The Significance Of The Paradox Of The Oresteia
Aeschylus’ Oresteia, without a doubt, is one of the greatest surviving tragedies in antiquity. The universal struggle for justice versus injustice, fear against obligation, parent versus son, and parent and child against each other drives the play. Through passion, hatred, destruction and ultimate pain, one family is eventually purified and restored honor. The Oresteia depicts the purification, redemption, and reconciliation of the house Arteus. The Trojan war is directly followed by the play. Helen is kidnapped by Menelaus, Ifigenia has been killed, Troy was slain, and Ifigenia was exiled. Agamemnon begins with a single sentry staring out at the Greek countryside, yearning for the death his king and to see the rise of Clytemnestra as absolute power. She had taken Argos, her power-starved husband, into her power-strapped hands and made her citizens fear her future. The sentry looks out for a beacon and sees that it is his sign that the Greeks are victorious. He rejoices at the prospect of his master returning home.
This prologue, which is brief and emotional, immediately sets the stage for the tragedy’s setting and time. The sentry conveys in a few lines the fears and anxieties of the entire city. He instantly conveys the love people feel for Agamemnon. The grand parados and choral entrance is quickly followed by the prologue. The Chorus dances and whirls, infusing the audience with more than 200 lines of poetic verse. The Chorus’ stunning display draws the audience into its action with an entrancing, dancing performance that includes over 200 lines of lyrical verse. He says that “it forsakes all the incidents in the contract” (474) and that “to dilate itself across the past and the present, over distant times, nations and general humankind, to deduce great life’s lessons, and pronounces the wisdom lessons.” (474). The Chorus’s lyricism enhances the play’s poetry and makes it more credible. Schiller says, “With a boldly lyrical liberty which ascends like a godlike foot, to the topmost worldly objects; and it effects this in conjunction with melody and rhythm, with tones or movements” (474). The Chorus transcends plot and takes the audience out of their emotions. The Chorus transports them into the poetic and precise language and makes them more aware of the theatricalities and opens them up to social reflection. “The Chorus restores freedom by holding onto the parts, and moving between the passions. It does this with its composing viewpoints” (474).
Fredrich Nietzsche describes Chorus differently. He examines the Chorus’ history more closely and determines its importance. He sees Greek tragedies as a marriage between Dionysos the god and Apollo the goddess. He also views the Chorus as the remains of Dionysiac hedonism. The episodes, language, themes, and episodes are all manifestations Apollonian sensibilities. The rigid structure of tragedy is a manifestation of Dionysiac insight and powers. But it allows for artistic expression and beauty. This is especially true for Agamemnon, as the Dionysiac chorus symbolizes the Argos or old men who were left behind after the war. The Oresteia’s first play is the perfect example of Apollonian logic and linear reasoning. They perform the same songs as the Epicurean Choruses’ past epicuresan Choruses’, but they show extreme mournfulness and sociopolitical sensibilities.
Nietzsche views the Chorus, like Schiller, as a means to lift the whole drama. The Chorus gives weight to the drama through their performance and language. It also exalts the characters and actors. Nietzsche says that it was the Chorus’ task to excite the audience so that they saw the tragedy hero not as an awkwardly masked man but rather a figure created from their own rapt vision (824). Nietzsche believes that the Chorus is bringing the play alive by immersing the audience in their world through language and spectacle, which Schiller considers means to an end.
The Choral introduction to Agamemnon’s play is a highlight because it goes deeper than any expositional section. A commentary on the play’s characters and the wider society is found within the poetic language and poetry. The Chorus’ speech contains a lot of historical exposition that explains the events leading to Agamemnon’s victory and Clytemnestra becoming the power of the play. But their opinions are embedded within the narrative. Their description of Clytemnestra’s past and present tangles gives the Chorus an objective view and provides a romanticized perspective of the monarchs.
Clytemnestra and her kingdom power are criticized by the Chorus. But, Agamemnon is equally vilified by them and their escapades to Troy. They are clearly against the war and refer to it as “quarrel for a woman among many men” (36). They see Helen a common whore.
This is evident in the repeated use of animal imagery throughout speech. The passage begins with Menelaus calling the brothers “eagles” and describing them as screaming “in lonely pain of their nestlings, along with all the watchful care that they had given to them” (36). Menelaus’ wife died, and the phrase is ironic if Agamemnon views it. His “nestling” daughter was sacrificed to him to rescue Helen. This is what the Chorus acknowledges, stating that Ifigenia was sacrificed by Agamemnon to help the war for women-first rites for deliverance for the ship’s ships.
The Chorus’ empathy and the metaphor of the eagle carry over into their description about the omen orchestrated by the army’s prophet. They describe the killing of a pregnant Rabbit to two raptors: “One black eagle… near the palace were all could see as they ate the womb’d gravid load leverets, mom and all, pulled up to the last course of the Hare’s hare” (38). The Trojan people, who were slaughtered by the vicious eagles Menelaus (Agamemnon) are metaphorized in the unborn rabbits. This conflict then turns into a war between Zeus (Artemis) and the Romans (Greeks). Artemis is upset because Zeus was the one who inspired the brothers to fight against the Trojans. Zeus being the “god-of-guest-friends”, Artemis is a goddess of rabbits and virgins for Ifigenia. Artemis seeks revenge for her misbehaving houseguest. Aeschylus uses a variety of metaphors to critique the Hellenistic principles that consider Zeus the God of gods.
Despite the interruptions of Zeus praying, the speech summation is actually a criticism of Zeus. Zeus may be supporting Agamemnon’s brother and their misguided exploits, as well as the destruction of all the people they had to sacrifice, but the Chorus considers the expedition imprudent. This would indicate that they are passing judgment on Zeus. They criticize the superstition that encourages men follow the advices of prophets. The last line of this passage is about the pain caused in the prophecy and Ifigenia’s sacrifice. The future is coming. It will be as it is. To do otherwise would be to suffer more than you need. It will all be clear when the dawn’s lights come on” (42). They thus present a view that religion is founded on deceiving fate and worshipping an unworthy god supreme.
The chorus provides commentary and support throughout the Oresteia’s first play Agamemnon. The passage is more than a description. It focuses on leadership and religion as it follows Agamemnon through his story. Aeschylus clearly demonstrates this to the Chorus in their opening speech. Aeschylus uses metaphors, poetry and imagery to convey their true feelings. This speech sets the tone of the play. The cycle of violence, revenge, and trust is almost uncontrollable.
Works citées
Aeschylus. The Oresteia is a trilogy of ancient Greek tragedies written by Aeschylus which follows the events of the House of Atreus. Trans. David Greene, Wendy Doniger O’Flaherty. The University of Chicago Press, located in Chicago, published the work. 1989
Nietzsche, Friedrich. “The Birth of Tragedy.” Dramatic Theory and Criticism2Ed, Bernard F. Dukore. US: Heinle-Heinle, 1974. 351-358
Schiller, Friedrich. “On the use of chorus in tragedy.” Dramatic Theory, Criticism. Ed was written by Bernard F. Dukore. US: Heinle-Heinle, 1974. 359-363
