In this way, Clytemnestra’s behavior is very much like Helen’s, as both women are initially pleasing to their husbands but are in fact brides who bring destruction. One might expect these to be a woman’s shouts, perhaps Cassandra’s, since she has just barely crossed the threshold. The delicacy and levity of the previous lines slowly unravels and finally, Helen’s true nature is revealed: a Fury, a “bride who brings weeping.” The τέλος of marriage/death has a prominent place in this passage too, as the lion’s deceptively tame youth is called the προτελείοις (“preliminary rituals”) of its life (, The paradigm for this trope, and perhaps for the bride of destruction more specifically, is Pandora, “the Deathly Bride who brings calamity.”. She is pictured as “a spirit / of windless calm, / a delicate ornament of wealth, / a gentle dart of the eyes, a flower of desire that bites the heart” (Ag. [xxx] Indeed, after Agamemnon’s murder, the chorus repeatedly expresses their shock, not merely at his death, but at the fact that a woman perpetrated it. Both the imagery and the symbolic wedding, of course, will be subverted in Cassandra’s case as it was in Iphigenia’s. 720). Froma Zeitlin, “The Dynamics of Misogyny: Myth and Mythmaking in the ‘Oresteia,’”Arethusa 11 (1978), 159. This is motif, which receives ample attention in tragedy, is drawn from the peculiarities of Ancient Greek marital and funereal traditions, between which there was a great deal of similarity. That Cassandra is the next bridal figure to appear in Agamemnon would be immediately apparent to Greek audiences from her entrance. [xxiii]. To her alone were dedicated the mysteries celebrated at Athens in the month of Her name has numerous historical variants. The image of that infamous jar is even conjured up by Aeschylus when his chorus tells of the funerary urns sent home to wives of soldiers who died fighting for Helen in Troy (. The marital vocabulary surrounding brides of death is just as pronounced when applied to brides of destruction. In terms of the language used to describe these fabrics, it is not unlikely that they are a type of clothing, given that they are referred to as εἵματα (Ag. Aeschylus’ brides of destruction, Helen and Clytemnestra, bring ruin through their marriages, the … The bath in which Clytemnestra trapped and killed her husband recalls the ritual bathing of the bride and groom in Athenian weddings. The same mixture of sacrificial and marital imagery from Iphigenia’s death at the hands of Agamemnon persists with Cassandra’s at the hands of Clytemnestra. Also known as Cert or Cernobog, this “dark master” was the god of night, chaos, misfortune, and winter, generating all the evils around the world. As she got to the other side, the traffic noise quietened and she took in everything that was within the gates that could not be seen from the other side. Once Agamemnon does enter the house, cries ring out. Clytemnestra is no exception, for her disruption of marriage comes alongside an illicit affair with Aegisthus. The wife is again the instrument of ruin. Persephone looked up. Ten feet tall stone walls, the colour of sandstone. The unfortunate boy is described as ἀμφιθαλῆ (Ag. What might be a very positive marital element is here inverted. In fact, girls who died before they could be married were buried in their wedding clothes and given the title “brides of Hades.”. Richard Seaford, “The Tragic Wedding,”. [xvii]. "Stupid question, I have no idea, but I ran into a cyclops at the park though, and it would've killed me if it weren't for Persephone here.". #protective We have decided that one name for sure will be "Persephone"..It means "Bringer of Destruction".So now I really want a name that mean "Bringer of Peace"..Kind of like opposites. Nicole Loraux, Tragic Ways of Killing a Woman (Cambridge: Harvard University Press, 1987), 36. [vii]. [xix] The same mixture of sacrificial and marital imagery from Iphigenia’s death at the hands of Agamemnon persists with Cassandra’s at the hands of Clytemnestra. 923) could suggest a ritual function. She is pictured as “a spirit / of windless calm, / a delicate ornament of wealth, / a gentle dart of the eyes, a flower of desire that bites the heart” (, The slow progression of the sentence, delaying the subject until the very end, replicates in its very form the revelation that it describes. The delicacy and levity of the previous lines slowly unravels and finally, Helen’s true nature is revealed: a Fury, a “bride who brings weeping.” The τέλος of marriage/death has a prominent place in this passage too, as the lion’s deceptively tame youth is called the προτελείοις (“preliminary rituals”) of its life (Ag. Last year it ranked 1,075th in the U.S. Social Security Administration list of most popular baby girl names. The τέλος of death reappears when the chorus describes Helen as bedecking herself with a “final” (τελέαν, Ag. highest rankings - #1 in greek, god, greek mythology, hades, hecate, olympus However, Itys is not a fortunate παῖς ἀμφιθαλής with two living parents. There is the perversion of marriage iconography that would normally evoke positive associations of social harmony generally, as well as the marked reversal of gender order more specifically in Clytemnestra’s gender transgressive behavior, Brides of Destruction: Helen and Clytemnestra. 1459) crown upon Agamemnon’s death. [xxvi] The convention is meant to encourage purification and fertility, but here becomes the very scheme by which Agamemnon meets his doom. Although the thematic connection here is still, as with the bride of death, between death and marriage, there is a crucial difference in the way Aeschylus treats Helen. 1144), a word that literally means “blooming on both sides” but is usually used to denote that both of a child’s parents are living. Fire Goddesses From around the World. "Are all the cabins filled?" Hades was the eldest son of Cronus and Rhea, although the last son regurgitated by his father. "The Marriage of Cassandra and the Oresteia: Text, Image, Performance". These are the Goddesses of creation and destruction. [viii]. Brides-to-be meet untimely deaths and men are laid low by ruinous marriages. Macklemore, you're car is totally hostile man! The girl got out of the car and began walking, the sword at on her back in a holster. [xxvii] In fact, when Cassandra alludes to the infidelities in the house of Atreus’ history, she describes Thyestes as “trampling” (πατοῦντι, Ag. Lynda McNeil, in her article “Bridal Cloths, Cover-ups, and Kharis: The ‘Carpet Scene’ in Aeschylus’ Agamemnon,” takes the perversion of marital tradition one step further. 227). 745, 908, 934, 974, 1459; Cho. "You get claimed by your godly parentage. Chiron easily possessed a fatherly vibe that was comforting to all of the demigods at the school, and Persephone found herself smiling back at him before taking her leave. #greekmythology Along with being a bringer of spring, she is also the queen of the Underworld, bringer of death. [xix]. "I'm so confused, what is this?" He is an ill-omened child whose parents both had a hand in his death, a death that reminds the audience of Thyestes’ children who met with the same fate. 1178- 1179). 707) that “honors the bride” (νυμφότιμον, Ag. The walked up to the large 'U' building and went in, beginning to go upstairs. Clytemnestra, claiming to speak as the daimon, points to Agamemnon as her “full-grown” sacrificial victim (τέλεον, Ag. 1504). Ratchford. Of brides and marriage in Greek literature, Richard Seaford wrote that “wedding ritual in tragedy tends to be subverted,”, This maxim certainly holds true of Aeschylus’. Brides of Destruction: Helen and Clytemnestra. 1065). [xiv] The entire episode is heavy with the “vocabulary of leading.”[xv]. Persephone looked right and the wall continued to go till she couldn't see it anymore, and the same with the left side. [xi] In Iphigenia’s case, removing a veil would amount to a subverted anakalupteria, or “lifting of the veil,” the point in the Athenian wedding ritual where the bride’s veil is pushed aside so that she can look at her groom. [iv] The pathos comes from more than just a gloomy reversal. Clytemnestra asserts, triumphing over Agamemnon’s corpse, that her husband had little regard for Iphigenia’s fate, which he treated “just like the death of a beast” (ὡσπερεὶ βοτοῦ μόρον. Multivalent animal vocabulary returns when both the chorus and Clytemnestra compare Cassandra to untamed beasts. Although this kind of bride is not nearly as prominent of a type character in the rest of tragedy as the bride of death, in Agamemnon it plays a powerful role in both exemplifying and reinforcing the disorder that dominates the tragedy. Because of her mother’s grief, Zeus permitted Persephone to spend four months of the year in the house of Hades… Aeschylus takes just this approach in the. Paula Debnar argues that Clytemnestra “metaphorically violates [Cassandra] – behind the, Such a complex role, that of insulted wife as well as bridegroom’s mother and consummator of the marriage, is particularly fitting for Clytemnestra, a woman with an ἀνδρόβουλον κέαρ (“a heart that gives counsel like a man,”, The parable of the lion and its comparison to Helen further explores the destructive reversal she brought about at Troy, highlighting the dissonance between pleasing initial appearance and dangerous reality. This myth is not meant to be the Ancient Greek beauty and the beast. Although Aeschylus does not explicitly name Iphigenia as a bride-to-be in his portrayal of her sacrifice, his choice of imagery would bring to mind other versions of the myth in which she is lured to Aulis on the pretense of marriage to Achilles. [xiii] Iphigenia is made to bestow upon the accomplices to her sacrifice a glance that should have been reserved for her husband. "Nah, not all gods have kids, like Artemis, she's a virgin goddess, Hades who has just never had a kid for some reason and Hera who would never cheat on Zeus.". #jealousy Thus, in Agamemnon, the wedding gone wrong becomes symbolic of disorder in systems of gender, politics, and even justice. But the Kings and the Olympian's cabins are at the front." John Howard Oakley and Rebecca H. Sinos, . "Come on," Carmine gestured for her to come closer, and when she did, she grabbed Perpsephone's hand and pulled her into the gates, and they passed through to the other side. Richard Seaford, “The Tragic Wedding,” The Journal of Hellenic Studies 107 (1987), 106. Oakley and Sinos, The Wedding in Ancient Athens, 15. In fact, girls who died before they could be married were buried in their wedding clothes and given the title “brides of Hades.”[iii] The abundant resembling and intermingling of these two rites of passage, marriage and death, inspired writers to create their own literary brides of Hades, young women whose expected marriages are wrenched away and supplanted by their deaths. "Bridal Cloths, Cover-ups, and Kharis: The 'Carpet Scene' in Aeschylus' Agamemnon." [xxix]. Oakley, John Howard, and Rebecca H. Sinos. The name Persephone means Bringer Of Destruction and is of Greek origin. . Oakley and Sinos, The Wedding in Ancient Athens, 27. [ix]. She is noted as being rather short in stature. Clytemnestra is no exception, for her disruption of marriage comes alongside an illicit affair with Aegisthus. According to "The Greek Myths" by Robert Graves, "Persephone means "bringer of destruction", while "Persephatta" means "she who tells of destruction" or "destructive dove". Although Aeschylus does not explicitly name Iphigenia as a bride-to-be in his portrayal of her sacrifice, his choice of imagery would bring to mind other versions of the myth in which she is lured to Aulis on the pretense of marriage to Achilles. [xxix] That Agamemnon is uttering these cries puts him in a feminized position and that Clytemnestra is the figurative penetrator who causes Agamemnon to cry out puts her in a masculinized one.

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