Clytemnestra’s Deception as Depicted in the Oresteia Trilogy

Clytemnestra Deception In The Agamemnon book of the Oresteia trilogy, the Chorus in each spell represents the people who feel under represented and disrespected by the societys changing values. They in like manner fear the nurse of an effective woman in Clytemnestra rather than the leadership of Agamemnon. The Chorus takes direct actions, thought to ensure their prominence. Agamemnon, the king of Argos, returns home from the struggle at Troy. As his war prize he brings with him the prophetess-maiden Cassandra, daughter of fag mole rat Priam of Troy.She was chosen by Apollo and granted the gift of prophecy, alone as a result of Apollos anger towards Cassandra, no one believes her predictions. Cassandra knows she and Agamemnon are going to die, still is powerless to prevent it. This is the main plot that unfolds in The Agamemnon. Clytemnestra kills Agamemnon and Cassandra, but her motor for these murders is much more serious than Just marital infidelity He sacrificed his own daughter, my beloved child to whom I gave birth suffering not bad(p) pains, Just to control the Thracian winds with pells (1417-18).Clytemnestra hates Agamemnon, who was ordered by the goddess Artemis to sacrifice their first-born, Iphigenia. However, Clytemnestra is in like manner angry with her husband because of Cassandra, and she express that both adulterers deserved punishment (1431-47). The placement is somewhat dubious. Clytemnestra herself is having an adulterous affair with Agamemnons worst enemy, Aegisthus, with whom she has also been plotting the murder of Agamemnon. In terms of marital infidelity, Clytemnestra cannot claim moral superiority over Agamemnon.So the parole of Agamemnon, Orestes, murders his mother to avenge the murder of his father. Clytemnestra dies not Just because of her adultery but for her treachery. The crucial issue is the regicide, and the question of whether Clytemnestras horrendous deeds can be Justified as a response to Iphigenias sacrifice. T he Homecoming-rituals shape the dramatic grammatical construction of the play. In the first half of the play Clytemnestra deliberately perverts all the rituals mixed in the homecoming of the king.This is an ntentional and important aspect of her character and a focusing for the queen to assert her power. She makes the elders of Argos wait for her answer at the palace, when they came to ask her just about the sacrificial fires burning in every major and minor shrine in the town. The elders are skeptical of Clytemnestras reasons for believing that the expedition to Troy has been successful, and the converse between the queen and the elders is reminiscent of a duel (258-60).However, Clytemnestra masterfully uses cajolery worthy of a man, and in the end the elders admit defeat 351-54). The queen disparages the herald who arrives to inform her of the safe return of Agamemnon. Clytemnestra cuts off his announcement by telling him that she already knows of the victory and claims tha t her husband will tell her everything she ineluctably to know (587-614). Once again, she has successfully been undermined by her unfeminine strength of mind and speech.When Agamemnon arrives, Clytemnestra assumes control of the situation by arriving late and giving a lengthy and gossipy welcoming speech to ner husband 8 Finally, in the tamous arpet-scene (914-74), the queen persuades Agamemnon to unwrap the gods by walking on the luxurious purple clothes and heterosexual person to his death by her actions, Clytemnestra has managed to break with all the traditional Greek springer and rituals related to the homecoming of a king.That is the theme that dominates the first half of the play. Clytemnestras actions display to the audience her intentions. They also expose her growing power and the political and psychological battle between the elderswho represent the people of Argosand the herald.