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799:. This trial is made up of a group of twelve Athenian citizens and is supervised by Athena. Here Orestes is used as a trial dummy by Athena to set-up the first courtroom trial. He is also the object of the Furies, Apollo, and Athena. After the trial comes to an end, the votes are tied. Athena casts the deciding vote and determines that Orestes will not be killed. This does not sit well with the Furies but Athena eventually persuades them to accept the decision; instead of violently retaliating against wrongdoers, become a constructive force of vigilance in Athens. She then changes their names from the Furies to "the Eumenides" which means "the Gracious Ones". Athena then ultimately rules that all trials must henceforth be settled in court rather than being carried out personally.
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to mourn the maleness that she does not possess, or engage in a choice which frees them from their gendered bind. Athene, Antigone, and
Electra all have a desire for "female castration" that dictates their choices in their patriarchal societies. Amber Jacobs also claims that the matricide in the Oresteia ultimately embodies a societal repulsion towards the female gender, as Athena's motherless status allows Zeus to argue that the father is more important than the mother and absolve Orestes of his crimes. Tor ultimately claims that the convergence of both Orestes' and Electra's motivations for revenge are two-fold: both a repayment for the debt of desire and a symbol of feminine
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and
Cassandra. Clytemnestra describes the murder in detail to the chorus, showing no sign of remorse or regret. Suddenly, the exiled lover of Clytemnestra, Aegisthus, bursts into the palace to take his place next to her. Aegisthus proudly states that he devised the plan to murder Agamemnon and claim revenge for his father (the father of Aegisthus, Thyestes, was tricked into eating two of his sons by his brother Atreus, the father of Agamemnon). Clytemnestra claims that she and Aegisthus now have all the power, and they re-enter the palace with the doors closing behind them.
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1391:, hitherto one of the most powerful vehicles of upper-class political power, of all of its functions except some minor religious duties and the authority to try homicide cases; By having his story being resolved by a judgement of the Areopagus, Aeschylus may be expressing his approval of this reform. It may also be significant that Aeschylus makes Agamemnon lord of Argos, where Homer puts his house, instead of his nearby capitol, Mycenae, since about this time Athens had entered into an alliance with Argos.
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364:. He laments the fortunes of the house, but promises to keep silent: "A huge ox has stepped onto my tongue." The watchman sees a light far off in the distance—a bonfire signaling Troy's fall—and is overjoyed at the victory and hopes for the hasty return of his king, as the house has "wallowed" in his absence. Clytemnestra is introduced to the audience, and she declares that there will be celebrations and sacrifices throughout the city as Agamemnon and his army return.
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complexes and histories that restrict her motivations, study of mother-daughter relations can evolve into an "outline of a future world." In another of her works, Jacobs, too, writes on the untheorized state of matricide in literature and asks for an expansion of symbolism beyond the classic
Oedipean model.
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to explain
Electra's hatred of her mother deriving from an intense idolization of her father and, thus, a compulsion to exonerate herself from the restraints of feminity and the female body. Once the girl recognizes her gendered difference in the world, she must undergo re-cognition, deciding whether
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set up how the verdict would be decided. By creating this blueprint, the future of revenge-killings and the merciless hunting of the Furies would be eliminated from Greece. The trial sets the foundation for future litigation. Aeschylus, through his jury trial, was able to create and maintain a social
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is a morally complex play. Agamemnon may be an admired veteran of the Trojan War but it is made clear that many do not approve of the way he sacrificed his daughter, Iphigenia. Many citizens resent
Agamemnon because they lost their sons and husbands in the war he initiated. Similarly, Clytemnestra is
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sees her as incidental—but refutes the tendency to shoehorn her motivations into Freud's model. She asks for scholars to reconsider
Electra as undergoing vagina-envy, resulting from the woman's powerful and sexually-active position in pre-Hellenic society. By liberating Electra from the male-centric
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Those who join the family seem to play a part in the curse as well, as seen in
Clytemnestra when she murders her husband Agamemnon, in revenge for sacrificing their daughter, Iphigenia. Orestes, goaded by his sister Electra, murders Clytemnestra in order to exact revenge for her killing his father.
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as sons. Many contemporary scholars have theorized what this matricide means in the context of womanhood: Dana Tor invokes Lacan to argue that
Electra's scheming represents a "ravage" between mother and daughter; Doris Bernstein sees the murder as a step on the path towards Electra's individuation;
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Orestes then goes to the palace door, where he is greeted by
Clytemnestra. He pretends he is a stranger and tells Clytemnestra that he (Orestes) is dead, causing her to send for Aegisthus. Unrecognized, Orestes is then able to enter the palace, where he then kills Aegisthus, who was without a guard
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for deliverance from the Furies, she granted him his request in the form of a trial. Rather than forgiving
Orestes directly, Athena put him to trial to find a just answer to the question of his innocence. This is the first example of proper litigation in the trilogy and illuminates the change from
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Inside the house, a cry is heard: Agamemnon has been stabbed in the bathtub. The chorus separates from one another and rambles to themselves, proving their cowardice, when another final cry is heard. When the doors are finally opened, Clytemnestra is seen standing over the dead bodies of Agamemnon
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due to the intervention of the chorus in relaying Clytemnestra's message. Clytemnestra then enters the room. Orestes hesitates to kill her, but Pylades reminds him of Apollo's orders, and he eventually follows through. Consequently, after committing the matricide, Orestes is now the target of the
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with Clytemnestra, who murders her husband, Agamemnon, in order to obtain vengeance for his sacrificing of their daughter, Iphigenia. The death of Cassandra, the princess of Troy, taken captive by Agamemnon in order to fill a place as a concubine, can also be seen as an act of revenge for taking
1363:. Leading up to here, we can see that the curse of the House of Atreus was one forged from murder, incest and deceit, and continued in this way for generations through the family line. To put it simply, the curse demands blood for blood, a never ending cycle of murder within the family.
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how horrible the wait for her husband and King has been. After her soliloquy, Clytemnestra pleads with and persuades Agamemnon to walk on the robes laid out for him. This is a very ominous moment in the play, as loyalties and motives are questioned. The King's new concubine,
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1348:, Atreus' wife, were found out to be having an affair, and in an act of vengeance, Atreus murdered his brother's sons, cooked them, and then fed them to Thyestes. Thyestes had a son with his daughter and named him Aegisthus, who went on to kill Atreus.
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praises Bachofen's "correct interpretation". Nonetheless, he sees it as "pure mysticism" by Bachofen to see the change in divine perspectives as the cause of the change in Greek society. Instead, Engels considers economic factors—the creation of
376:, is now introduced, and this immediately spawns hatred from the queen, Clytemnestra. Cassandra is ordered out of her chariot and to the altar, where, once she is alone, she begins predicting the death of Agamemnon and her own shared fate.
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present the patriarchal view. The Furies contrast what they call "gods of new descent" with the view that matricide is more serious than the killing of men. With Athena acquitting Orestes, and the Furies working for the new gods,
863:"The satyrs who may have found themselves on the island as a result of shipwreck . . . perhaps gave assistance to Menelaus and escaped with him, though he may have had difficulty in ensuring that they keep their hands off Helen."
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and is mentioned in it multiple times, showing that many of the characters are very aware of the curse's existence. Aeschylus was able to use the curse in his play as an ideal formulation of tragedy in his writing.
1301:. They must repay their Freudian or Jungian debts from the guilt of want. Their jouissance in her death arises from a pre-genital dichotomy of love and hatred from the son and the daughter towards the mother.
851:", the Old Man of the Sea, is described in Homer as having been visited by Menelaus, who sought to learn his future. Proteus tells Menelaus of the death of Agamemnon at the hands of Aegisthus and the fates of
1333:, and attempted to feed him to the gods. The gods, however, were not tricked and banished Tantalus to the Underworld and brought his son back to life. Later in life Pelops and his family line were cursed by
976:. Even after he escapes, Clytemnestra's spirit comes back to rally them again so that they can kill Orestes and obtain vengeance for her. However, this cycle of retaliation comes to a stop near the end of
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Electra's role in the murder of her mother has been hotly contested by scholars throughout time. Many view Electra's by-proxy killing of her mother as a representation of daughter-inflicted matricide.
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Daley L. Anti-Electra: The Radical Totem of the Girl. Elizabeth von Samsonow. Translated by Anita Fricek and Stephen Zepke, Minneapolis: University of Minnesota Press, 2019 (ISBN 978-15179-0713-6).
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possessed a fearful voice, characterized by their critical commentary on the events and characters of the play. Despite this, they play a passive role and do not influence the plot. In contrast,
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The play opens with a watchman looking down and over the sea, reporting that he has been lying restless "like a dog" for a year, waiting to see some sort of signal confirming a Greek victory in
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to Agamemnon in an attempt to stop Clytemnestra's bad dreams. Shortly after the reunion, both Orestes and Electra, influenced by the Chorus, come up with a plan to kill both Clytemnestra and
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For more on the complexity of Agamemnon and Clytemnestra, see Bednarowski, P. K. (2015). Surprise and Suspense in Aeschylus' Agamemnon. American Journal of Philology, 136(2), 179–205.
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and Melanie Klein views it as emblematic of the dual power of the psyche to split of the mother into a good object and a bad one. Serena Heller recalls Ronald Britton's idea of the
840:, where Menelaus, Agamemnon's brother, tries to return home from Troy and finds himself on an island off Egypt, "whither he seems to have been carried by the storm described in
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Some scholars believe that the trilogy is influenced by contemporary political developments in Athens. A few years previously, legislation sponsored by the democratic reformer
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Britton, R. (1989) The missing link: Parental sexuality in the Oedipus complex. In: Steiner, J. (ed.), The Oedipus Complex Today (Chapter 2, pp. 83–101). London: Karnac.
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760:), illustrates how the sequence of events in the trilogy ends up in the development of social order or a proper judicial system in Athenian society. In this play,
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both her husband's murderer and her daughter's avenger; Aeschylus continues to explore the fundamental moral quandary of vengeance and "justified" bloodshed in
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Professor of philosophical and historical anthropology Elizabeth von Samsonow notes the intense debate over Electra's relevance in the murder of Clymenestra—
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followed him at the same venue (though in the Cottesloe Theatre, where Hall had directed in the Olivier Theatre) with a production which used
345:. After ten years of warfare, Troy had fallen, and all of Greece could lay claim to victory. Waiting at home for Agamemnon is his wife, Queen
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interacted with the characters and influenced their decisions pertaining to events and disputes. The only extant example of an
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Jacobs, A. (2010) On Matricide: Myth, Psychoanalysis, and the Law of the Mother, 2007. New York: Columbia University Press
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Kilmartin, C. T., & Dervin, D. (1997). Inaccurate representation of the electra complex in psychology textbooks.
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Smyth, H.W. (1930). Aeschylus: Agamemnon, Libation-Bearers, Eumenides, Fragments. Harvard University Press. p. 455.
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emotional retaliation to civilized decisions regarding alleged crimes. Instead of allowing the Furies to torture
2271:(3). The Johns Hopkins University Press on behalf of the Classical Association of the Atlantic States: 145–157.
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768:, a trio of goddesses known to be the instruments of justice, who are also referred to as the "Gracious Ones" (
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Mace, Sarah (2004). "Why the Oresteia's Sleeping Dead Won't Lie, Part II: "Choephoroi" and "Eumenides"".
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John Dunning Cooper, ca.1890 - verse: The Agamemnon, Choephori, and Eumenides Rendered into English verse
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879:"A wretched piteous dove, in quest of food, dashed amid the winnowing-fans, its breast broken in twain."
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Orestes is said to be the end of the curse of the House of Atreus. The curse holds a major part in the
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Henrichs, Albert (1994). "Anonymity and Polarity: Unknown Gods and Nameless Altars at the Areopagos".
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with the collective R.I.P.O.S.T.E. and the music and theatre artists Arnaud Churin and Emanuela Pace.
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After waking up, the Furies hunt Orestes again and when they find him, Orestes pleads to the goddess
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Zeitlin, Froma I. (1966-01-01). "Postscript to Sacrificial Imagery in the Oresteia (Ag. 1235–37)".
2005:
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lineage). According to Bachofen, religious laws changed in this period: the Apollo and Athena of
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772:). They relentlessly pursue Orestes for the killing of his mother. Through the intervention of
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3439:""Agamemnon" : Faire renaître la tragédie grecque par le chœur, un chœur de notre époque"
1237:(1949) that the tribunal saw Orestes as son of Agamemnon before being son of Clytemnestra. In
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the jealousy of the daughter towards the mother for her sexual engagement with the father.
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commentary about the limitations of revenge crimes and reiterate the importance of trials.
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at sea. Proteus is compelled to tell Menelaus how to reach home from the island of Pharos:
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2898:(4), 269–270. https://doi-org.turing.library.northwestern.edu/10.1207/s15328023top2404_11
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cannot be applied directly to the female sex, since daughters do not undergo the same
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festival in 458 BCE. The principal themes of the trilogy include the contrast between
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784:'s ghost comes to wake them up to obtain justice on her son Orestes for killing her.
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Trousdell, Richard (2008). "Tragedy and Transformation: The Oresteia of Aeschylus".
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Trousdell, Richard (2008). "Tragedy and Transformation: The Oresteia of Aeschylus".
1773:, Loeb Classical Library, 2 vols. Greek text with facing translations, 1922 – prose
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2546:(1). The Classical Association of the Middle West and South, Inc. (CAMWS): 39–60.
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work inspired by Aeschylus' trilogy, written and directed by Jonathan Vandenberg.
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Jacobs, A. (2004). Towards a structural theory of matricide: psychoanalysis, the
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Raaflaub, Kurt (1974). "Conceptualizing and Theorizing Peace in Ancient Greece".
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in New York City during the COVID-19 Pandemic and was directed by Andrew Watkins.
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960:; they plot matricide (the death of their mother Clytemnestra) in the next play,
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3117:"An inexhaustible masterpiece is transformed into a glib anti-war morality play"
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2344:(1). Cambridge University Press on behalf of The Classical Association: 51–54.
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830:. It is widely believed to have been based on the story told in Book IV of
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1959:, Loeb Classical Library, 3 vols. Greek text with facing translations, 2008
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1448:. Two other productions happened in the UK that year, in Manchester and at
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is important in documenting the state's arguments for repression of women.
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Porter, David (2005). "Aeschylus' "Eumenides": Some Contrapuntal Lines".
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and the Act of Revenge: of Desire and Jouissance," PsyArt 27, pp. 58-73.
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O'Neill, K. (1998). "Aeschylus, Homer, and the Serpent at the Breast".
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and loosely arranged according to the structure of extant satyr plays.
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3554:. Duckworth Companions to Greek and Roman Tragedy. London: Duckworth.
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Transactions and Proceedings of the American Philological Association
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Transactions and Proceedings of the American Philological Association
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3187:"Ancient Greek tragedy Oresteia receives surprise West End transfer"
3159:"Ancient Greek tragedy Oresteia receives surprise West End transfer"
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A history of Greece to the death of Alexander the Great, 3rd edition
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2931:, https://doi-org.turing.library.northwestern.edu/10.1111/bjp.12790.
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Jeffrey Scott Bernstein and Tom Phillips (illustrator), 2020 – verse
1126:. Statements consisting only of original research should be removed.
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Alan Sommerstein: Aeschylus Fragments, Loeb Classical Library, 2008
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The only extant fragment that has been definitively attributed to
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decides to introduce a new legal system for dealing out justice.
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577:' merciless wrath and has no choice but to flee from the palace.
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200:), following the tragic trilogy, but all except a single line of
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Three Greek Plays: Prometheus Bound, Agamemnon, The Trojan Women
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shows the newfound dominance of father-right over mother-right.
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Burke, Kenneth (1952). "Form and Persecution in the Oresteia".
2189:(July–September 1952). "Form and Persecution in the Oresteia".
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2014: French rapper D' de Kabal made his own adaptation of the
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Upon the return of Agamemnon, his wife laments in full view of
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another woman as well as the life of Iphigenia. Later on, in
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Aeschylus: Agamemnon, Libation-Bearers, Eumenides, Fragments
3414:"Theatre review: The Oresteia at York Theatre Royal Studio"
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H., R. (1928). "Orestes Sarcophagus and Greek Accessions".
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Euben, J. Peter (March 1982). "Justice and the Oresteia".
3032:. Oxford: Oxford University Press. pp. 347–348, 352.
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Kells, J. H. (1966). "More Notes on Euripides' Electra".
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The Origin of the Family, Private Property and the State
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The Origin of the Family, Private Property and the State
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Revenge is a principal motivator for most characters in
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for help. She responds by setting up a trial for him in
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Orestes, Electra and Hermes in front of Agamemnon's tomb
3339:"Interview With Yael Farber Creator/Director of MoLoRa"
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Scott, William (1966). "Wind Imagery in the Oresteia".
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1676:, a play of its own premiered in Scotland, followed by
1526:, is based on the myth and set in Mexico following the
2923:
Heller, Serena. “Matriarchy, Matricide and Mourning.”
928:
to shift the wind for his voyage to Troy. This caused
826:, is lost except for a two-line fragment preserved by
2677:
Transactions of the American Philological Association
1831:
Robert A. Johnston, 1955 – verse, an "acting version"
3211:"This Restless House five star review Zinnie Harris"
1191:
shows Ancient Greece's transition from "hetaerism" (
964:. Through much pressure from Electra and his cousin
121:, the trial of Orestes, the end of the curse on the
3464:"This Restless House, Part One: Agamemnon's Return"
561:at Agamemnon's grave, while she was there bringing
3620:on the Threshold: Time, Ritual, and Agency in the
3157:
2508:(3). The Johns Hopkins University Press: 265–274.
2219:
1579:2008: Theatre professor Ethan Sinnott directed an
1412:'s adaptation of the trilogy in masks in London's
2462:(3). C.G. Jung Institute of San Francisco: 5–38.
2309:(3/4). Classical Association of Canada: 216–229.
1501:adapted vocal work for chorus and 12 instruments.
1275:attributes her behavior to what he coined as the
109:in the 5th century BCE, concerning the murder of
4312:
1858:John Lewin, 1966 (University of Minnesota Press)
1219:Bachofen's interpretation was influential among
1174:
3336:
2629:. The Johns Hopkins University Press: 459–471.
2263:Vellacot, Philip (1984). "Aeschylus' Orestes".
972:is hunted down by the Furies in the third play
621:' actions, shepherding Orestes towards revenge.
44:SNG Drama Ljubljana performs an adaptation of
27:Trilogy of Greek tragedies written by Aeschylus
2226:. New York, New York: Penguin Group. pp.
1721:, 1832–1834 – verse (Pagan Press reprint 2011)
1494:of the same name, which was premiered in 1895.
907:
613:' Chorus desire vengeance, and influence both
549:with his cousin Pylades to exact vengeance on
3999:
3794:
847:The title character, "the deathless Egyptian
329:) is the first of the three plays within the
2157:
1479:adapted the trilogy into his own trilogy of
1469:
1317:Relation to the curse of the House of Atreus
3685:has original text related to this article:
3670:has original text related to this article:
3655:has original text related to this article:
3362:
3279:
3091:
2854:
2852:
2415:Women and Justice in Aeschylus' “Oresteia.”
2384:The Bulletin of the Cleveland Museum of Art
2300:
1672:, putting women in the center. Part one is
1283:disagreed with this claim, noting that the
1263:
1060:. Unsourced material may be challenged and
4006:
3992:
3801:
3787:
3721:. MacMillan Films staging 2014. 5 minutes.
3565:
3324:"The Forgotten Pistolero Review by Korano"
3027:
2500:Hester, D. A. (1981). "The Casting Vote".
2105:
2103:
2101:
1452:. The following year, in 2016, playwright
1440:and was transferred that same year to the
1399:
1378:
987:
647:
414:
228:
172:, as well as the transition from personal
38:
3584:MacLeod, C. W. (1982). "Politics and the
3260:ed. L. Macy (Accessed October 15, 2015),
2962:. 2023;38(2):e11. doi:10.1017/hyp.2022.20
2831:
2829:
2701:
2453:
2217:
2165:. Harvard University Press. p. 455.
1142:Learn how and when to remove this message
1080:Learn how and when to remove this message
2927:, vol. 39, no. 1, Feb. 2023, pp. 50–68.
2858:
2849:
2674:
2616:
2614:
2612:
2533:
2531:
2495:
2493:
2426:
2417:1987. ProQuest Dissertations Publishing.
2262:
2009:– a modernized version of the story by
623:
593:is distinctly different than the one in
3614:
3528:
3513:"THE ORESTEIA streaming free June 25–2"
3184:
3152:
2992:
2435:. University of Illinois Press: 27–58.
2098:
992:Justice through the law is achieved in
924:had to sacrifice his innocent daughter
537:trilogy—many years after the murder of
399:
14:
4366:Political philosophy in ancient Greece
4313:
3808:
3436:
2906:
2904:
2835:
2826:
2592:"Theatre Kingston Oresteia Production"
2499:
2061:
333:trilogy. It details the homecoming of
3987:
3782:
3246:
3028:Bury, J. B.; Meiggs, Russell (1956).
2655:
2620:
2609:
2528:
2490:
2409:
2407:
2405:
2390:(4). Cleveland Museum of Art: 90–87.
2335:
2252:https://doi.org/10.1353/ajp.2015.0030
2185:
2153:
2151:
2113:The American Political Science Review
2109:
1695:, premiered on April 30, 2019 at the
1572:hearings. The play was awarded three
1329:, son of Zeus, who murdered his son,
1256:, the latter factor is mistaken, and
891:and included a new reconstruction of
2537:
2057:
2055:
2053:
2051:
1091:
1058:adding citations to reliable sources
1025:
129:(also called Erinyes or Eumenides).
3531:Introduction to and translation of
3437:Chemam, Melissa (October 9, 2014).
3044:"Sir Peter Hall | National Theatre"
2901:
2884:
2036:Live by the sword, die by the sword
1664:by British playwright and director
1570:Truth and Reconciliation Commission
24:
4361:Plays based on classical mythology
2965:
2952:
2943:
2934:
2917:
2456:Jung Journal: Culture & Psyche
2402:
2381:
2148:
25:
4392:
4179:(1909, Strauss/von Hofmannsthal)
3753:which is a musical adaptation of
3640:
3337:Culture Project (June 15, 2011).
3326:. The Spaghetti Western Database.
3312:. The Spaghetti Western Database.
3185:Higgins, Charlotte (2015-07-30).
3069:"About 'The Oresteia' Production"
2502:The American Journal of Philology
2064:The American Journal of Philology
2048:
1490:adapted the trilogy into his own
510:2. Argos, before the royal palace
240:Stories from the Greek Tragedians
238:, from an 1879 illustration from
136:trilogy consists of three plays:
3968:
3967:
3699:
3676:
3661:
3646:
3310:"The Forgotten Pistolero Review"
2925:British Journal of Psychotherapy
2704:Jung Journal: Culture and Psyche
2032:, which focuses on human freedom
1096:
1030:
632:
533:)—the second play of Aeschylus'
117:, the murder of Clytemnestra by
3746:La Tragedie d'Oreste et Electre
3593:The Journal of Hellenic Studies
3570:. London: Bloomsbury Academic.
3522:
3505:
3481:
3456:
3430:
3406:
3382:
3356:
3330:
3316:
3302:
3296:"Fistful of Pasta: Texas Adios"
3288:
3273:
3221:
3203:
3178:
3146:
3109:
3085:
3061:
3036:
3021:
2986:
2802:
2778:
2754:
2730:
2695:
2668:
2649:
2584:
2575:
2558:
2447:
2420:
2013:, who shifts the action to the
2000:in the arts and popular culture
1758:Edmund Doidge Anderson Morshead
1707:
1466:to five-star critical acclaim.
764:is hunted and tormented by the
732:before the temple of Apollo at
2975:and the maternal prohibition.
2329:
2256:
2244:
2211:
2179:
1394:
1387:had stripped the court of the
310:Argos, before the royal palace
13:
1:
3716:See the triumphant ending of
3529:Collard, Christopher (2002).
2839:(1891). "Preface (4th ed.)".
2042:
1879:, 1978 – verse, for the stage
1175:Mother-right and father-right
655:Orestes Pursued by the Furies
3566:Himmelhoch, Leah R. (2023).
1691:and director Michael Khan's
1562:post-apartheid South African
1203:lineage) to "father-right" (
780:. Seeing the Furies asleep,
207:
190:
125:and the pacification of the
7:
4346:Plays set in ancient Greece
4013:
3954:Prometheus the Fire-Bringer
3709:public domain audiobook at
3536:. Oxford University Press.
3493:Shakespeare Theatre Company
1989:
1697:Shakespeare Theatre Company
1199:; and from "mother-right" (
1122:the claims made and adding
912:Retaliation is seen in the
908:Justice through retaliation
383:Like most Greek tragedies,
10:
4397:
3363:Farber, Yaël (2007–2011).
3048:www.nationaltheatre.org.uk
2868:Cambridge University Press
2429:Illinois Classical Studies
2413:Monohan, Marie Adornetto.
2038:– a line from the trilogy
1975:David Mulroy, 2018 – verse
1701:Theatre for a New Audience
1687:2019: American playwright
1543:translation of the trilogy
1483:, which premiered in 1894.
1456:premiered her adaptation,
1021:
814:
802:
752:
660:William-Adolphe Bouguereau
525:
321:
213:
196:
94:
4290:
4209:
4143:
4068:
4021:
3963:
3931:
3889:
3817:
2350:10.1017/S0009838800003359
1470:Chronology of adaptations
902:
728:
687:
676:
666:
646:
641:
580:
493:
446:
438:
428:
413:
408:
306:
296:
268:
257:
247:
227:
222:
71:
63:
53:
37:
32:
4274:Mourning Becomes Electra
4199:Mourning Becomes Electra
4077:Mourning Becomes Electra
3749:: Album by British band
3615:Widzisz, Marcel (2012).
3550:Goward, Barbara (2005).
2977:Women: A Cultural Review
2006:Mourning Becomes Electra
1905:Wendy Doniger O'Flaherty
1432:' translation. In 2015,
1264:Matricide and femininity
936:. She found a new lover
895:based on the episode in
887:mounted a production of
4101:The Forgotten Pistolero
2716:10.1525/jung.2008.2.3.5
2596:www.theatrekingston.com
2476:10.1525/jung.2008.2.3.5
2468:10.1525/jung.2008.2.3.5
2338:The Classical Quarterly
1604:Belt Up Theatre Company
1523:The Forgotten Pistolero
1477:Manuel Manrique de Lara
1475:1894: Spanish composer
1400:Key British productions
1379:Contemporary background
1294:Athene-Antigone Complex
988:Justice through the law
920:, it is mentioned that
160:won first prize at the
4245:(c. 405 BC, Sophocles)
4237:(c. 408 BC, Euripides)
4229:(c. 413 BC, Euripides)
4117:The Travelling Players
2910:Tor, Dana, 2022, "The
2892:Teaching of Psychology
1682:Electra And Her Shadow
1609:2009: Canadian author
1414:Royal National Theatre
1351:Atreus' children were
1179:To the anthropologist
1158:. The theme starts in
881:
865:
742:The final play of the
629:
184:originally included a
4351:Trojan War literature
3923:(authorship disputed)
3418:British Theatre Guide
3262:(subscription access)
3093:Nightingale, Benedict
2864:Reading Greek Tragedy
2540:The Classical Journal
2076:10.1353/ajp.2005.0044
1962:Peter Arcese, 2010 –
1574:Naledi Theatre Awards
1528:Second Mexican Empire
1181:Johann Jakob Bachofen
877:
861:
627:
423:by Choephoroi Painter
156:theatre trilogy, the
4336:Mythology of Argolis
3905:Seven Against Thebes
3568:Aeschylus: Agamemnon
3552:Aeschylus: Agamemnon
3489:"The Oresteia 18-19"
2026:The Libation Bearers
2024:– an adaptation of
1931:George Theodoridis,
1719:Percy Bysshe Shelley
1420:and stage design by
1165:The Libation Bearers
1054:improve this section
628:Genealogy of Orestes
611:The Libation Bearers
603:The Libation Bearers
591:The Libation Bearers
521:The Libation Bearers
409:The Libation Bearers
401:The Libation Bearers
390:The Libation Bearers
142:The Libation Bearers
4321:Plays set in Athens
4299:Orestes and Electra
4221:(458 BC, Aeschylus)
4202:(1967, Levy/Butler)
3696:at Theatricalia.com
3625:. Lexington Press.
3611:. pp. 124–144.
2265:The Classical World
1966:, in syllabic verse
1752:John Stuart Blackie
1662:This Restless House
1459:This Restless House
1450:Shakespeare's Globe
1418:Harrison Birtwistle
932:to plot revenge on
553:, as an order from
148:. It shows how the
4341:Plays by Aeschylus
4331:Literary trilogies
3947:Prometheus Unbound
3731:discussion on the
3267:2008-05-16 at the
3258:Grove Music Online
3154:Higgins, Charlotte
3073:jocelynherbert.org
2870:. pp. 52–54.
2658:The Sewanee Review
2218:Aeschylus (1975).
2192:The Sewanee Review
2015:American Civil War
1817:Richmond Lattimore
1767:Herbert Weir Smyth
1674:Agamemnon's Return
1660:2016: The trilogy
1564:adaptation of the
1497:1965-66: Composer
1277:"Electra Complex,"
1229:Simone de Beauvoir
1107:possibly contains
873:Herbert Weir Smyth
871:was translated by
630:
4308:
4307:
4269:(1971, Wijesinha)
4253:(1937, Giraudoux)
4109:Electra, My Love
3981:
3980:
3932:Fragmentary plays
3924:
3875:
3870:and fragmentary
3632:978-0-7391-7045-8
3560:978-0-7156-3385-4
3468:Origin Theatrical
3280:Silvia Dionisio.
2837:Engels, Friedrich
2237:978-0-14-044333-2
1949:2005–2007 – prose
1862:Howard Rubenstein
1519:Spaghetti Western
1464:Citizen's Theatre
1446:Trafalgar Studios
1285:"Oedipus Complex"
1152:
1151:
1144:
1109:original research
1090:
1089:
1082:
740:
739:
517:
516:
504:, at the tomb of
314:
313:
81:
80:
64:Original language
16:(Redirected from
4388:
4008:
4001:
3994:
3985:
3984:
3971:
3970:
3922:
3919:Prometheus Bound
3864:Libation Bearers
3857:
3833:Danaid Tetralogy
3803:
3796:
3789:
3780:
3779:
3755:Jean-Paul Sartre
3703:
3702:
3680:
3665:
3650:
3636:
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3547:
3517:
3516:
3509:
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3502:
3500:
3499:
3485:
3479:
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3451:
3449:
3443:Toute la culture
3434:
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3299:
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3286:
3285:
3282:"Terror Express"
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3182:
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3150:
3144:
3143:
3141:
3140:
3131:. Archived from
3113:
3107:
3106:
3089:
3083:
3082:
3080:
3079:
3065:
3059:
3058:
3056:
3055:
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2209:
2208:
2183:
2177:
2176:
2155:
2146:
2145:
2107:
2096:
2095:
2059:
2030:Jean-Paul Sartre
1953:Alan Sommerstein
1925:, 2002 – verse:
1871:Hugh Lloyd-Jones
1835:Philip Vellacott
1819:, 1953 – "verse"
1794:Libation Bearers
1778:Libation Bearers
1760:, 1909 – verse:
1736:, 1889 – verse:
1727:, 1886 – verse:
1689:Ellen McLaughlin
1678:The Bough Breaks
1547:The Pram Factory
1532:Ferdinando Baldi
1492:operatic trilogy
1416:, with music by
1250:private property
1245:Friedrich Engels
1243:(1884), Marxist
1147:
1140:
1136:
1133:
1127:
1124:inline citations
1100:
1099:
1092:
1085:
1078:
1074:
1071:
1065:
1034:
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962:Libation Bearers
885:Theatre Kingston
817:
816:
755:
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651:
639:
638:
528:
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418:
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324:
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242:by Alfred Church
232:
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96:
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30:
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18:Agamemnon (play)
4396:
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4385:
4311:
4310:
4309:
4304:
4286:
4277:(1931, O'Neill)
4205:
4191:Leben des Orest
4171:(1895, Taneyev)
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3269:Wayback Machine
3256:. "Agamemnon",
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3050:. 12 April 2016
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2857:
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2845:(4th ed.).
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2126:10.2307/1960439
2108:
2099:
2060:
2049:
2045:
1992:
1987:
1923:Ian C. Johnston
1864:, 1965 – verse
1825:, 1954 – verse
1801:, 1936 – verse
1788:, 1925 – verse
1734:Robert Browning
1710:
1568:set during the
1504:1967: Composer
1486:1895: Composer
1481:symphonic poems
1472:
1438:Almeida Theatre
1422:Jocelyn Herbert
1402:
1397:
1381:
1319:
1266:
1185:Das Mutterrecht
1177:
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916:to cascade. In
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404:
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123:House of Atreus
103:Greek tragedies
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4283:(1981, Marvel)
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4261:(1943, Sartre)
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4238:
4230:
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4206:
4204:
4203:
4195:
4194:(1930, Krenek)
4187:
4186:
4185:
4172:
4164:
4163:(1780, Mozart)
4156:
4155:(1712, Campra)
4147:
4145:
4141:
4140:
4138:
4137:
4129:
4121:
4113:
4105:
4097:
4089:
4081:
4072:
4070:
4066:
4065:
4063:
4062:
4056:
4050:
4044:
4038:
4032:
4025:
4023:
4019:
4018:
4011:
4010:
4003:
3996:
3988:
3979:
3978:
3976:
3975:
3964:
3961:
3960:
3958:
3957:
3950:
3943:
3935:
3933:
3929:
3928:
3926:
3925:
3915:
3912:The Suppliants
3908:
3901:
3893:
3891:
3887:
3886:
3884:
3883:
3876:
3850:
3843:
3836:
3829:
3821:
3819:
3815:
3814:
3806:
3805:
3798:
3791:
3783:
3777:
3776:
3764:
3742:
3725:BBC audio file
3722:
3713:
3697:
3689:
3674:
3659:
3642:
3641:External links
3639:
3638:
3637:
3631:
3612:
3601:10.2307/631132
3582:
3576:
3563:
3548:
3542:
3524:
3521:
3519:
3518:
3515:. 9 June 2021.
3504:
3480:
3455:
3429:
3405:
3381:
3355:
3329:
3315:
3301:
3287:
3272:
3245:
3229:"La Orestiada"
3220:
3202:
3177:
3156:(2015-07-30).
3145:
3123:. 1999-12-03.
3108:
3102:New York Times
3095:(1981-12-20).
3084:
3060:
3035:
3020:
2985:
2964:
2951:
2942:
2933:
2916:
2900:
2883:
2876:
2848:
2825:
2801:
2777:
2753:
2729:
2694:
2683:(2): 225–250.
2667:
2648:
2608:
2583:
2574:
2557:
2527:
2514:10.2307/294130
2489:
2446:
2419:
2401:
2371:
2328:
2290:
2255:
2243:
2236:
2210:
2199:(3): 377–396.
2187:Burke, Kenneth
2178:
2171:
2147:
2097:
2070:(3): 301–331.
2046:
2044:
2041:
2040:
2039:
2033:
2017:
2011:Eugene O'Neill
2002:
1991:
1988:
1986:
1985:
1982:
1981:, 2018 – verse
1976:
1973:
1972:, 2016 – verse
1967:
1960:
1950:
1929:
1920:
1919:, 1999 – verse
1914:
1913:, 1998 – verse
1908:
1907:, 1989 – verse
1898:
1897:, 1981 – verse
1892:
1891:, 1977 – verse
1886:
1885:, 1975 – verse
1880:
1874:
1873:, 1970 – verse
1868:
1859:
1856:
1855:, 1965 – verse
1853:George Thomson
1850:
1849:, 1964 – verse
1844:
1843:, 1963 – verse
1838:
1837:, 1956 – verse
1832:
1829:
1820:
1814:
1808:Edith Hamilton
1805:
1799:Louis MacNeice
1796:
1786:Gilbert Murray
1783:
1764:
1755:
1754:, 1906 – verse
1749:
1748:, 1906 – verse
1743:
1740:
1731:
1722:
1711:
1709:
1706:
1705:
1704:
1685:
1658:
1639:
1607:
1588:
1583:adaptation of
1577:
1550:
1545:was staged at
1535:
1515:
1502:
1499:Iannis Xenakis
1495:
1488:Sergei Taneyev
1484:
1471:
1468:
1426:Katie Mitchell
1406:Sir Peter Hall
1401:
1398:
1396:
1393:
1380:
1377:
1318:
1315:
1271:Psychoanalyst
1265:
1262:
1234:The Second Sex
1176:
1173:
1150:
1149:
1104:
1102:
1095:
1088:
1087:
1038:
1036:
1029:
1023:
1020:
989:
986:
909:
906:
904:
901:
806:
801:
738:
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726:
725:
723:
722:
716:
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436:
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430:
426:
425:
419:
411:
410:
403:
398:
312:
311:
308:
304:
303:
298:
294:
293:
270:
266:
265:
259:
255:
254:
249:
245:
244:
234:The murder of
233:
225:
224:
211:
206:
79:
78:
73:
69:
68:
65:
61:
60:
55:
51:
50:
43:
35:
34:
26:
9:
6:
4:
3:
2:
4393:
4382:
4379:
4377:
4374:
4372:
4369:
4367:
4364:
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4300:
4296:
4295:
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4289:
4282:
4279:
4276:
4275:
4271:
4268:
4267:
4263:
4260:
4259:
4255:
4252:
4251:
4247:
4244:
4243:
4239:
4236:
4235:
4231:
4228:
4227:
4223:
4220:
4219:
4215:
4214:
4212:
4208:
4201:
4200:
4196:
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4192:
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4180:
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4177:
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4170:
4169:
4165:
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4161:
4157:
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4149:
4148:
4146:
4142:
4135:
4134:
4130:
4127:
4126:
4122:
4119:
4118:
4114:
4111:
4110:
4106:
4103:
4102:
4098:
4095:
4094:
4090:
4087:
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4079:
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4067:
4060:
4057:
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4048:
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4042:
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4036:
4033:
4030:
4027:
4026:
4024:
4020:
4016:
4009:
4004:
4002:
3997:
3995:
3990:
3989:
3986:
3974:
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3888:
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3865:
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3849:
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3837:
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3823:
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3820:
3816:
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3804:
3799:
3797:
3792:
3790:
3785:
3784:
3781:
3774:
3770:
3769:
3765:
3762:
3761:
3756:
3752:
3748:
3747:
3743:
3741:. 45 minutes.
3740:
3739:
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3730:
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3645:
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3606:
3602:
3598:
3594:
3587:
3583:
3579:
3577:9781350154896
3573:
3569:
3564:
3561:
3557:
3553:
3549:
3545:
3543:0-19-283281-6
3539:
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3508:
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3469:
3465:
3459:
3444:
3440:
3433:
3419:
3415:
3409:
3395:
3391:
3390:"SCENOGRAPHY"
3385:
3370:
3366:
3359:
3344:
3340:
3333:
3325:
3319:
3311:
3305:
3297:
3291:
3283:
3276:
3270:
3266:
3263:
3259:
3255:
3254:Thérèse Radic
3249:
3234:
3230:
3224:
3217:. 3 May 2016.
3216:
3212:
3206:
3192:
3188:
3181:
3167:
3166:
3160:
3155:
3149:
3135:on 2016-02-26
3134:
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3112:
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3074:
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3016:
3012:
3008:
3004:
3000:
2996:
2989:
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2978:
2974:
2968:
2961:
2955:
2946:
2937:
2930:
2926:
2920:
2913:
2907:
2905:
2897:
2893:
2887:
2879:
2877:9780521315791
2873:
2869:
2865:
2861:
2855:
2853:
2844:
2843:
2838:
2832:
2830:
2815:
2811:
2805:
2791:
2787:
2781:
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2743:
2739:
2733:
2725:
2721:
2717:
2713:
2709:
2705:
2698:
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2686:
2682:
2678:
2671:
2663:
2659:
2652:
2644:
2640:
2636:
2632:
2628:
2624:
2617:
2615:
2613:
2597:
2593:
2587:
2578:
2571:
2570:0-674-99161-3
2567:
2561:
2553:
2549:
2545:
2541:
2534:
2532:
2523:
2519:
2515:
2511:
2507:
2503:
2496:
2494:
2485:
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2477:
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2239:
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2229:
2224:
2223:
2214:
2206:
2202:
2198:
2194:
2193:
2188:
2182:
2174:
2172:0-674-99161-3
2168:
2164:
2160:
2154:
2152:
2143:
2139:
2135:
2131:
2127:
2123:
2119:
2115:
2114:
2106:
2104:
2102:
2093:
2089:
2085:
2081:
2077:
2073:
2069:
2065:
2058:
2056:
2054:
2052:
2047:
2037:
2034:
2031:
2027:
2023:
2022:
2018:
2016:
2012:
2008:
2007:
2003:
2001:
1999:
1994:
1993:
1983:
1980:
1979:Oliver Taplin
1977:
1974:
1971:
1968:
1965:
1961:
1958:
1954:
1951:
1948:
1947:
1942:
1941:
1936:
1935:
1930:
1928:
1924:
1921:
1918:
1915:
1912:
1911:Peter Meineck
1909:
1906:
1902:
1899:
1896:
1895:Tony Harrison
1893:
1890:
1889:Robert Lowell
1887:
1884:
1883:Robert Fagles
1881:
1878:
1875:
1872:
1869:
1867:
1863:
1860:
1857:
1854:
1851:
1848:
1845:
1842:
1839:
1836:
1833:
1830:
1828:
1824:
1821:
1818:
1815:
1813:
1809:
1806:
1804:
1800:
1797:
1795:
1791:
1787:
1784:
1782:
1779:
1776:
1772:
1768:
1765:
1763:
1759:
1756:
1753:
1750:
1747:
1746:Arthur S. Way
1744:
1741:
1739:
1735:
1732:
1730:
1726:
1725:Anna Swanwick
1723:
1720:
1716:
1715:Thomas Medwin
1713:
1712:
1702:
1698:
1694:
1690:
1686:
1683:
1679:
1675:
1671:
1668:revisits the
1667:
1666:Zinnie Harris
1663:
1659:
1656:
1652:
1648:
1644:
1640:
1637:
1636:
1630:
1629:
1623:
1622:
1616:
1612:
1608:
1605:
1601:
1597:
1593:
1592:Dominic Allen
1589:
1586:
1582:
1578:
1575:
1571:
1567:
1563:
1559:
1555:
1551:
1549:in Melbourne.
1548:
1544:
1540:
1536:
1533:
1529:
1525:
1524:
1520:
1516:
1513:
1512:
1507:
1503:
1500:
1496:
1493:
1489:
1485:
1482:
1478:
1474:
1473:
1467:
1465:
1461:
1460:
1455:
1454:Zinnie Harris
1451:
1447:
1443:
1439:
1435:
1431:
1427:
1423:
1419:
1415:
1411:
1410:Tony Harrison
1407:
1392:
1390:
1386:
1376:
1373:
1368:
1364:
1362:
1358:
1354:
1349:
1347:
1344:Thyestes and
1342:
1340:
1336:
1332:
1328:
1324:
1321:The House of
1314:
1311:
1307:
1302:
1300:
1295:
1290:
1286:
1282:
1281:Sigmund Freud
1278:
1274:
1269:
1261:
1259:
1258:The Eumenides
1255:
1251:
1246:
1242:
1241:
1236:
1235:
1230:
1226:
1222:
1217:
1215:
1214:The Eumenides
1210:
1209:The Eumenides
1206:
1202:
1198:
1194:
1190:
1187:, 1861), the
1186:
1182:
1172:
1170:
1169:The Eumenides
1166:
1161:
1157:
1146:
1143:
1135:
1132:February 2021
1125:
1121:
1117:
1111:
1110:
1105:This section
1103:
1094:
1093:
1084:
1081:
1073:
1070:February 2021
1063:
1059:
1055:
1049:
1048:
1044:
1039:This section
1037:
1033:
1028:
1027:
1019:
1017:
1012:
1008:
1003:
999:
995:
994:The Eumenides
985:
983:
979:
978:The Eumenides
975:
974:The Eumenides
971:
967:
963:
959:
955:
951:
947:
943:
939:
935:
931:
927:
923:
919:
915:
900:
898:
894:
890:
886:
880:
876:
874:
870:
864:
860:
858:
854:
850:
845:
843:
839:
838:
833:
829:
825:
821:
811:
805:
800:
798:
794:
790:
785:
783:
779:
775:
771:
767:
763:
759:
749:
748:The Eumenides
745:
736:and in Athens
735:
731:
727:
720:
717:
715:
712:
710:
706:
704:
701:
699:
696:
693:
692:
690:
686:
683:
679:
675:
672:
669:
665:
661:
657:
656:
650:
645:
642:The Eumenides
640:
635:
634:The Eumenides
626:
622:
620:
616:
612:
608:
604:
600:
596:
592:
588:
578:
576:
570:
568:
564:
560:
556:
552:
548:
544:
540:
536:
532:
522:
509:
507:
503:
499:
498:
496:
492:
485:
483:
480:
478:
475:
473:
470:
468:
465:
462:
460:
457:
455:
452:
451:
449:
445:
441:
437:
434:
431:
427:
422:
417:
412:
407:
402:
397:
395:
394:The Eumenides
391:
386:
381:
377:
375:
370:
365:
363:
358:
356:
352:
348:
344:
340:
336:
332:
328:
318:
309:
305:
299:
295:
292:
288:
282:
276:
271:
267:
264:
260:
256:
253:
250:
246:
241:
237:
231:
226:
221:
217:
216:Páthei máthos
210:
205:
203:
193:
192:
187:
183:
179:
176:to organized
175:
171:
167:
163:
159:
155:
154:ancient Greek
151:
147:
146:The Eumenides
143:
139:
135:
130:
128:
124:
120:
116:
112:
108:
104:
100:
92:
91:Ancient Greek
88:
87:
77:
74:
70:
66:
62:
59:
56:
52:
47:
41:
36:
31:
19:
4376:Clytemnestra
4297:
4272:
4264:
4256:
4248:
4240:
4232:
4224:
4217:
4216:
4197:
4189:
4174:
4166:
4158:
4150:
4131:
4123:
4115:
4107:
4099:
4091:
4083:
4075:
4059:Chrysothemis
4043:(stepfather)
4035:Clytemnestra
3952:
3945:
3938:
3917:
3910:
3903:
3898:The Persians
3896:
3890:Extant plays
3878:
3871:
3867:
3863:
3859:
3853:
3852:
3845:
3838:
3831:
3824:
3767:
3758:
3745:
3736:
3729:The Oresteia
3728:
3718:The Oresteia
3717:
3705:
3691:
3681: Greek
3666: Greek
3651: Greek
3623:
3619:
3616:
3595:, vol. 102.
3592:
3585:
3567:
3551:
3534:
3530:
3523:Bibliography
3507:
3496:. Retrieved
3492:
3483:
3471:. Retrieved
3467:
3458:
3446:. Retrieved
3442:
3432:
3421:. Retrieved
3417:
3408:
3397:. Retrieved
3393:
3384:
3372:. Retrieved
3368:
3358:
3346:. Retrieved
3342:
3332:
3318:
3304:
3290:
3275:
3257:
3248:
3237:. Retrieved
3235:(in Spanish)
3233:datos.bne.es
3232:
3223:
3215:The Guardian
3214:
3205:
3194:. Retrieved
3191:The Guardian
3190:
3180:
3169:. Retrieved
3165:The Guardian
3163:
3148:
3137:. Retrieved
3133:the original
3120:
3111:
3100:
3097:"'ORESTEIA'"
3087:
3076:. Retrieved
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2222:The Oresteia
2221:
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2159:Smyth, H. W.
2120:(1): 22–33.
2117:
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2019:
2004:
1997:
1956:
1945:
1939:
1933:
1847:Peter Arnott
1826:
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1770:
1708:Translations
1693:The Oresteia
1692:
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1600:The Oresteia
1599:
1596:James Wilkes
1584:
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1514:as an opera.
1509:
1506:Felix Werder
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1052:Please help
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930:Clytemnestra
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115:Clytemnestra
85:
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46:The Oresteia
45:
4183:discography
3940:Philoctetes
3858:(including
3818:Tetralogies
3773:avant-garde
3771:(2011): an
3738:In Our Time
3733:BBC Radio 4
3369:Yaël Farber
3001:: 645–653.
2983:(1), 19–34.
2810:"LitCharts"
2786:"LitCharts"
2762:"LitCharts"
2738:"LitCharts"
2601:January 20,
1970:Sarah Ruden
1901:David Grene
1823:F. L. Lucas
1633:Euripides'
1626:Sophocles'
1619:Aeschylus'
1615:An Oresteia
1611:Anne Carson
1554:Yaël Farber
1434:Robert Icke
1424:. In 1999,
1395:Adaptations
1325:began with
1227:. Feminist
1205:patriarchal
1201:matriarchal
897:The Odyssey
545:returns to
442:Slave women
341:, from the
105:written by
4315:Categories
4210:Literature
3880:Prometheia
3735:programme
3683:Wikisource
3668:Wikisource
3653:Wikisource
3498:2020-10-09
3423:2020-10-08
3399:2020-10-09
3239:2024-05-10
3196:2018-08-13
3171:2020-11-04
3139:2018-08-13
3078:2021-02-28
3054:2018-08-13
2819:2024-02-24
2795:2024-02-24
2771:2024-02-24
2747:2024-02-24
2664:: 377–396.
2043:References
1917:Ted Hughes
1841:Paul Roche
1517:1969: The
1430:Ted Hughes
1299:jouissance
1289:penis-envy
1116:improve it
950:Trojan War
688:Characters
667:Written by
595:Agamemnon.
541:, his son
531:Choēphóroi
486:Attendants
447:Characters
429:Written by
343:Trojan War
337:, King of
269:Characters
261:Elders of
248:Written by
214:See also:
186:satyr play
178:litigation
150:Greek gods
54:Written by
4371:Cassandra
4356:Agamemnon
4258:The Flies
4053:Iphigenia
4049:(brother)
4041:Aegisthus
4029:Agamemnon
3868:Eumenides
3860:Agamemnon
3847:Oedipodea
3840:Lycurgeia
3826:Achilleis
3811:Aeschylus
3809:Plays by
3760:The Flies
3687:Εὐμενίδες
3657:Ἀγαμέμνων
3129:0307-1235
2929:EBSCOhost
2814:LitCharts
2790:LitCharts
2766:LitCharts
2742:LitCharts
2724:170372385
2484:170372385
2366:170813768
2142:145245951
2092:170134271
2021:The Flies
1964:Agamemnon
1957:Aeschylus
1946:Eumenides
1940:Choephori
1934:Agamemnon
1927:full text
1877:Rush Rehm
1866:Agamemnon
1827:Agamemnon
1803:Agamemnon
1790:Agamemnon
1781:Eumenides
1775:Agamemnon
1771:Aeschylus
1762:full text
1738:Agamemnon
1729:full text
1655:Agamemnon
1621:Agamemnon
1585:Agamemnon
1539:Rush Rehm
1511:Agamemnon
1462:, at the
1408:directed
1404:In 1981,
1389:Areopagus
1385:Ephialtes
1353:Agamemnon
1310:Aeschylus
1306:Sophocles
1273:Carl Jung
1231:wrote in
1225:feminists
1193:polyamory
1160:Agamemnon
1120:verifying
1041:does not
948:from the
942:Agamemnon
940:and when
938:Aegisthus
934:Agamemnon
926:Iphigenia
922:Agamemnon
918:Agamemnon
883:In 2002,
828:Athenaeus
797:Areopagus
770:Eumenides
758:Eumenídes
753:Εὐμενίδες
746:, called
707:Ghost of
694:Priestess
671:Aeschylus
615:Electra's
607:Agamemnon
599:Agamemnon
567:Aegisthus
563:libations
539:Agamemnon
506:Agamemnon
482:Aegisthus
433:Aeschylus
385:Agamemnon
374:Cassandra
355:Aegisthus
351:Iphigenia
335:Agamemnon
327:Agamémnōn
322:Ἀγαμέμνων
317:Agamemnon
291:Aegisthus
287:Cassandra
284:Messenger
281:Agamemnon
252:Aeschylus
236:Agamemnon
223:Agamemnon
209:Agamemnon
158:Oresteia,
138:Agamemnon
111:Agamemnon
107:Aeschylus
58:Aeschylus
48:, in 1968
4381:Atreidai
4326:Libation
4218:Oresteia
4168:Oresteia
4160:Idomeneo
4152:Idoménée
4061:(sister)
4055:(sister)
4037:(mother)
4031:(father)
3973:Category
3854:Oresteia
3768:Oresteia
3711:LibriVox
3706:Oresteia
3693:Oresteia
3672:Χοηφόροι
3622:Oresteia
3586:Oresteia
3533:Oresteia
3365:"MoLoRa"
3265:Archived
2973:Oresteia
2912:Oresteia
2862:(1986).
2710:: 5–38.
2689:40651971
2441:23065418
2396:25137120
2205:27538150
2161:(1930).
1998:Oresteia
1990:See also
1810:, 1937,
1670:Oresteia
1643:Oresteia
1566:Oresteia
1508:adapted
1442:West End
1372:Oresteia
1361:Anaxibia
1357:Menelaus
1339:Thyestes
1335:Myrtilus
1327:Tantalus
1221:Marxists
1197:monogamy
1189:Oresteia
1156:Oresteia
996:. After
914:Oresteia
857:Odysseus
842:Agam.674
744:Oresteia
721:citizens
719:Athenian
535:Oresteia
526:Χοηφόροι
331:Oresteia
302:Servants
300:Soldiers
272:Watchman
182:Oresteia
174:vendetta
162:Dionysia
134:Oresteia
95:Ὀρέστεια
86:Oresteia
33:Oresteia
4281:Elektra
4266:Elektra
4250:Electra
4242:Electra
4234:Orestes
4226:Electra
4176:Elektra
4133:Electra
4085:Electra
4047:Orestes
4015:Electra
3872:Proteus
3618:Chronos
3473:May 31,
3448:May 31,
3374:May 31,
3348:May 31,
3343:YouTube
3015:2936034
2960:Hypatia
2643:2936026
2552:4133005
2323:1088668
2303:Phoenix
2285:4349540
2228:103–172
2134:1960439
2084:3804934
1651:hip hop
1645:in his
1635:Orestes
1628:Electra
1114:Please
1062:removed
1047:sources
1022:Revenge
1007:Orestes
1000:begged
998:Orestes
970:Orestes
966:Pylades
958:Electra
954:Orestes
893:Proteus
869:Proteus
849:Proteus
837:Odyssey
820:Prōteus
815:Πρωτεύς
810:Proteus
804:Proteus
795:on the
762:Orestes
729:Setting
703:Orestes
619:Orestes
559:Electra
543:Orestes
494:Setting
477:Cilissa
472:Pylades
463:Servant
459:Electra
454:Orestes
339:Mycenae
307:Setting
202:Proteus
197:Πρωτεύς
191:Proteus
170:justice
166:revenge
119:Orestes
99:trilogy
97:) is a
76:Tragedy
4144:Operas
4136:(2010)
4128:(1984)
4120:(1975)
4112:(1974)
4104:(1969)
4096:(1965)
4093:Sandra
4088:(1962)
4080:(1947)
4022:Family
3751:Cranes
3629:
3609:631132
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1602:, for
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1558:MoLoRa
1552:2007:
1537:1974:
1359:, and
1346:Aerope
1331:Pelops
1323:Atreus
1011:Athena
1002:Athena
982:Athena
903:Themes
793:Athens
789:Athena
778:Hermes
774:Apollo
766:Furies
734:Delphi
714:Athena
698:Apollo
682:Furies
677:Chorus
587:Chorus
581:Chorus
575:Furies
555:Apollo
439:Chorus
278:Herald
258:Chorus
144:, and
127:Furies
4125:Ellie
4069:Films
3605:JSTOR
3011:JSTOR
2720:S2CID
2685:JSTOR
2639:JSTOR
2548:JSTOR
2518:JSTOR
2480:S2CID
2472:JSTOR
2437:JSTOR
2392:JSTOR
2362:S2CID
2354:JSTOR
2319:JSTOR
2281:JSTOR
2201:JSTOR
2138:S2CID
2130:JSTOR
2088:S2CID
2080:JSTOR
1653:play
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547:Argos
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263:Argos
72:Genre
67:Greek
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