Plot : Following on from the events of Agamemnon, Orestes returns from exile to reunite with his sister Electra, and together they swear retribution on Aegithius and Clytemnestra. Orestes disguises himself as a stranger and once gaining entry to the palace, makes good his promise.
I should have mentioned in my last blog that my text for these plays is the Penguin collection, translated by Philip Vellacott (ISBN 0140449674)
My thoughts : The first two thirds of this play consists of the chance meeting of Orestes and Electra at Agamemnon’s gravesite, and a rather longwinded and repetitive string of wails and threats by them singly, together and in tandem with the Chorus. The play lifts in interest once Orestes reaches the palace and kills the pair, only to be driven away by avenging Furies that only he can see.
Much is made of Orestes’ acting in the name of Justice, particularly by the Chorus urging him to act as Apollo has foretold. Yet Orestes also knows that Apollo has given him two paths, and should he fail to kill the usurpers, he will face endless torment.

I am a little disappointed with The Oresteia so far compared with the preceding single plays, particularly considering the universal praise which it seems to attract. I’d be interested to hear other lay opinions on this.

Favourite lines/passages:
No favourite lines leapt out at me, although the final scene with Orestes fleeing from the Furies makes me interested in reading the final instalment.
“Like Gorgons with grey cloaks, and snakes coiled swarming around their bodies! Let me go! “

Personal rating : 4 /10
Next: The final play of the trilogy, The Eumenides (The Furies)

Plot : This trilogy of plays tell the story of the curse upon the House of Atreus, from the time of the return of King Agamemnon from the Trojan War as told in Homer’s Iliad. But the curse stretches back before current events to the earlier generation, where brothers Atreus and Thyestes quarrel over the throne of Argos. Thyestes seduces Atreus’ wife and in retribution and to secure the throne, Atreus kills two of Thyestes’ sons and feeds their flesh to Thyestes at a banquet. Thyestes dies in exile and his remaining son Aegithus awaits his chance for revenge.
Atreus’ sons Agamemnon, King of Argos, and Menelaus, King of Sparta marry sisters Clytemnestra and Helen. Prince Paris of Troy abducts Helen while a guest of Menelaus, and the kingly brothers gather a huge army and head off to retake Helen from the Trojans. But before they can set sail, their combined navies are becalmed and according to prophecy will not be able to leave harbour unless Agamemnon sacrifices his own daughter Iphigenia.
After ten years of siege Troy is captured and Agamemnon returns to Argos with the prophetess Cassandra as his prisoner. But Queen Clytemnestra has taken Aegithus as her lover and together they plot Agamemnon’s death.
My thoughts : This first play is quite long (1,673 lines, compared to the 1,040 and 1,070 of the others on the trilogy), and I found many of the early speeches, particularly those of the Chorus and Clytemnestra overladen and slow. But as Agamemnon steps into his house to unknowingly meet his doom, the drama and tension build up to the double tragedy.
It is difficult to sympathise with either side as they both have blood on their hands. There is no doubt Clytemnestra is a “vile plotting she-hound …. a raging shark of hell”, spouting hypocrisy and lies without the smallest ounce of regret, and taking great delight in her murderous act. But then, her daughter was betrayed and killed by Agamemnon, so are her actions justifiable? Are her actions Justice or Revenge?

The most tragic figure is Cassandra, ‘gifted’ by Apollo with the power of prophecy yet cursed to be disbelieved or misunderstood by all, paraded captive through the streets of Argos, her home and her family destroyed, and her life as a slave only a prelude to her own death. Her powers warn her of Agamemnon’s fate and the history of bloodshed hanging over the family, and her speech as she beholds the bloody fate of the Thyestes’ children are the most effective and horror-laden of the play.
Again, the deaths of Agamemnon and Cassandra happens off stage, and the doors open to a blood-spattered Clytemnestra standing jubilant over their bodies, bloodied dagger still in hand. Now her speeches are more powerful and resounding, as she boasts and celebrates her revenge for the murder of Iphigenia. Considering the play is named Agamemnon, he is the least powerful character, and brings more to the story as a corpse than a king. Aegithius hides and plots, leaving Clytemnestra to do the actual murder yet appearing from the shadows to claim his share of the Argive throne.
But the story is not yet told, for Agamemnon’s son Orestes is still travelling overseas and on his return, more blood is likely to be shed.
Favourite lines/passages:
Avoiding all the blood and horror of the second half, I’ ll settle for Aeschylus’ description of Helen

“And so to Troy there came
One in whose presence shone
Beauty no thought can name.
A still enchantment of sweet summer calm,
A rarity for wealth to dote upon,
Glances whose gentle fire,
Bestowed both wound and balm,
A flower to melt man’s heart with wonder and desire.”

Well, even Aphrodite claimed Helen was the most beautiful mortal woman alive!

Personal rating : 6 /10
Kimmy the Lit-Terrier’s rating : She sat with her head down throughout so I guess that’s only a 1/5
Next: The second play of the trilogy, The Choephori (or , The Libation Bearers)

Plot : Two brothers, Aegyptus and Danaus, descendants of Io and Zeus, have fifty children each. Aegyptus’ fifty sons determine to carry off Danaus’ fifty daughters, who escape with their father to Argos, their ancestral home. The Egyptians follow, and Danaus and the maidens beg King Pelasgus of Argos to protect them.
My thoughts : Again, with only one third of the story available, reading this play is unsatisfying. The drama of the arrival of the Egyptians and their promise of war is left hanging by the unfortunate loss of the other parts. A shame as the remainder of the story would have been interesting : the second play would have Danaus relenting and giving up his daughters, yet make the girls vow to kill their husbands on the wedding night. (Danaus has been prophesised to die at the hands of his son-in-law, a likely bet for someone with fifty daughters!). However, one daughter Hypermestra, has fallen in love with her husband and refuses to kill him. The third play would have to resolve the guilt of all concerned.
Like Seven against Thebes, the Gods are called on for help, but never appear on stage. I wonder if it was sacrilegious to portray a God on stage?
Favourite lines/passages
The Egyptians approach, and the maidens have been left alone by Danaus who has returned to Pelasgus to seek aid. The Maidens cry out

Could I but find a seat in the blue air
Where drifting rain-clouds turn to snow,
Some smooth summit where even goats cannot climb,
A place beyond sight, aloof,
A dizzy crag, vulture haunted,
To witness my plunge into the abyss,
To escape a forced marriage my heart refuses!
The my dead flesh might feed wild dogs,
Fatten the vultures of the valley, I’d be content!
For death is freed from suffering and tears.
Let death aim well,
And claim me before the bed and the embrace,
Where can I fly to be free,
To escape the bond of the flesh?

Diversions/digressions : Potentially confusing, there is another play by Euripides called The Suppliants, or The Suppliant Maidens, which is not related to the events of Aeschylus’ play, but is related to the events in Seven against Thebes. A trap for beginners like me!
Personal rating : 4/10
Next :  Aeschylus’ (and Ancient Greece’s) only surviving trilogy of plays, The Oresteia (458 BC), consisting of Agamemmnon , The Choephori (or, The Libation Bearers), and The Eumenides (or, The Furies)