The trilogy is easily Aeschylus' crowning achievement, and is often ranked as the finest of all the ancient Greek tragedies ever composed. This opposition of gender then engenders all the other oppositions of the trilogy; conflicts of oikos and polis, chthonic and Olympian, old and young can be assigned to female and male spheres respectively.
The Furies' pursuit of Orestes in Athens is equally haunting: Orestes has clasped Athena 's small statue in supplication, and the Furies close in on him by smelling the blood of his slain mother in the air.
This gripping series of three plays tells of the endless cycles of violence unleashed in the House of Atreus, which stretch across several generations. Orestes and Pylades pretend to be ordinary travelers from Phocis, requesting hospitality at the palace. In a futher plot wrinkle, she is aided by Aegisthus, son of Atreus' brother Thyestes, who has the double motive of avenging Atreus' murder of his two brothers, whom he subsequently fed to Thyestes and seizing the kingdom of Argos for himself.
History of the Literature of Ancient Greece. Apollo acts as attorney for Orestes, while the Furies act as spokespersons for the dead Clytemnestra. Muller, Karl O.
The Greek tragedy, Oresteia, exemplifies the evolution of justice through the story of one young man. Storyline Orestes is tormented by the Furies, underworld demigods that avenge patricide and matricide.
In this trilogy, Greek society is characterized as a patriarch, where the oldest male assumes the highest role of the oikos household. In "Agamemnon" the king returns from the Trojan War with his new consort, the clairvoyant prophetess Cassandra, only to be murdered in his bath by his wife Clytemnestra, who hates him for sacrificing their daughter Iphigenia to appease the goddess Artemis.