The Libation Bearers
Introduction
The Libation Bearers (Χοηφόροι, Choēphóroi) is the second play in the Oresteia trilogy by the ancient Greek playwright Aeschylus. The trilogy, which also includes Agamemnon and The Eumenides, is a cornerstone of ancient Greek literature and drama. The Libation Bearers continues the story of the House of Atreus, focusing on the themes of revenge, justice, and the influence of the divine.
Plot Summary
The Libation Bearers opens with Orestes, the son of Agamemnon and Clytemnestra, returning to Argos after years of exile. Orestes has been commanded by the god Apollo to avenge his father's murder. Agamemnon was killed by Clytemnestra and her lover, Aegisthus, in the first play of the trilogy.
The Tomb of Agamemnon
The play begins at Agamemnon's tomb, where Orestes meets his sister Electra. Electra has come to the tomb to pour libations, as ordered by Clytemnestra, who is troubled by ominous dreams. The siblings recognize each other and join forces to avenge their father's death. They are supported by the Chorus of slave women, who also despise Clytemnestra and Aegisthus.
The Plan
Orestes and Electra devise a plan to kill Clytemnestra and Aegisthus. Orestes will enter the palace disguised as a messenger, claiming that he has news of his own death. This ruse allows him to gain entry to the palace without arousing suspicion.
The Murder of Aegisthus
Once inside the palace, Orestes reveals his true identity and kills Aegisthus. This act of vengeance is portrayed as a necessary but morally complex action. The Chorus and Electra support Orestes, but the act of matricide that follows is fraught with emotional and ethical dilemmas.
The Murder of Clytemnestra
Orestes confronts Clytemnestra, who pleads for her life. Despite his initial hesitation, Orestes is reminded of Apollo's command and the need to avenge his father. He kills Clytemnestra, fulfilling his duty but also setting in motion a cycle of retribution that will continue in the final play of the trilogy, The Eumenides.
Themes
The Libation Bearers explores several profound themes, including:
Revenge and Justice
The play delves into the complexities of revenge and justice. Orestes' actions are driven by a sense of duty and divine command, but they also raise questions about the morality of vengeance and the consequences of perpetuating a cycle of violence.
The Role of the Gods
The influence of the gods, particularly Apollo, is a significant theme. Orestes' actions are guided by divine will, highlighting the tension between human agency and divine intervention. The play also foreshadows the role of the Furies in The Eumenides, who will pursue Orestes for the crime of matricide.
Family and Loyalty
The play examines the bonds of family and loyalty. Orestes and Electra's alliance against their mother underscores the tragic conflict between familial duty and moral integrity. The House of Atreus is depicted as a family cursed by a history of betrayal and murder.
Characters
Orestes
Orestes is the protagonist, driven by a sense of duty to avenge his father's murder. His character embodies the struggle between personal morality and divine command.
Electra
Electra is Orestes' sister, who shares his desire for vengeance. She is a pivotal character, representing loyalty to her father and the quest for justice.
Clytemnestra
Clytemnestra is the queen of Argos and the murderer of Agamemnon. Her character is complex, as she is both a loving mother and a ruthless killer.
Aegisthus
Aegisthus is Clytemnestra's lover and co-conspirator in Agamemnon's murder. He is depicted as a usurper and a coward.
The Chorus
The Chorus of slave women provides commentary on the events of the play. They represent the voice of the common people and the moral conscience of the narrative.
Literary Significance
The Libation Bearers is a critical work in the context of ancient Greek drama. It exemplifies the use of tragedy to explore complex moral and ethical issues. Aeschylus' use of dramatic irony, character development, and thematic depth has influenced countless works of literature and drama.
Performance History
The play was first performed at the Dionysia festival in 458 BCE. It has since been staged numerous times, both in ancient and modern contexts. Notable productions have explored various interpretations of the themes and characters, reflecting the play's enduring relevance.
See Also
References
- Aeschylus. The Oresteia. Translated by Robert Fagles. Penguin Classics, 1979.
- Goldhill, Simon. Aeschylus: The Oresteia. Cambridge University Press, 1992.
- Sommerstein, Alan H. Aeschylus: The Libation Bearers. Cambridge University Press, 1989.