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Libations are sacrifices poured out (wine, blood, in Orestes's case hair)
to some superhuman power. The power in question here is the dead, namely
Agamemnon. He rages in hell, haunts Clytemnestra with nightmares. Electra
has been sent to appease her father on behalf of her mother. Electra is
attended by a chorus of women, Trojans enslaved by the Myceneans and hence
with an agenda of their own.
- The chorus: what role do they play? what is their point of view?
- Discuss the principle of justice, as expressed by the Chorus.
- What is a virtuous woman, according to the Chorus? Why do the
Chorus hate Clytemnestra, especially when, as slaves, they could
see her as their avenger?
- Explain the points of view in the face-to-face confrontation between
Orestes and Clytemnestra.
- The Chorus really believes that Orestes's murder of Clytemnestra will
restore balance to the House of Atreus and will drive away the Furies
(l. 957, 960); and that a cure to the curse must come from within that
house itself (l. 457-60); and that Apollo wills it (l. 944). Contrast
this point of view with the guilt Orestes feels (l. 990). Did
Orestes conjure up the Furies himself?
Some highlights in the text:
Scene I |
|
|
|
Chorus |
song I |
26-82 |
Clytemnestra racked with guilt; not only Agamemnon but
all the dead of Troy cry out. |
Electra |
prayer I |
127-156 |
avenge. |
Chorus |
song II |
157-167 |
avenge! |
|
prayer II |
248-491 |
Duet with Orestes: avenge!! |
Chorus |
song III |
312-321 |
avenge!!! (principle of talio) |
|
|
500-521 |
Clytemnestra's dream |
Intermezzo |
song IV |
571-633 |
murderous women; virtue; justice and fury |
Scene II |
|
|
|
Chorus |
song V |
774-823
841-856
922-963 |
prayer for justice and resolve
death song
song of justice |
|
|
879 |
Orestes confronts Clytemnestra; hesitates; destiny vs. justice;
two curses |
Orestes |
|
964 |
victory |
|
|
990 |
guilt |
|
|
1047 |
enter the Furies |
Chorus |
song VI |
1064-77 |
three atrocities |
|