Rife with death, destruction, and desperation, the plots of Greek tragedies are often considered the darkest genre of theater. However, it is this same sad theme that recurs in one of ancient Greece's best-known works, Aeschylus' Oresteia, which works to represent a distant past not only for today's readers but for the author himself. Starting from the sacrificial killing of Iphigenia, the Oresteia tells of a brutal cycle of revenge and murder, which ends exclusively thanks to the guidance of the gods who help restore order and justice to the city of Argos. Illustrating the human inability to control one's emotions, Aeschylus uses the chorus and theatrical dialogue typical of a tragedy to highlight the terrible consequences of lust, anger, and the desire for honor. Divided into a trilogy of three plays, the stories of Agamemnon, the Libation Bearers, and the Furies describe the barbarity and violence of human nature and our inability as mortals to break the cycle. However, after careful examination of the trilogy, the significance of tragedy as a form of writing begins to emerge, revealing its role as a work that not only tells the story of the Greek transition to democracy but also subtly comments on the culture of Contemporary Greeks Aeschylus. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay After the murders of Agamemnon, Clytemnestra, and both of their lovers, the gods realize the propensity of mortals to continue in an endless series of vicious deeds. Seeing the devastation this could mean for Greek society, the gods take matters into their own hands, fearing that if humanity is allowed to continue down the path of violence, there will be no turning back. Establishing laws to keep society safe, Athena knows that for her efforts to be effective, "citizens must abide by the law [without] deviation", as "pure water can never be drawn once the well has been polluted", suggesting that the Greek people must be willing to accept the new democracy for it to work (Furie, 694-696). In this way, it is up to the Greek government to establish laws and moral guidelines to limit the wrong actions of its people so that its society is not overwhelmed by the turmoil. Noting her success in creating a justice system during Orestes' trial, Athena emphasizes the benefits of this newly formed democracy, claiming to see "a great gain for this city, gentle minds for gentle minds," when the laws "direct this land, [their] city, along the path of justice” and bring peace, compassion and goodness to the hearts of people (Furie, 991-995). Because human nature cannot control itself, the gods are forced to set up a government to do it for them, because without restraint, the darkness of humanity can take over and the cycle of tragedy continues. The power of human emotions in compelling men and women to act is perhaps nowhere more evident than in the murders of Agamemnon and Clytemnestra, demonstrating that no amount of logical thinking can dissuade an emotionally charged mind. Through the use of dialogue rather than narration, Aeschylus puts his characters' thoughts and feelings out in the open, allowing the telling of each line to separate the Oresteia as a tragedy, distinct from epic or comedy. Filled with anger and sadness over the loss of her daughter, Clytemnestra explains to the entire audience her reasons for killing her husband: wasn't he the one who used betrayal and brought ruin on this house? Yes, he suffered, act after act, for what he did to our daughter Iphigenia, hisflesh and blood! (Agamemnon, 1522-1526) By exposing his thoughts to the entire audience, Aeschylus highlights the crazy thinking of humans under great stress. Rather than thinking clearly about the consequences of killing her royal husband, Clytemnestra's grief over the loss of her daughter has blinded her to reason, allowing her to justify an action that would otherwise appear reprehensible. Instead of describing the characters and their actions using a narrator, the Oresteia employs formal dialogue in each of the plays, conveying the emotions of each actor, establishing in the audience a classical connection to the tragedy. Inciting the reader's pity, Aeschylus portrays a heartbroken Orestes, stunned by Agamemnon's death. Upon learning of his mother's crimes, an enraged Orestes feels compelled to avenge his father's murder and is even encouraged by Apollo and the chorus, the latter proclaiming that “Bloody blow pays bloody blow. 'He who acts suffers' goes the thrice-old saying,” advocating that Orestes obtain justice for his father's death, also suggesting that his murderer will suffer for three generations to come (Libation Bearers, 311-313). It is the complete lack of unspoken text in the Oresteia that distinguishes it as a tragedy, demonstrating that just as Clytemnestra felt compelled to take revenge for her daughter's murder, Orestes was driven by his emotions and the influence of others to take revenge of the murder of Agamemnon. death. In this way, Aeschylus highlights the violent tendencies of human nature, emphasizing not only that they occur in an infinite cycle but also that, without the interference of the gods, humans have no power to stop them. As exemplified by the murders of Agamemnon and Clytemnestra, revenge as a justification for killing only leads to more death and destruction since each victim has someone to avenge their death. As such, the bloodshed becomes a never-ending vicious cycle, which humanity knows only the gods can break. Continuing to define his work as a tragedy, Aeschylus uses a chorus present in every work to underline the action of the narrative, expressing its strength. opinion in every situation. Upon learning of Clytemnestra's actions, the chorus declares that she has placed a curse on her family that would last for generations to come. Although Clytemnestra believed that the murder was justified, the chorus knew what would happen: but while Zeus sits on the throne, the transgressor suffers, this is the sacred law. Can the offspring of this curse be driven from the House, or is this family doomed to its own destruction? (Agamemnon, 1563-1566) thus recognizing that wrong actions do not go unpunished and that the actions taken by people will always have consequences for which they will have to pay. Embodying the character of the Furies, goddess of the world who punishes those who commit crimes against the natural order of the world, the Chorus appears in Libation Bearers to highlight the power of the gods, underlining the fear of Orestes, “what mortal man is not terrified , gripped by fear and horror at hearing our sacred law determined by the decree of Destiny? The gods cede this right, it is our ancient prerogative” (Furie, 389-394). In doing so, the Chorus of both Agamemnon and the Furies illustrates the cycle of violence and the human inability to influence it, extrapolating the power of the gods and their effect on traditional Greek society. But it is not just the devices and techniques Aeschylus uses that make his work extraordinary: it is his ability to create a story of the origins of democracy that keeps the Oresteia relevant centuries after its conception. Starting from the tragedies of Agamemnon and Clytemnestra,.