In most Greek tragedies, the writer uses the chorus as a tool to comment on action in the play. The chorus does not play an active role in the story, such that if they were removed from the work, the plot would not be affected. However, in...

In numerous instances of mythology, an initial, primordial female power is supplanted or in some way altered by a male figure. In Hesiod's Theogony, Gaea's original supremacy is eventually usurped by Zeus, while in Aeschylus' Eumenides, the primal...

When two men confront similar situations and meet distinct fates, the perennial question emerges. Why does Orestes in Aeschylus' The Eumenides win redemption, and Pentheus in Euripides' The Bacchae die ignobly? Both address the same moral dilemma...

The Greek chorus is a group of individuals who form a single entity that expresses the ideas, thoughts, and histories of a larger group. Often, it represents the consensus of the audience or of society as a whole, for example the chorus of...

As A.E. Haigh notes, Aristotle treats Aeschylus with complete indifference in the Poetics. Throughout his writings, the standards of dramatic writing are supplied by Sophocles and Euripides. He fully recognizes Aeschylus’ role in the introduction...

In the Oresteia, Aeschylus presents his three books (“Agamemnon”, “The Libation Bearers”, and “The Furies”) so that the narrative progresses from madness and lack of justice in “Agamemnon”, where Clytemnestra receives no penalty for her homicide,...

The Oresteia opens with a plea from a watchman: “I ask the gods for release from this misery” (3). This petition reveals the plight of many Aeschylus’ characters. The curse on the house of Atreus is one of corruption, and it is a curse that cannot...

Spanning an elemental and violent family conflict, The Oresteia by Aeschylus is a trilogy containing the plays Agamemnon, The Libation Bearers, and The Eumenides. As a whole, the trilogy deals with Agamemnon’s murder at the hands of his wife...

In the third and final play of The Oresteia trilogy, The Eumenides, Apollo testifies for Orestes and the Furies testify for the late Clytemnestra in a trial that will decide whether or not Orestes is guilty. In this play, a new system of justice...

In most Greek tragedies, the writer uses the chorus as a tool to comment on action in the play. The chorus does not play an active role in the story, such that if they were removed from the work, the plot would not be affected. However, in...

A tool consistently employed by the Greeks was that of imagery, and within the genre of tragedy and the epic they have demonstrated their mastery of the device. Imagery within tragedy adds a necessary and otherwise unattainable sub-story to the...

The Greek chorus is a group of individuals who form a single entity that expresses the ideas, thoughts, and histories of a larger group. Often, it represents the consensus of the audience or of society as a whole, for example the chorus of...

As A.E. Haigh notes, Aristotle treats Aeschylus with complete indifference in the Poetics. Throughout his writings, the standards of dramatic writing are supplied by Sophocles and Euripides. He fully recognizes Aeschylus’ role in the introduction...

The Iliad and The Odyssey portray a hierarchical, stringently ordered society, ruled by powerful kings, followed by the masses and sanctioned by the gods. At the murder of Agamemnon, a complete breakdown of the Greek social, governmental, and...

In the Oresteia, Aeschylus presents his three books (“Agamemnon”, “The Libation Bearers”, and “The Furies”) so that the narrative progresses from madness and lack of justice in “Agamemnon”, where Clytemnestra receives no penalty for her homicide,...

The Oresteia opens with a plea from a watchman: “I ask the gods for release from this misery” (3). This petition reveals the plight of many Aeschylus’ characters. The curse on the house of Atreus is one of corruption, and it is a curse that cannot...

Spanning an elemental and violent family conflict, The Oresteia by Aeschylus is a trilogy containing the plays Agamemnon, The Libation Bearers, and The Eumenides. As a whole, the trilogy deals with Agamemnon’s murder at the hands of his wife...

The Oresteia by Aeschylus is a trilogy of tragedies expressing the strength women possess, but, on the flip side, it also expresses the cowardice of some men—one man in particular. This man’s name was Aigisthos. Aigisthos is only present in the...

Both Mary Shelley’s Frankenstein and Aeschylus’s ‘Prometheus Bound’ carry heavy themes of bondage, both physically and metaphorically. Indeed, the fact that Frankenstein is often titled Frankenstein: The Modern Prometheus demonstrates that the two...

Prometheus Bound serves as an allegory radiant in theme. Yet, while the symbolism employed by Aeschylus is fairly ubiquitous, and while some scholars argue that the paramount issues of Aeschylus's play lie in both Prometheus's services to mankind...

Aeschylus' play Prometheus Bound centers on the struggle between Prometheus and Zeus. Prometheus is an intelligent god who is concerned with the welfare of others. Zeus is a tyrant who acts rashly according to his emotion. The two figures clash...

“Let him hurl his twin-forked lightning bolts down on my head.. let him make the wildly surging sea waves mingle with the pathways of the heavenly stars... he cannot make me die,” says Prometheus after his suffering gives him the hope to withstand...

Aeschylus poses two impossible tasks for his heroes Eteocles in Seven Against Thebes and Agamemnon in Agamemnon. Their decisions in these moral dilemmas rest on the split between family and politics. Aeschylus presents a vision in which politics...

Brimming with death, destruction, and despair, the plots of Greek tragedies are often considered the darkest of theatrical genres. However, it is this same dismal theme that occurs in one of the most well-known works of ancient Greece, Aeschylus’...