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Before this, characters interacted only with the chorus. Only seven of his estimated seventy to ninety plays have survived. There is a long-standing debate regarding the authorship of one of these plays , Prometheus Bound. Some believe that his son Euphorion wrote it. Fragments from other of Aeschylus' plays have survived in quotations, and more continue to be discovered on Egyptian papyrus. These fragments often give further insights into Aeschylus' work. His Oresteia is the only extant and ancient example. This work, The Persians , is one of very few classical Greek tragedies concerned with contemporary events, and the only one extant. Despite this, Aeschylus's work — particularly the Oresteia — is generally acclaimed by modern critics and scholars. Reflection Of Agamemnon

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Responding to the great bloodshed of young men, women, and virgins he experienced during the Peloponnesian War, Euripides exposes the horrors of war and its damaging effects on humans, particularly on women, in his war plays. Moreover, his war plays examine who suffers most from the Reflechion of war and what becomes of humans as a result. His plays are, therefore, esoteric Reflection Of Agamemnon on the tragic consequences of the Peloponnesian War as well as reflections on the importance of pity to bring healing and peace to a battered and bloodied world. Euripides was no proto-feminist though contemporary feminist readings often misconstrue the gynocentric nature of his plays. Euripides often depicted women as nymphomaniacs, and Aristophanes Refleftion this side of Euripides in Thesmophoriazusae. However, Euripides was not without a strong sense of empathy for the plight of women. After all, it is from his pen that we see the plight of women in war. The Trojan Women was written on the eve of the source which would ultimately bring about the downfall of Athens: the Sicilian Expedition.

The play may have very well been an appeal for peace. After all, Euripides loathed war and exposed its naked hollowness in his plays which do not focus on the Trojan War itself but its disastrous consequences for Reflection Of Agamemnon involved.

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In the war plays a haunting image recurs: the separation of child from mother—from her arms or womb—which ends in death. Astyanax is ripped from the arms of Andromache. Iphigenia releases herself from the warm arms of her mother. Polyxena is also taken away from Hecuba.

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In its more brutal form, Agave butchers her own son at the dramatic conclusion of the Bacchaeand Medea slaughters her children after having smothered them in a coldly affectionate embrace. Iphigenia in Aulis conveys the image of a voluptuous woman being whisked away by lustful force.

In his opening monologue, Agamemnon speaks of how the Greek army had assembled at Aulis. Helen is taken away from the bedchambers and arms of Menelaus, thus sparking the Trojan War. The Reflection Of Agamemnon choral ode reminds us of the lust-infested environment of the Trojan War. Helen is the offspring of a rape. She is the daughter of Leda, thanks to the advances of Zeus.

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If the story they tell is true that the swan was really Zeus; Reflection Of Agamemnon is this only fable culled from poetic annals not worth knowing? The master ironist ends with a poetic twist. Euripides suggests that it is. Not only is Helen taken away by Paris by force, but Helen herself was the offspring of a forceful advances of a high god onto a princess. Lust knows no boundaries; likewise, war knows no boundaries. What was conceived in lust will bring lust and, ultimately, misery.

They will kill my daughters in Argos. They will kill you and me if I break my pact with Artemis. Earlier he had said she had fallen in love with Paris and seemingly joined with him on her own free will. Helen, though, is not without blame.]