own family. As he drives Clytemnestra to her death, he sums up his position in his final, climactic line with (Cho. ’ The logic of the double bind, of revenge and reversal, is starkly exposed. To punish wrong leads to doing wrong: not to punish wrong is also doing wrong.