If one's love is strong enough, it can drive one to accomplish feats that are literally impossible otherwise. In general, anything with "-punk" in its name has a strong tendency towards Romanticism, due to the genre's cynicism about human advancement, preference for older and more visible machines, and strongly antiauthoritarian tendencies. However, this isn't a hard-and-fast rule, and many "-punk" works actually lean towards Enlightenment in their embrace of the possibilities of their setting's unique technology.
Many critics consider Clytaemestra the most impressive and fascinating woman in Greek tragedy. Indeed, Clytaemestra is so confident and so superior to those around her, including Agamemnon, that she often alludes to her plans more or less openly without fear of being detected. Clytaemestra is by far the strongest character in the play.
This is most clearly demonstrated when, at various points, she forces Agamemnon, Aegisthus, and the Elders of Argos to bend to her will. Orestes Orestes is the central figure of the trilogy. He is the main character of the second and third plays, and, though he does not appear in Agamemnon, he is mentioned frequently and his return home is predicted.
After the slaying of Clytaemestra, Orestes is embittered and on the verge of madness, but he never doubts that he has done the right thing. Even years of torment by the Furies in The Eumenides do not weaken this belief. Thus, though his dilemma is real and frightening, Orestes is a one-dimensional character who cannot arouse real empathy.
That Aeschylus intended this is shown in The Eumenides, where Orestes is turned into a human symbol in the great moral conflict that is fought out on stage between Apollo, as representative of Zeus, and the Furies, as representative of the primitive, pre-Olympian religion.
Orestes drops out of the action before the final scene of the play. He is completely forgotten while the conflict is resolved by Athene, and the remaining segment of the play concentrates on glorification of the Athenian way of life.
Electra Electra does not have anything near the importance given her by Sophocles and Euripides in their plays based on the same legend. Aeschylus uses her mainly to provide information for Orestes and to help strengthen his resolution by her presence. She has no real part in the plot to kill Clytaemestra and Aegisthus, and disappears early in The Choephori, the only play of the trilogy in which she appears.
Agamemnon Agamemnon is a powerful king, a great conqueror and leader of men, but as characterized by Aeschylus he has certain crucial weaknesses that lead to his downfall. Agamemnon is complacent, egotistical, and shallow.
In his dramatic confrontation with Clytaemestra, Agamemnon blusters a bit and echoes some conventional religious sentiments, but he is easily trapped by her wily use of his own defects as weapons against him.
Clytaemestra murders Agamemnon to avenge Iphigenia but would not have succeeded if his other sins — the desecration of the Trojan temples and his sacrilegious insolence in walking on the tapestry — had not aroused the wrath of the gods against him. Aegisthus Aegisthus appears briefly in Agamemnon and The Choephori.
Through an old enemy of Agamemnon and an accomplice in his murder, Aegisthus seems at base to be an ordinary man with no special attributes. He has common sense and some political ability but is no match for Clytaemestra, the woman whom he aids and eventually marries.
In The Choephori, it is clear that Clytaemestra is the real ruler of Argos, though she pays Aegisthus some deference for the sake of appearances since he is a man and therefore officially the king.Test your knowledge of Agamemnon with our quizzes and study questions, or go further with essays on the context and background and links to .
Overall Analysis Agamemnon is the first play in a trilogy, the Oresteia, which is considered Aeschylus' greatest work, and perhaps the greatest Greek tragedy. Of the plays in the trilogy, Agamemnon contains the strongest command of .
This is a good introduction to tragedy and the problems it raises as a mode of representing suffering and as a literary genre. It is well written and it presents the material in a way that is very easy to follow.
In the "Oresteia" Aeschylus clearly expressed the belief in man's responsibility for his actions, although world is governed by the gods, the effectiveness of the court depends on the line of human behavior.
Agamemnon is only the first play of the great tragic trilogy, the Oresteia. Aeschylus wrote the Oresteia around B.C.E.. It is his sole trilogy to survive intact. The two other plays, Choephori and Eumenides, and a lost satyr play called Proteus won its author first prize at the Great Dionysa that same year.
“The Oresteia” trilogy by the ancient Greek playwright Aeschylus consists of the three linked plays “Agamemnon”, “The Libation Bearers” and “The Eumenides”.