Clytemnestra’s Deception as Depicted in the Oresteia Trilogy

Clytemnestra Deception In The Agamemnon book of the Oresteia trilogy, the Chorus in each play represents the people who smack under represented and disrespected by the societys changing values. They similarly fear the encounter 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 war at Troy. As his war prize he brings with him the prophetess-maiden Cassandra, daughter of King Priam of Troy.She was chosen by Apollo and granted the present of prophecy, bargonly as a result of Apollos anger towards Cassandra, no one believes her predictions. Cassandra knows she and Agamemnon are going to die, but is personnelless to prevent it. This is the main plot that unfolds in The Agamemnon. Clytemnestra kills Agamemnon and Cassandra, but her motive for these murders is much more grave than Just marital infidelity He sacrificed his own daughter, my beloved child to whom I gave birth suffering great 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 also angry with her married man because of Cassandra, and she express that both adulterers deserved punishment (1431-47). The situation 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 son of Agamemnon, Orestes, murders his develop 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 horrific deeds can be Justified as a response to Iphigenias sacrifice. The Homecoming-rituals shap e the dramatic anatomical structure of the play. In the first half of the play Clytemnestra deliberately perverts all the rituals involved in the replication of the king.This is an ntentional and consequential aspect of her character and a way for the queen to assert her power. She makes the elders of Argos wait for her answer at the palace, when they came to imply her 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 conversation between the queen and the elders is reminiscent of a affaire dhonneur (258-60).However, Clytemnestra masterfully uses rhetoric worthy of a man, and in the end the elders admit defeat 351-54). The queen disparages the communicate 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 that her marri ed man will tell her everything she needs 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 garrulous welcoming speech to ner hubby 8 Finally, in the tamous arpet-scene (914-74), the queen persuades Agamemnon to offend the gods by walking on the luxurious purple attire and straight to his death by her actions, Clytemnestra has managed to break with all the traditional Greek customs and rituals related to the homecoming of a king.That is the theme that dominates the first half of the play. Clytemnestras actions reveal 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.