HAMLET AND ORESTES

HAMLET AND ORESTES
07
1
THE BRITISH ACADEMY
THE ANNUAL SHAKESPEARE LECTURE
1914
Hamlet and Orestes
A
Study
in Traditional
Types
By
Gilbert Murray, LL.D., D.Litt.
Regius Professor of Greek in the University of Oxford
Fellow of the
Academy
New York
Oxford University Press American Branch
35 West 32nd Street
London
:
Humphrey Milford
THE BRITISH ACADEMY
THE ANNUAL SHAKESPEARE LECTURE
1914

Hamlet and Orestes
A
Study
in Traditional
Types
By
Gilbert Murray, LL.D., D.Litt.
Regius Professor of Greek in the University of Oxford
Fellow of the Academy
New York
Oxford University Press American Branch
35 West 32nd Street
London
:
Humphrey Milford
Copyright in the United States of ... Show more content on Helpwriting.net ...
As for Hamlet, I note in passing the well–known fragments of evidence which indicate the existence
of a Hamlet–tragedy before the publication of Shakespeare 's Second Quarto in 1604.
These are, counting backwards a phrase in Dekker 's Satiromastix, 1602, 'My name 's Hamlet:
Revenge! '
1598. Gabriel Harvey 's remarks about Shakespeare 's Hamlet.
:
The
true date of this entry
is
disputed.
Lodge, Wifs Miserie and the World 's Madness: 'he looks as pale as the ghost which cried so
miserally at the theator like an oysterwife, Hamlet, revenge. '
1594. Henslowe 's Diary records a play called Hamlet as acted at Newington Butts Theatre on June
9.
The earliest reference seems to be in Nash 's Epistle prefixed to

Greene 's Menaphon: it is dated 1589, but was perhaps printed in
1587.
Yet English Seneca read by candle light yeeldes many good sentences, as Bloud is a beggar, and so
foorth: and if you intreate him f aire in a frosty morning, he will affoord you whole
1596.
'
Hamlets, I should say handfulls of tragicall speeches. '
The play of Hamlet is extant in three main forms
The First Quarto, dated 1603 but perhaps printed in 1602. It is entitled ' The Tragicall Historie of
Hamlet Prince of Denmark
by William Shake–speare, As
it
hath been at divers times acted
;
:
:
HAMLET AND ORESTES
5
by his Highnesse servants in the Cittie of London as also in the two Vniversities of Cambridge and
Oxford and
... Get more on HelpWriting.net ...

The Libation Bearers and Hamlet
Many of Shakespeare's plays draw from classical Greek themes, plot and metaphors. The tragedies
of Sophocles, Aeschylus, Euripides and Homer have themes like royal murders, assassinations by
near relatives, the supernatural, ghostly visits, and vengeful spirits of the dead– themes which
reappear in Shakespeare's tragedies with a difference.
Shakespeare's tragic hero Hamlet and Aeschylus's Orestes have a great deal in common. Both the
plays are set in a time when the society is going through transition. In Orestia gods are changing.
Furies turn into Eumenides or the Pacified Ones. Social and political norms are changing. The old
laws of revenge and retribution have to be re–established. Similarly Hamlet's ... Show more content
on Helpwriting.net ...
Both the tragic heroes are troubled by supernatural visits and nightmares. Both have ethical and
moral dilemmas , nevertheless, Hamlet is much more scholarly and agonized than Orestes who
better fits in the robe of a Classical Greek revenge hero.
Jessica Price observes:
"An onslaught of tragic elements appear in both Hamlet and The Oresteia. Hamlet's hamartia in
William Shakespeare's Hamlet leads to his succumbing to corruption and his eventual demise. In
The Oresteia by Aeschylus, Orestes' hamartia takes a slightly different course, causing him to
stumble, but not completely fall."
While Orestes never indulges in long existential speeches or philosophical thinking Hamlet delays
the action in his endless quest for a right answer. Hamlet is not faced with the terrible commitment
of killing his own mother. He has to kill his uncle to whom one is not as dearly related as a son is to
his mother. Still he does not consider it right to kill his uncle on an apparitions' command. He puts
him to test to affirm what his father's ghost said. He arranges a play based on the actual event of
king's murder to be performed before his uncle and mother and note their responses to it. Even after
his suspicion is validated he cannot bring himself round to kill his uncle. He wants to heal what has
been hurt, make right what is wrong, do the justice but deep inside he does not want to kill Claudius.
Orestes, on the other hand, right

Short Essay On Sophocles
The Ancient Greeks were fans of plays and feats of prowess while simultaneously proving
themselves better than everyone else. Sophocles is regarded as one of the most decorated Greek
tragedians, writing over 120 plays (Downey). He was a very important figure in Athens, taking up
several important roles in the government. He took up the role of commissioner in the
Peloponnesian War, led a victorious battle at Salamis at the age of 16, and many other
accomplishments as well, not to mention his esteemed writing career ("Ancient Greece –
Sophocles"; "Sophocles"). Sophocles was an Ancient Greek tragedian who had a very decorated
career until his death in 405 BCE, who influenced every playwright to follow. Sophocles was born
in 496 BCE in Hippeios Colonus, a town near Athens, Greece. He was raised by his father, Sophilus,
who was an armor manufacturer ("Ancient Greece – Sophocles"; Taplin & Woodard). Sophocles
soon went to study music for his education, under Lamprus (Downey). Sophocles, however, would
not go down a ... Show more content on Helpwriting.net ...
Not all have survived throughout time, as there are only seven complete plays of his that are still in
existence. These plays are: "Ajax", "Antigone", "The Trachinae", "Oedipus the King", "Electra",
"Philoctetes", and "Oedipus at Colonus." Of these seven plays, three are referred to as the Theban
plays, as they take place in Thebes, these three being "Oedipus the King", "Oedipus at Colonus",
and "Antigone" (Ancient Greece – Sophocles"). These plays followed the great King Oedipus, who
was a famous hero from Sophocles' hometown (Buller). "Oedipus the King," also sometimes
referred to as "Oedipus Rex" or "Oedipus Tyrannos" was considered to be Sophocles' masterpiece.
"Oedipus at Colonus" was the last play Sophocles ever wrote before he died (Downey). In all, over
1000 fragments of his many plays have survived, including many pieces of "Ichneutae"
("Sophocles"; "Ancient Greece –

Eugene O’neill and the the Rebirth of Tragedy a...
Eugene Gladstone O'Neill is one of the greatest American playwrights, he is known for plays such
as "Long Day's Journey into Night" ,"Beyond the Horizon" (1920), "Anna Christie" (1922),
"Strange Interlude" (1928), "Mourning Becomes Electra"(1931)and The Iceman Cometh (1946). His
plays probe the American Dream, race relations, class conflicts, sexuality, human aspirations and
psychoanalysis. He often became immersed in the modernist movements of his time as he primarily
sought to create "modern American drama" that would rival the great works of European modernists
such as Ibsen, Strindberg and G.B. Shaw. O'Neill was a great admirer of classical theatre and as a
young man he had read Friedrich Nietzsche's work about the origin of ... Show more content on
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It is remarkable how O'Neill contrives to preserve the Chorus, which is a fundamental element of
the Greek tragedy. Although it is not as dramatic as the tragic Chorus of the classical Greek plays,
each and every of the three parts of "Mourning Becomes Electra" begins with the performance of a
chorus formed of different men and women that comment upon the Mannons, the history of their
family, revealing to the audience details about the behavior and the character of the heroes.
Moreover, the setting chosen by O'Neill is similar to the classical one used by the Greeks. It is
known that in Aeschylus' times a wooden wall was used as a background of the setting, the wall
usually stood for a palace or a temple and this exactly the same as in O'Neill's trilogy, as the greatest
part of the action takes place in front of the Mannon's residence which is described as being an
enormous stone mansion that has the aspect of a Greek temple(the temple of god Apollo) "with a
white wooden portico, with six tall columns"[2]. However that was the typical construction for a
house that belonged to an American aristocratic family in the XIX century. In "Mourning Becomes
Electra", O'Neill brought into consonance the fundamental traits of the Greek tragedy and the
specific elements of modern theatre, thus creating a

Female Characters in "Hamlet"
Introduction
Shakespearean tragedy is a story of one, or at most two persons. As a rule, they are male
protagonists. But to say that Shakespeare's female characters are shallow, undeveloped and used just
as a decoration on the stage is very wrong. Women in Shakespeare's tragedies have no leading role
and they are, to paraphrase Northrop Frye,[1] not tragic heroines, but heroines in a tragedy.
All female characters in Shakespeare's tragedies have one thing in common – they end up dead. It is
always an untimely, unnatural death. This rule (rather than coincidence) is a theme of many debates
among philologists, critics, psychologists, psychiatrists and philosophers.
As Hamlet is one of the most reflective Shakespeare's plays, the ... Show more content on
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She had lost her mother, and has only a father and a brother, affectionate by worldly, to take care of
her. To the persons in the play, she brings the thought of flowers. Laertes names her 'Rose of May',
as he prays at her burial and the Queen murmurs 'Sweets to the sweet', as she scatters flowers on the
grave.
Some scholars believe that Ophelia's name – which means 'succor' in Greek, a seemingly
inappropriate designation for so victimized a character – may have been used in error instead of
Aphelia, meaning 'simplicity' or 'innocence'. Both names were rare in Shakespeare's time.
Ultimately, Ophelia's insanity is the consequence of the actions of others, and she is unquestionably
a victim of the tragic events that beset Denmark throughout the play. [5]
Ophelia and male characters in "Hamlet" Ophelia's affection for her brother is shown in two or three
delicate strokes. Her love for her father is deep, though mingled with fear. For Hamlet she has, some
say, no deep love – and perhaps she is so near childhood that old affections have still the strongest
hold; but certainly she has given to Hamlet all the love which her nature is yet capable. Beyond
these three beloved ones she seems to have eyes and ears for no one. Her existence is wrapped up in
these three.
On this childlike nature and on Ophelia's inexperience everything depends. Her father and brother
are jealously anxious for her because of her ignorance and innocence; and we resent

Desire Under The Elms By Eugene O ' Neill
Desire Under the Elms by Eugene O'Neill is a modern twist on the mythological tale of Phaedra and
Hippolytus. In writing this piece, in 1924, O'Neill delivers a captivating and somewhat comical
version of the classic myth. Stuck in the transition from the Modernism to Postmodernism
movements, O'Neill struggled to define himself as either a modernist or postmodernist. The
Modernism movement is made up of a variety of different movements: philosophical, artistic, and
literary. The artistic and literary Modernism movement, which occurred in the late 19th and early
20th century, is marked by the concepts of experimentation and individualism, signifying sudden
breaks with traditional values of literature, philosophy, and culture. In comparison, postmodernism,
which developed in the mid to late 20th century held the idea that reality is not based on societal
understanding of it, but, on individual perception and interpretation. While both have similarities,
the perceptions of individuality in these movements differ on a relatively large scale.
In the Modernist movement, it was socially correct to adhere to what was specifically deemed
acceptable. In contrast, in the postmodernist movement, one style of living was not any less
acceptable than another because each person determined what is considered valuable to them
individually. Though modernism and postmodernism are marked by distinctive ways of thinking and
social norms, these periods actually faced quite an overlap. While

Life In The 1920's
The nineteen twenties can be summed up as one of the most important improvements on theatre,
paintings, music, building, and culture. Many changes in the 1920s in day to day life happened. In
the 1920s most of it was under President Woodrow Wilson. During this time many Americans
challenged past traditions and created their own. Many people became interested in new popular
culture. New traditions such as listening to the radio, and watching film brought new thrills about
news, sports, and made party's better. The nineteen twenties was one of the most important periods
of history in the United states. Many writers, painters, and other artist produced some of the best arts
of that time and in the nation's history. Many Americans wanted wanted ... Show more content on
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Scott Fitzgerald. He wrote especially about rich Americans and their search for happiness. His books
were more about Americans that rejected traditional beliefs. His most famous book "The Great
Gatsby" is considered to be one of the greatest books in history. In the nineteen twenties it also
produced the greatest writer of theatre plays, Eugene O'Neill. O'Neill had dark and violent views of
human nature. He used the theatrical methods, that no one else have ever used before. The way that
he used them carried an emotional power never seen before in America. Some of his best known
plays were "Mourning Becomes Electra," "The Iceman Cometh," and "A Long Day's Journey Into
Night." A good number of American writers produced great poetry during the nineteen twenties. The
most famous was written by T. S. Elliot, and it was called "The Waste Land." Another famous poem
is by Allen Grinsberg, and it's called "Howl." Another famous poem in the nineteen twenties is
written by Sylvia Plath, and it's called "Daddy." A lot of changes happened to America painting
during the nineteen twenties. Economic growth gave Americas enough money to buy more painting
for home decorations. During this time six new Art museums opened. And slowly many Americans
learned the history behind

Realism In Desire Under The Elms
Realism in Literature means portraying life with fidelity. As Harry Shaw says,
'It is a style of writing in which familiar ordinary aspects of life are depicted in a matter–of–fact
straight–forward manner designed to reflect life as it actually is'
Realism in drama is to depict life as it actually is. Realism is a revolt against romanticism in which
the tendency is to idealize life and situations. So far as O'Neil was concerned, he was dissatisfied
with the romantic and unreal situations. He wanted to show living pulsating human beings. O'Neil's
early plays were a blend of realism and romanticism. But he is not averse to using melodrama in his
plays colorless and monotonous. So in Mourning Becomes Electra, he shows Orin shooting Brant,
Christine shooting herself, Orin shooting himself out of guilt–complex and Lavinia dramatically
entering the haunted house and the life of life–long seclusion. These melodramatic situations add
color to the drab realities which might become uninteresting. The most significant element of
O'Neil's ... Show more content on Helpwriting.net ...
Situations are always realistic. In Desire Under the Elms, we see the step–son loving the step
mother; an old farmer marrying a young wife; and the crime that takes place as a result of this is so
common place in life. Similarly Mourning Becomes Electra has the story of love obsession and
mother complex that lead to tragic results. Normally a tragedy idealizes life; and realism of the
characters, that is so convincing. The themes of O'Neil's plays show a minute observation of men,
manners and situations. He thus gives us a realistic picture of life. His plays like ' Beyond the
Horizon', 'Anna Christie', 'The Straw' etc. are full of realistic situations. Similarly, the settings of his
plays are realistic. Each detail of the scene is given realistically and the background is also realistic.
In Mourning Becomes Electra, the setting is the Mannon

Many of Shakespeare's plays draw from classical Greek themes, plot and metaphors. The tragedies
of Sophocles, Aeschylus, Euripides and Homer have themes like royal murders, assassinations by
near relatives, the supernatural, ghostly visits, and vengeful spirits of the dead– themes which
reappear in Shakespeare's tragedies with a difference.
Shakespeare's tragic hero Hamlet and Aeschylus's Orestes have a great deal in common. Both the
plays are set in a time when the society is going through transition. In Orestia gods are changing.
Furies turn into Eumenides or the Pacified Ones. Social and political norms are changing. The old
laws of revenge and retribution have to be re–established. Similarly Hamlet's ... Show more content
on Helpwriting.net ...
He decides to kill Claudius immediately after the play he directs to affirm his suspicions. He would
have done so had he not found Claudius knelt before the cross. He cares for the soul and cannot send
his father's murderer to heaven by killing him while he is praying to Christ. He gives vent to his
mournful passions by shunning his responsibility. He grieves, mourns and rages every time he lets
his step father go and invents long philosophical, religious and ethical reasons why it was not the
right time to kill him. That's why as the sense of duty towards his dead father grows, fed partly by
his father's ghost, partly by Rosencrantz and Guildenstern, he becomes abnormally fierce and
frustrated. However he is not delaying Claudius's murder because of the madness which is fake as
Eliot calls it "a simple ruse, and to the end, we may assume, understood as a ruse to the audience".
He defers the action because of too much idealization, pondering and lack of planning till most of
his friends are dead. Whereas Orestes' delay is not because of any emotional instability or late
planning. Right in the beginning, on his father's tomb, with his sister Electra, he vows vengeance.
He kills Aegisthius and is deferred for a time from killing Clytemnestra due to failure of plan.
None of the women in Shakespeare's Hamlet are comparable with women in Aeschylus's The
Libation Bearers. Ophelia is no accomplice or support to

Mourning Becomes Electra Analysis
"([I]n a burst of murderous rage) I'll kill that bastard! You say Brant is her lover! If that's true, I'll
hate her! I'll know she murdered Father then! I'll help you punish her!" (The Hunted Act 3). There
has been but one emotion enslaving humans under it's curse since the dawn of time; anger. Anger is
accountable for revolutions, shedding of blood, wars and any upheaval which wreaks havoc,
destruction and chaos anywhere and to anyone. Anger can be defined as "an emotional state that
consists of feelings of irritation, annoyance, fury or rage and heightened activation or arousal of the
auto–nomic nervous system" (Spielberger, et al. 16). Pain usually accompanies anger and angry
human beings tend to set their minds on harming others. ... Show more content on Helpwriting.net ...
Ezra is so angry at what he had to witness Hand do at the war. he explains in the third act of
Homecoming: "But in this war I've seen too many white walls splattered with blood that counted no
more than dirty water. I've seen dead men scattered about, no more important than rubbish to be got
rid of". The anger and hatred of Christina Mannon to her husband was initiated by the war, in the
second act of Homecoming she confesses that to her daughter Lavinia: "When [Ezra] had gone [to
the war] there was nothing left but hate and a desire to be revenged and a longing for love! And it
was then I met Adam". Ezra's Anger is further steered by the fact that he decided to turn a new leaf,
come back from war and shower his wife with love, only to find out that while he was away his wife
took on a lover and committed adultery, she also tells him bluntly that she wishes he would have
died at war. His hurt turns into anger as he admits to her: "I told you my secret feelings. I tore my
insides out for you, thinking you'd understand! By God, I'm an old fool!" (Homecoming 3). Ezra's
fury only reaches the part where in frenzy, he tries to kill her: "You – you whore – I'll kill you!"
(Homecoming 3). He fails in killing her though,which results only in his

Agamemnon By Euripides Essay
Euripides was classic Athens. He is one of whose plays have long survived. Importantly, he was
well identified with theatrical innovation, which has profoundly influenced drama up to the modern
times, most especially in the representation of traditional, mythical heroes as the ordinary people in
an extraordinary circumstance. Apparently, was so unique among many writers of ancient Athens
because of his abundant sympathy that he demonstrated towards the victims of society, most
especially being women. Agamemnon, Orestes and Electra were the main characters in the plays.
The play revolves around the leader of Greek forces, Agamemnon, and his deadly decision to
sacrifice his first daughter Iphigenia, to preserve his honor by doing battle against ... Show more
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Later, Orestes killed two sons of Thestes and cut them into pieces, then served them at a banquet to
their father during an honor of his return (277). It was a horrible experience for Thyestes after
discovering what was prepared for his meal. He then went away from Argos with only his infant
child called Aegisthus after cursing both Orestes and his descendants. After the death of Orestes, the
throne was left under Agamemnon his son, who later married a daughter of Sparta's king. They bore
three children, of which one inherited his father's throne upon death. The remaining son of Orestes
married Helen, who became king of Sparta upon her father's death. Another seduction in the
descendants of Orestes occurs. Later after the wedding, Paris who was the son of Troy's king,
seduced Helen then took her away. A great force was organized to restore Helen to her husband.
However, due to adverse winds, they were unable to sail towards Troy. They appeased goddess
Artemis to calm the winds by sacrificing a young girl who arrived at the camp. They sailed to Troas
but there was a lot of justification of the murder of their mother by Orestes who was later afflicted
with madness then goes to become a spirit to hunt and punish murderers

Greek Mythology
Greek Mythology
I INTRODUCTION
Temple of Apollo at Didyma The Greeks built the Temple of Apollo at Didyma, Turkey (about 300
bc). The temple supposedly housed an oracle who foretold the future to those seeking knowledge.
The predictions of the oracles, delivered in the form of riddles, often brought unexpected results to
the seeker. With Ionic columns reaching 19.5 m (64 ft) high, these ruins suggest the former grandeur
of the ancient temple. Bernard Cox/Bridgeman Art Library, London/New York
Greek Mythology, set of diverse traditional tales told by the ancient Greeks about the exploits of
gods and heroes and their relations with ordinary mortals. The ancient Greeks worshiped many gods
within a culture that tolerated ... Show more content on Helpwriting.net ...
Here, his wife Rhea hands him a stone wrapped in swaddling clothes in place of their son, Zeus. The
portrayal, created between the 1st and 3rd centuries, is on the base of a stone statue at the Museo
Capitolino in Rome, Italy. Erich Lessing/Art Resource, NY
Uranus tried to block any successors from taking over his supreme position by forcing back into
Gaea the children she bore. But the youngest child, Cronus, thwarted his father, cutting off his
genitals and tossing them into the sea. From the bloody foam in the sea Aphrodite, goddess of sexual
love, was born. After wounding his father and taking away his power, Cronus became ruler of the
universe. But Cronus, in turn, feared that his own son would supplant him. When his sister and wife
Rhea gave birth to offspring–Hestia, Demeter, Hera, Hades, and Poseidon–Cronus swallowed them.
Only the youngest, Zeus, escaped this fate, because Rhea tricked Cronus. She gave him a stone
wrapped in swaddling clothes to swallow in place of the baby.
A3 Zeus and the Olympian Gods
Bust of Zeus In Greek mythology Zeus was ruler of both the Olympian gods and the human race.
Sometimes he is portrayed as a just and merciful defender of the weak. At other times he appears to
be passionate, inconstant, and vengeful. This ancient Greek bust of Zeus is in the National Museum
in Naples, Italy. THE BETTMANN ARCHIVE/Corbis
When fully grown, Zeus forced his father, Cronus, to

Judith Anderson Biography
Judith anderson was an australian actress. Judith birth name was Frances margaret anderson and she
was born on frbruary 10, 1987, in adelaine, south australia to Jessie Margaret and James Anderson
Anderson. Judith attended norwood high school. She made her debut in 1915 as her birth name at
the threatre royal in sydney, playing stephanie, in a royal divorce with a scottish actor julius knight
whom she gave the credits for helping her in acting. There were some american actors who
suggested her to try her luck in the united states so she travelled to california but was not successful,
than she moved to new york but even that didnt help. In 1918–1919, she found work at the
fourteenth street threatre with emma bunting stock company. She made her broadway debut using
her ... Show more content on Helpwriting.net ...
In 1937, she joined the old vic company, london in a production by michael saint– denis and played
the character lady macbeth opposite laurence olivier. She again played lady macbeth in 1947 in new
york opposite maurice evans . In 1942–43, she played olga in chekhov's three sisters along with
actors like katherine cornell, ruth gordon, edmund gwenn, dennis king and alexander knox. In 1947,
she won a lot of appraisal for her role as medea which was written by robinson jeffers and produced
by john gielgud. She won a tony award fot the role of medea. In hollywood, she only got to do
supporting character roles. She loved performing for stage. In her era, judith had won 2 emmy
awards. She was also nominated for grammy award for her work on the wuthering heights
recording. She was nominated for academy award for best supporting actress in rebecca which was
made by alfred hitchcock in 1940. In that movie she had played the role of a sinister housekeeper
mrs denvers. Due to that role she made few appearances in films like lady scarface in 1941, kings
row in 1942, laura in 1944, spectre of the rose in 1946, the diary of a chambermaid in 1946. She also
acted with richard harris in the film a man called

Electra Essay
The House of Mannon Eugene O'Neill's Mourning Becomes Electra is a play of revenge, sacrifice,
and murder conveyed through visible references to Aeschylus' House of Atreus. O'Neill alludes to
The House of Atreus in order to ground the play; attaching the plot to well–known aspects of
history. As well, it brings a certain significance that otherwise would be neglected if their underlying
manifestations went unnoticed. The most prominent of these allusions is that to Aeschylus' House of
Atreus. O'Neill specifically modeled Mourning around Aeschylus' work, modernizing it, applying it
to a new generation of readers. Agamemnon, a general in the Trojan War, becomes Ezra Mannon, a
Civil War soldier of the same rank.
Ezra "was a great man...he ... Show more content on Helpwriting.net ...
This parallels Clytemnestra's killing of Agamemnon in order to further explore her love interest,
Aegisthus, as well as Orestes' homecoming. Orestes later takes his own life, escaping certain agony
and torment. Prior to Orestes' suicide, however, he conspires with his sister, Electra, in attempt to
prevent their mother from becoming romantically involved with Aegisthus. Ultimately, the only
ample resolution to prevent such an event from transpiring is the murder of Aegisthus, which is
executed by Electra and Orestes. This series of events directly parallels the actions of Lavinia and
Orin in response to their mother's display of love for Captain Adam Brant. Christine, in a moment of
loss and severe depression, commits suicide with a revolver; her son follow suit, leaving Lavinia
alone in the Mannon estate.
With Lavinia left to endure a lifetime of guilt stricken sorrow, the Mannon dead plague her
continuously, much like when Orin was still alive. The Mannon dead serve the same purpose as
Aeschylus' furies in that they "haunt" Lavinia and Orin, eventually leading to Orin's suicide and
Lavinia's assumption of responsibility. There were no ghosts, spirits, or specters present, merely
portraits that kept a vigil on the house and the Mannon name. O'Neill alludes to the House of Atreus
with the intention of expressing the revenge, the hatred, the murderous contempt that threads itself
throughout the play.
Christine openly expresses her adulterous love for Brant

What Is The Theme Of Black Mod By Rosália De Castro
Analysis of the Poem "Black Mood" by Rosália De Castro According to the Columbia
Encyclopedia, Mariá Rosália De Castro was a very important representative of the Galician poetry
romanticism and if we add the fact that she was a women and a mother of seven children, one would
expect her poems to be gentile and delicate (PoemHunter.com). However, the choice of words and
the emotions that these words create in a reader are powerful, sad, mysterious and overwhelming.
There is a certain degree of heaviness, darkness and sadness that echoes throughout the whole song.
The only softness in this song is the one that is produced by the sounds of the words. In the original
song it is the soft rolling of the characteristic Spanish (Galician) "R" – sombra, ... Show more
She wrote some powerful and emotionally charged poems without the necessity of using the end–
rhyme. As Girardo said, she made quite of contribution to Spanish and Galician literature – her soft
and melancholic words, enriched by the "crescendo" rhythm patterns and a simple assonance rhyme
make her audience tremble while reading her poems (Oram, 96). She was opened enough to see that
even the death was not an obstacle to feel and express her deep feelings of love and devotion for her
son. Rosália De Castro thought that the life would be empty if we adhered to the logical reasoning
only. It is love that is able to transcendent all the physical barriers and makes us strong enough to
cope with the harsh reality. Although Gerarld Brenan was close to call Rosália De Castro a
hysterical women, because of her tendency to leave no space for a reader to rest/pause for even a bit
between her lines and her overall propensity to go from one extreme emotion state to another, we
can, nevertheless conclude that she left quite an impression on him too – enough of impression to
write about her poetry (Oram,

Summary Of ' The Flies '
The Flies
Part One:
Sartre, Jean–Paul.
Part Two: The audience first meets Orestes while he is in town seeking direction to Aegisthus's
house. Orestes attempts to get this information by knocking on a door in town but unfortunately the
tenant of the house disregards him and closes the door on Orestes. Orestes continues through town
when he expresses to his tutor that he believes that Zeus is following them. When Zeus finally
approaches the two men the tutor asks "Pray, whom have I am the honor of addressing?" (Sartre,
51). Zeus replies "Demetrious is my name, and I hail from Athens." (Sartre, 51). This is the first
time that the audience gets any idea of where the name of the play may have come from. It is also
the first time that Orestes and his tutor learn why there are suddenly so many flies in town.
As the three men are walking through Argos they hear cries coming from the palace. Zeus explains
to them that these cries are a sort of memoir. They people are remembering the death of their king
Agamemnon, who was murdered fifteen years ago. Orestes then recalls that Agamemnon had a
daughter name Electra, so he asks Zeus what her take on this whole ordeal is. Zeus then explains
that Agamemnon also had a son named Orestes. The audience of the play quickly realizes that
Orestes is undercover in his journey to reach Aegisthus.
Orestes is able to enter the palace and finds out the reality of what is happening inside. Here he
comes into contact with Electra. Electra is known

theme of alienation n no where man by kamala markandeya
ANTIGONE KEY LITERARY ELEMENTS
SETTING
This tragedy is set against the background of the Oedipus legend. It illustrates how the curse on the
House of Labdacus (who is the grandson of Cadmus, founder of Thebes, and the father of Laius,
whose son is Oedipus) brought about the deaths of Oedipus and his wife–mother, Jocasta, as well as
the double fratricide of Eteocles and Polynices. Furthermore, Antigone dies after defying King
Creon.
The play is set in Thebes, a powerful city–state north of Athens. Although the play itself was written
in 441 B.C., the legend goes back to the foundations of Hellenic culture, many centuries before
Sophocles' time.
All the scenes take place in front of the royal palace at Thebes. Thus Sophocles ... Show more
The leader of the Chorus
Occasionally speaks a few lines addressed mainly to the audience. He is given the final lines of the
play, in which he draws a moral from the sequence of tragic events the audience has just witnessed.
CONFLICT
Protagonist
Antigone is the resolute and strong–willed daughter of King Oedipus. She is determined to give her
brother, Polynices, a decent burial. She consciously risks her life with this action, which violates
both Creon's unjust decree, as well as the ancient custom of denying burial to enemies of the state.
She obeys only the laws of the gods and the dictates of familial loyalty and social decency.
Antagonist
King Creon regards only the requirement of political expediency. Soon after the civil strife between
Eteocles and Polynices ends in their deaths, he announces a decree denying Polynices' burial. He is
unrelenting in his stance, as he wants Thebans to know that he is a firm ruler. Thus he sentences his
own niece, Antigone, to death for defying his law.
Climax
The climax of the play occurs during the encounter between Creon and Antigone. It is a scene
marked by dramatic contrast. Here one can see the incompatibility between Creon's world of
physical power (which he takes to be absolute) and the world of spiritual, idealistic strength which
Antigone represents. Creon's vanity is hurt and his anger aroused by the stubborn disobedience of
one whom he considers to be merely a mad woman.

Rhetorical Analysis Of Harold Pinter 's ' The Room '
INTRODUCTION
I'm convinced that what happens in my plays could happen anywhere, at any time, in any place,
although the events may seem unfamiliar at first glance. If you press me for a definition, I'd say that
what goes in my plays is realistic, but what I'm doing is not realism" (Pinter, Harold Pinter: Plays, 2
ix)
Widely acknowledged as one of the great post–war generation dramatists, Harold Pinter's fame rests
on not only his popular dramas but also on his political activism which is rooted in his concern for
people and their condition in realms which can be termed as social, professional or political. In fact
it can be said that many of his works starting from the early comedies of menace to the later overtly
political plays run ... Show more content on Helpwriting.net ...
This triggers an interrogation as to what prompts Pinter to withhold information from the audience
or to rely on ambiguity. The answer is the illusionary nature of truth. Truth to one can be a lie to
another and to present something as "fact" is highly questionable, owing to the suspicion which
others may have with regard to its authenticity. As Pinter knew that the only thing that can be termed
as close to truth is not the cause but the effects of an action as seen through the naked eye of an
impartial witness, his plays abound in ambiguity regarding the motivations of the characters but
clarity in the depiction of characters' acts of violence and the effect of it on their victims. On a
metaphorical level, the reason why Pinter refrains from revealing his characters' identity and
motivations is that he wants the characters' acts of violence or suffering not to be localized or
restricted to a particular country, state, group or clan. Instead he wants the aggressors' acts of
violence and the victims' suffering to symbolize the despotic acts of all tyrannical rulers or state and
suffering of all abjected or oppressed people in this world consecutively. His plays are a
manifestation of the idea that violence is a universal reality and all acts of violence in the society
such as direct, structural and cultural violence are pathologies or

HAMLET AND ORESTES

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HAMLET AND ORESTES