Agamememnon is killed. The Chorus goes through every possible response in a dozen lines-- confusion, anger, timidity, vindictiveness, reckless bravery. Finally determine to see for themselves what the situation actually is.
Clytemnestra stands over the body and admits the deed-- for Agamemnon's past sins. Chorus threatens punishment and banishment, but she points out they did nothing to Agamemnon when he sacrificed his own daughter. Claims the protection of Aegisthus, who abetted and murdered Cassandra at the same time.
Chorus breaks into internal discussion dealing with their shock and grief, but Clytemnestra keeps interrupting [in contrast to the previous Strophe-Antistrophe format]. Chorus first blames Helen once again. C: Again? You keep going back to that well. Chorus blames the seeming curse on the royal house. C: Getting closer. But in that case, consider me the conduit of that curse, and especially the required vengeance for the killing of Iphigenia, and find me personally not guilty. Chorus: "Never! On the other hand, it was pretty horrifying what Atreus did, and the punishment seems to have landed on Agaememnon." [Clytemnestra is winning.] So how do we grieve? C: Consider this a family matter. Let Iphigenia greet her father appropriately. [Ouch.] Chorus asks, how can the murderer be put in charge of rectifying justice? C: No, I've put an end to injustices in this house.
Aegisthus enters, surveys the scene, tells the whole tale of his father: Thyestes, brother of Atreus, banished from the kingdom. Laid low, he returns to the palace, but is welcomed by Atreus serving him his own children at the meal. A disgrace. Aegisthus planned this whole murderous plot as an ultimate revenge. The Chorus are outraged, but Aegisthus is claiming power and threatening punishment and slavery for any who dare rise against him. Hot words rise, insults fly, and the room nearly breaks out in violence before Clytemnestra steps between them and orders an end to it. She committed the murders to quell the violence once and for all. More insults hurled, as the Chorus hopes for the return of Orestes.
--------------------------
Good stuff. I like the multiple motivations at play here: Clytemnestra avenging the murder of Iphigenia, Aegisthus avenging the horrible insult of his father at Atreus's hands. Agamemnon had it coming from two ends.
The interesting thing is that Clytemnestra and Aegisthus seem to be acting unawares of the other's motivation. Who was playing whom, here? Aegisthus using Clytemnestra to actually do the deed, then claim power himself? Or Clytemnestra coaxing Aegisthus into a conspiracy, thus shielding herself while she gets the revenge that has burned within her for ten years? Probably both.
Furthermore, Clytemnestra seems to think this will be the end of the episode-- that she actually has managed to definitively shut down the cycle of violence. Great naivete here. In fact, the truce doesn't last more than an hour before the Chorus is planning an uprising, and plotting to aid Orestes upon his return.
Interesting subtext in the Chorus as well. Aegisthus is claiming the crown, and threatens violence against the people. At the moment, they're not having it. They recognize an illegitimate leader when they see one, and only the threat of widespread violence and slavery holds them back. That can't last forever. (Of course. That's why there's a trilogy.)
Showing posts with label Agamemnon. Show all posts
Showing posts with label Agamemnon. Show all posts
Monday, March 07, 2011
Wednesday, February 23, 2011
The Agamemnon, 3
Clytemnestra urges Cassandra to come into the palace for the (thankful) sacrifices to the gods. But she shudders in silence and stays put. The Chorus urges her to go, but in confusion over her state. Clytemnestra leaves in frustration.
At this, Cassandra speaks, and cries out to Apollo over prophetic visions. First recognizing the spilling of much blood in the palace-- past, present, and future. Points the finger especially at a "wretched woman". But she's babbling, and the Chorus can't keep up. They're totally freaked out. She sees Clytemnestra killing her husband. She sees her own death, and rues her fate. She sees the destruction brought on by Paris, her own home, and a similar home by the rivers in Hades. She sees the original ancient familial murders in the palace, and those of Atreus, Agamemnon's father.
The Chorus asks for explanation. Cassandra tells of her seduction by Apollo, then his curse when she wouldn't have his child: she will not be believed in her prophecies.
Now sees specifically the murdered children of Thyestes, murdered by his brother Atreus and then fed to their father. She sees Aegisthus and Clytemnestra plotting Agamemnon's murder in his bed. The Chorus recognize the old story of Thyestes and are amazed, but lost on the rest. She specifically calls Agamemnon's death. She sees Clytemnestra plotting against her, and throws off her wench's clothing in disgust. She sees an ultimate avenger (Orestes) arriving to do in Clytemnestra. She resigns herself to her fate, and moves to enter the palace.
The Chorus ask why the change, and admire her as an "undaunted soul". She rebukes the compliment, saying it is only given to the doomed. She recoils again from entering, predicting future deaths, and stating a final wish before her own death: that her slayers also be put to death.
The Chorus lament Agamemnon's imminent and untimely death, questioning the benefit of being born a king if it leads to such a fate.
----------------------
Once again, it's unclear to me how much of the story is already understood by the audience. Cassandra speaks without naming names, as it were. But I easily picked up on exactly whom she's talking about on every line-- and the footnotes weren't necessary most of the time. Good to see the Chorus isn't entirely stupid-- they caught some of it as well.
Funny line that has gained a ridiculous new connotation:
(Clytemnestra speaking of Cassandra's reluctance to come in): Perhaps she only understands some outlandish twittering.
I really enjoyed Cassandra's scenes. I was hoping to find a video of a really good version of a performance in English somewhere. Instead, this is the best I found. This is creepy as hell.
I don't understand theater at all.
At this, Cassandra speaks, and cries out to Apollo over prophetic visions. First recognizing the spilling of much blood in the palace-- past, present, and future. Points the finger especially at a "wretched woman". But she's babbling, and the Chorus can't keep up. They're totally freaked out. She sees Clytemnestra killing her husband. She sees her own death, and rues her fate. She sees the destruction brought on by Paris, her own home, and a similar home by the rivers in Hades. She sees the original ancient familial murders in the palace, and those of Atreus, Agamemnon's father.
The Chorus asks for explanation. Cassandra tells of her seduction by Apollo, then his curse when she wouldn't have his child: she will not be believed in her prophecies.
Now sees specifically the murdered children of Thyestes, murdered by his brother Atreus and then fed to their father. She sees Aegisthus and Clytemnestra plotting Agamemnon's murder in his bed. The Chorus recognize the old story of Thyestes and are amazed, but lost on the rest. She specifically calls Agamemnon's death. She sees Clytemnestra plotting against her, and throws off her wench's clothing in disgust. She sees an ultimate avenger (Orestes) arriving to do in Clytemnestra. She resigns herself to her fate, and moves to enter the palace.
The Chorus ask why the change, and admire her as an "undaunted soul". She rebukes the compliment, saying it is only given to the doomed. She recoils again from entering, predicting future deaths, and stating a final wish before her own death: that her slayers also be put to death.
The Chorus lament Agamemnon's imminent and untimely death, questioning the benefit of being born a king if it leads to such a fate.
----------------------
Once again, it's unclear to me how much of the story is already understood by the audience. Cassandra speaks without naming names, as it were. But I easily picked up on exactly whom she's talking about on every line-- and the footnotes weren't necessary most of the time. Good to see the Chorus isn't entirely stupid-- they caught some of it as well.
Funny line that has gained a ridiculous new connotation:
(Clytemnestra speaking of Cassandra's reluctance to come in): Perhaps she only understands some outlandish twittering.
I really enjoyed Cassandra's scenes. I was hoping to find a video of a really good version of a performance in English somewhere. Instead, this is the best I found. This is creepy as hell.
I don't understand theater at all.
Tuesday, February 22, 2011
The Agamemnon, 2
A herald arrives first, ready to announce Agamemnon. He is glad to be home, finally. The Chorus greets him gladly, surprising him somewhat. Given the chance, he complains of the drearyness of soldiering, wondering if the victory was worth the pain.
Clytemnestra enters, brags about being right about the bonfire signals' meaning. Is happy over her husband's return, glad to tell him of her faithfulness while he was gone. A little too eager to tell him that, actually.
Chorus asks of Menelaus. Herald tells how they lost his ship on the journey home. Chorus: So Helen claimed another great man. Just as, through Paris, she claimed an entire great city. She's like a lion cub raised by humans-- seductive, but suddenly turning on them and bringing utter destruction. An argument-- does greatness bring an expectation of (unattainable) greatness, leading to downfall? Or do sins like Pride lead to future wickedness that bring about downfall?
The Chorus welcomes Agamemnon, but worried that their enthusiasm will appear an act. After all, they were quite dismayed when he slaughtered his daughter at the start of his mission.
Agamemnon tells of his triumph. But he's concerned of the people's resentment behind their praise of his success. Promises an open reign so they may build their city together.
Clytemnestra tells of her pain as she waited for her husband's return, hearing constant false reports of his demise. She had to send away their son, Orestes, for his protection. But that's all past, and now is a time for joy. Lay out the purple carpet and tapestries for Agamemnon's entrance!
Back and forth. A: Um, that's not necessary. C: What's the problem? A: I just don't feel like it. C: Come on. Do it for me. This is what I prepared for you.
Agamemnon relents, stepping down from the carriage, and so revealing Cassandra. A: Oh, yeah, her. She came back with me. Never mind. On we go! (But doesn't proceed.)
C: Let's go, honey. All this royal carpet. All for you. You deserve it. Move! (He does.)
Chorus: That was weird. Things aren't nearly as positive as we thought they'd be right now.
---------------------------
Lots of false modesty on Agamemnon's part, and passive aggressiveness from Clytemnestra. I'm digging it.
Since the audience already knows the story again, they must be grinning in anticipation for Clytemnestra's new husband. I sure am.
My first reaction to seeing Cassandra's name in The Iliad is looking pretty silly by now. She's everywhere. I'm an idiot.
More direct criticism of the drudgery of war. Biographical question: Is Aeschylus speaking with first-hand knowledge? What war?
After lookup: In the 490 BC war against the Persians (led by Darius), Aeschylus fought in the battle at Marathon. Also fought against Xerxes in 479 BC. Awesome.
Clytemnestra enters, brags about being right about the bonfire signals' meaning. Is happy over her husband's return, glad to tell him of her faithfulness while he was gone. A little too eager to tell him that, actually.
Chorus asks of Menelaus. Herald tells how they lost his ship on the journey home. Chorus: So Helen claimed another great man. Just as, through Paris, she claimed an entire great city. She's like a lion cub raised by humans-- seductive, but suddenly turning on them and bringing utter destruction. An argument-- does greatness bring an expectation of (unattainable) greatness, leading to downfall? Or do sins like Pride lead to future wickedness that bring about downfall?
The Chorus welcomes Agamemnon, but worried that their enthusiasm will appear an act. After all, they were quite dismayed when he slaughtered his daughter at the start of his mission.
Agamemnon tells of his triumph. But he's concerned of the people's resentment behind their praise of his success. Promises an open reign so they may build their city together.
Clytemnestra tells of her pain as she waited for her husband's return, hearing constant false reports of his demise. She had to send away their son, Orestes, for his protection. But that's all past, and now is a time for joy. Lay out the purple carpet and tapestries for Agamemnon's entrance!
Back and forth. A: Um, that's not necessary. C: What's the problem? A: I just don't feel like it. C: Come on. Do it for me. This is what I prepared for you.
Agamemnon relents, stepping down from the carriage, and so revealing Cassandra. A: Oh, yeah, her. She came back with me. Never mind. On we go! (But doesn't proceed.)
C: Let's go, honey. All this royal carpet. All for you. You deserve it. Move! (He does.)
Chorus: That was weird. Things aren't nearly as positive as we thought they'd be right now.
---------------------------
Lots of false modesty on Agamemnon's part, and passive aggressiveness from Clytemnestra. I'm digging it.
Since the audience already knows the story again, they must be grinning in anticipation for Clytemnestra's new husband. I sure am.
My first reaction to seeing Cassandra's name in The Iliad is looking pretty silly by now. She's everywhere. I'm an idiot.
More direct criticism of the drudgery of war. Biographical question: Is Aeschylus speaking with first-hand knowledge? What war?
After lookup: In the 490 BC war against the Persians (led by Darius), Aeschylus fought in the battle at Marathon. Also fought against Xerxes in 479 BC. Awesome.
Sunday, February 20, 2011
The Agamemnon, 1
A watcher in Agamemnon's palace, weary of his assignment, finally sees the beacon telling of the fall of Troy. He happily announces the news to Clytemnestra, Agamemnon's wife.
The Chorus sets the stage: the siege has lasted ten years. Driven by Zeus, or by Fate, the heroes fight. Meanwhile, those left at home have grown old and weaker. But why is Clytemnestra going through the city setting sacrifice fires now?
More scene-setting: As Agamemnon and Menelaus gathered their fleet, the prophet Calchas saw the terrible fate set for them. Artemis would keep their ships in habor, until a terrible sacrifice was made that would unleash the remaining action.
A minor backhanded tribute to Zeus, the greatest, but third (after Ouranos and Cronos), head of gods, and quite silly in his own right.
Calchas announces what needs be done to Agamemnon-- the sacrifice of his daughter, Iphigenia. Agamemnon is agonized over this, but only momentarily. He then does the deed with gusto, expecting honor from his soldiers (who give it). Iphigenia sings and stares down the officers as the fatal blow is struck.
Back to action. Clytemnestra announces the victory at Troy. But how came the news? She explains the courier of flame, the signal fires stretching all the way back to her own palace. She ruminates on the scene in Ilion: weary victors, dragging themselves through a disgraced city. But (slyly) worse is still to come.
Chorus again. Zeus inspired Paris's lust, and his flight back to Ilion. Such a woe this brought on his own people. But such a woe also was felt by the Achaians, with many heroes dead, over Menelaus's wife! Honor is of little consolation. What joy can be felt living on in legend, if they're still dead?
------------------
Holy crap.
A good place to stop, because Agamemnon is about to enter (months, if not years, after this action).
Well, I'm certainly impressed by Aeschylus. The subtext concerning fate, the honor of the gods, the critique of the heroic culture, comes so fast and furious, it's hard to keep up. I read these pages twice just to make sure I was concentrating on it all, but I think I'll be good from here on out.
The biggest change from Homer, so far, is the acknowledgement of the terrible trials of war, and the questioning of whether any honor can be worth that price.
Also of note is the language. This might be an issue of translation. I'm finding Roche to be much more lyric and poetic than Lattimore-- but that might be a reflection of the advancement in poetic style from Homer to Aeschylus. In any case, the play is much more personal and psychologically emotional than the action narrative of Homer. That makes for a much denser reading (in a good way) than before.
Roche also does a good job of evoking what a stage production would look like. I can imagine the two sides of the Chorus wailing over their ten-year struggle, with Clytemnestra watching and plotting in the background.
I really enjoyed the opening scene of the Watcher, too. It's good to get an "everyman's" perspective on this, from a guy who clearly hates his job. Cool.
Love the images of the bonfire signals. Kudos to J.R.R. Tolkein for lifting it, and to Peter Jackson for filming it so well.
One passage that summarizes all tragedy, during the tribute to Zeus and his weakness as a god:
The Chorus sets the stage: the siege has lasted ten years. Driven by Zeus, or by Fate, the heroes fight. Meanwhile, those left at home have grown old and weaker. But why is Clytemnestra going through the city setting sacrifice fires now?
More scene-setting: As Agamemnon and Menelaus gathered their fleet, the prophet Calchas saw the terrible fate set for them. Artemis would keep their ships in habor, until a terrible sacrifice was made that would unleash the remaining action.
A minor backhanded tribute to Zeus, the greatest, but third (after Ouranos and Cronos), head of gods, and quite silly in his own right.
Calchas announces what needs be done to Agamemnon-- the sacrifice of his daughter, Iphigenia. Agamemnon is agonized over this, but only momentarily. He then does the deed with gusto, expecting honor from his soldiers (who give it). Iphigenia sings and stares down the officers as the fatal blow is struck.
Back to action. Clytemnestra announces the victory at Troy. But how came the news? She explains the courier of flame, the signal fires stretching all the way back to her own palace. She ruminates on the scene in Ilion: weary victors, dragging themselves through a disgraced city. But (slyly) worse is still to come.
Chorus again. Zeus inspired Paris's lust, and his flight back to Ilion. Such a woe this brought on his own people. But such a woe also was felt by the Achaians, with many heroes dead, over Menelaus's wife! Honor is of little consolation. What joy can be felt living on in legend, if they're still dead?
------------------
Holy crap.
A good place to stop, because Agamemnon is about to enter (months, if not years, after this action).
Well, I'm certainly impressed by Aeschylus. The subtext concerning fate, the honor of the gods, the critique of the heroic culture, comes so fast and furious, it's hard to keep up. I read these pages twice just to make sure I was concentrating on it all, but I think I'll be good from here on out.
The biggest change from Homer, so far, is the acknowledgement of the terrible trials of war, and the questioning of whether any honor can be worth that price.
Also of note is the language. This might be an issue of translation. I'm finding Roche to be much more lyric and poetic than Lattimore-- but that might be a reflection of the advancement in poetic style from Homer to Aeschylus. In any case, the play is much more personal and psychologically emotional than the action narrative of Homer. That makes for a much denser reading (in a good way) than before.
Roche also does a good job of evoking what a stage production would look like. I can imagine the two sides of the Chorus wailing over their ten-year struggle, with Clytemnestra watching and plotting in the background.
I really enjoyed the opening scene of the Watcher, too. It's good to get an "everyman's" perspective on this, from a guy who clearly hates his job. Cool.
Love the images of the bonfire signals. Kudos to J.R.R. Tolkein for lifting it, and to Peter Jackson for filming it so well.
One passage that summarizes all tragedy, during the tribute to Zeus and his weakness as a god:
He leads us on the way of wisdom'sPreach it.
Everlasting law that truth
Is only learnt by suffering it.
Wednesday, February 16, 2011
The Oresteia (Aeschylus)
I thought it important to read some Greek drama before getting to Plato's Republic, at least to have a feel for the Greek culture at the time or to catch any popular references. I had a couple collections on the shelf-- probably from Freshman Seminar-- but decided to round it out a bit. After some research, selections from Aeschylus, Sophocles, Euripides, and Aristophanes (in that order) would seem to cover it.This particular copy I purchased at Half Price Books in Palatine-- on my first trip there in late 2010. Nothing special about the translation, as far as I know. I knew I had some Sophocles, and they had a matching pair of a different Sophocles and this Aeschylus, both translated by Paul Roche.
I honestly have no idea what to expect out of this. It would seem that reading Homer was a good idea, though. I already know who Orestes is!
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