Aegisthus enters, not quite believing the news of Orestes' death. The Chorus push him to meet the stranger and hear for himself. He does, and is killed offstage.
A servant brings the news, and can't understand the Chorus's calmness in the face of calamity. Clytemnestra appears, as Orestes comes back and declares his intentions. She lays the guilt-trip on him, trying to preserve her life. He won't hear it. Besides killing Agamemnon, he resents her for sending him away to live with strangers as a child. She protests, appeals to the Fate she had to follow, tells of her sorrow living while Agamemnon fought abroad. It doesn't work. Orestes takes Clytemnestra offstage.
The Chorus ruminates on Fate, and celebrates Justice done. They see a completed cycle of violence, with the ultimate hero, Orestes, coming out on top.
The deed done, Orestes comes back out, surveys the bodies, and carries his father's bloody mantle in which he was killed. He sees Justice done. Her rues his father's passing, lamenting his fate. But thinking on it too long, he begins to weep, and starts to lose composure, the enormity of the act finally getting to him. He declares himself an exile from the land, undeserving to live among the people after his deed. The Chorus try to settle him, but he quickly gets worse. Orestes sees the Furies in the room, coming for him. He's losing control, the Chorus is panicking, the Furies approach, and he flees.
The Chorus is sorrowful again, struck by the apparently continuous curse upon this family.
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With all the character focused only on their narrow interests, all were blind to the overall injustice happening around them. The ultimate lesson from this play is the insufficiency of the old modes of honor and justice. "An eye for an eye" cannot prevail in the long run.
Showing posts with label Libation Bearers. Show all posts
Showing posts with label Libation Bearers. Show all posts
Saturday, March 19, 2011
Friday, March 18, 2011
The Libation Bearers, 3
The Chorus tells of Clytemnestra's dream: that she gave birth to and nursed a serpent that kills her in the end. Orestes is encouraged by the good omen, seeing success in his plan to kill her. He hatches his plot: he'll gain entrance to the palace disguised as a traveling stranger. Then he'll walk up to Aegisthus and kill him. [Yes, it's really that simple.]
The Chorus contemplates the pattern of history, of women killing the men they're closest to and being killed in return. Althea, who killed her son; Scylla, who killed her father; the women of Lemnos, who all killed their husbands. And now the pattern looks to be repeated again.
Orestes, in disguise, enters the palace and is met by Clytemnestra. He says he brings the message of the death of Orestes to his family. Clytemnestra appears distraught, and goes to tell the household while the stranger is accommodated. But the Chorus of women speaks to Orestes' old nurse Cilissa, who says Clytemnestra is secretly pleased, for the one threat against her power is no more. The Chorus, barely able to contain their excitement, tell her to make sure Aegisthus comes to meet the stranger unarmed, but won't tell what's about to happen next. Chorus, to themselves: "It's finally happening! We're about to see the murder we've been waiting for. Everything is gonna be awesome now!"
The Chorus contemplates the pattern of history, of women killing the men they're closest to and being killed in return. Althea, who killed her son; Scylla, who killed her father; the women of Lemnos, who all killed their husbands. And now the pattern looks to be repeated again.
Orestes, in disguise, enters the palace and is met by Clytemnestra. He says he brings the message of the death of Orestes to his family. Clytemnestra appears distraught, and goes to tell the household while the stranger is accommodated. But the Chorus of women speaks to Orestes' old nurse Cilissa, who says Clytemnestra is secretly pleased, for the one threat against her power is no more. The Chorus, barely able to contain their excitement, tell her to make sure Aegisthus comes to meet the stranger unarmed, but won't tell what's about to happen next. Chorus, to themselves: "It's finally happening! We're about to see the murder we've been waiting for. Everything is gonna be awesome now!"
Wednesday, March 16, 2011
The Libation Bearers, 2
Orestes comes out of hiding and greets his sister, who disbelieves it his him at first. But they embrace joyfully, Electra now glad she has someone with whom she can share her sorrows. Their talk moves immediately to avenging their father's death. On Orestes' part, it is for many reasons: divine justice, the duty of a son, to recapture the royal estate, that the fighters at Ilion might witness the glory they fought for, to cut down the coward Aegisthus. But most prominently in his mind, it is to avoid the terrible underworld fate that awaits him if he doesn't avenge his father, if he avoids this task.
Orestes and Electra lament together, in alternating stanzas, while the Chorus speaks for Agamemnon from his place in the underworld. They offer that it would be better if he'd died during the war-- at least his authority would pass to his children lawfully. They look for divine guidance and aid in their response. Agamemnon (or the Chorus) fill in information they do not know-- that his body was mutilated further by Clytemnestra before burial. Orestes and Electra ask for a final blessing.
Suitably riled up, and confident in the righteousness of their course, they are avowed to act. But suddenly confused, Orestes asks how it is the women have been sent by Clytemnestra to annoint the grave. It seems she has been having nightmares...
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A really effective structure here, with Orestes and Electra reinforcing each other, their stanzas bouncing back and forth until they both think they've been convinced by the other. I think the role of the Chorus is very ambiguous here. It's entirely possible that they were actually speaking for themselves, and getting the children to do the evil deed they have no power to perform themselves (or are more than happy to shift the responsibility for onto others).
In the end, in some ways it is necessary that Orestes and Electra are deluding themselves. Electra especially, not clearly seeing the evil deeds of her own father and how he may have deserved his fate. And Orestes, searching widely for a pure justification for what he intends to do, but ultimately only getting part-way there.
The conversation also reflects what must have been the discussion between Clytemnestra and Aegisthus before the action of the previous play. There, too, each had their own reasons for plotting the murder, and together they convinced each other of their righteousness-- only to perform a shocking act of evil that led to terrible consequences for themselves. Bad move, kids.
Orestes and Electra lament together, in alternating stanzas, while the Chorus speaks for Agamemnon from his place in the underworld. They offer that it would be better if he'd died during the war-- at least his authority would pass to his children lawfully. They look for divine guidance and aid in their response. Agamemnon (or the Chorus) fill in information they do not know-- that his body was mutilated further by Clytemnestra before burial. Orestes and Electra ask for a final blessing.
Suitably riled up, and confident in the righteousness of their course, they are avowed to act. But suddenly confused, Orestes asks how it is the women have been sent by Clytemnestra to annoint the grave. It seems she has been having nightmares...
-------------------------
A really effective structure here, with Orestes and Electra reinforcing each other, their stanzas bouncing back and forth until they both think they've been convinced by the other. I think the role of the Chorus is very ambiguous here. It's entirely possible that they were actually speaking for themselves, and getting the children to do the evil deed they have no power to perform themselves (or are more than happy to shift the responsibility for onto others).
In the end, in some ways it is necessary that Orestes and Electra are deluding themselves. Electra especially, not clearly seeing the evil deeds of her own father and how he may have deserved his fate. And Orestes, searching widely for a pure justification for what he intends to do, but ultimately only getting part-way there.
The conversation also reflects what must have been the discussion between Clytemnestra and Aegisthus before the action of the previous play. There, too, each had their own reasons for plotting the murder, and together they convinced each other of their righteousness-- only to perform a shocking act of evil that led to terrible consequences for themselves. Bad move, kids.
Monday, March 14, 2011
The Libation Bearers, 1
Orestes, home again, attends his father's grave. Leaves a lock of his own hair as a tribute. Hears the women (taken from Troy) arriving with their own tribute, and hides to observe their ceremony.
Electra, Orestes' sister, leads them. The Chorus speaks of the troubles in the palace since the murders-- and especially of a new prophecy, that the underworld is angered and awaiting Aegisthus' and Clytemnestra's demise.
Electra struggles for words to speak at the grave. Bring tidings from her mother? Or bring promises of revenge against her mother? The Chorus suggests she bring prayers for swift (and fair) revenge, but won't commit to joining her in such prayers.
Finally, Electra comes out with it: she does seek payback against Aegisthus especially, and hopes for Orestes' swift return. Leaving, she sees the hair and recognizes it as possibly Orestes'. Footprints that match his as well. Could it be?
Electra, Orestes' sister, leads them. The Chorus speaks of the troubles in the palace since the murders-- and especially of a new prophecy, that the underworld is angered and awaiting Aegisthus' and Clytemnestra's demise.
Electra struggles for words to speak at the grave. Bring tidings from her mother? Or bring promises of revenge against her mother? The Chorus suggests she bring prayers for swift (and fair) revenge, but won't commit to joining her in such prayers.
Finally, Electra comes out with it: she does seek payback against Aegisthus especially, and hopes for Orestes' swift return. Leaving, she sees the hair and recognizes it as possibly Orestes'. Footprints that match his as well. Could it be?
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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