The Queen of Air and Darkness
In the Queen of Air and Darkness Morgause raises four boys. She is not a good
mother, and she does not give her boys a sense of right and wrong. She often ignores
them for days at a time and beats them when they displease her. She acts as if they were
pets rather than human beings, to be loved or not at her convenience . But despite this
common maltreatment, the boys turn out very differently.
Gawaine is the oldest of the boys and in many ways the most normal. He becomes
a knight in Arthur's court, fighting for him loyally. The way in which he is affected by his
upbringing is his rages. When provoked Gawaine goes into a berserk rage in which he
does things he would normally never do. When Gawaine and Agravaine are arguing over
whether or not to write a letter to their father about the knights, Agravaine refuses to say he
is wrong, so Gawaine goes berserk and attacks him. He does not simply beat him, but
chokes him and slams his head against the floor until Gareth pulls him off. If Gareth had
not been there, Gawaine very well might have killed his younger brother. Gawaine even
kills a women when worked up to a rage. These rages are a product of the unhealthy
childhood he endured.
The next child, Agravaine, is probably the least well adjusted of the four. He tends
to be sadistic and self-centered. The children were told the tale of the King of Ireland by
St. Toirdealbhach; the tale where the king gets a head wound and can not be excited, but
then he dies while trying to defend his savior. Agravaine does not see any point in putting
one's self in danger to protect any one else. He says "It was silly, it did no good," because
he does not understand the principal behind the story. He does not understand that there
are things other than yourself worth dying for. Agravaine's sadism is evidenced in the
Unicorn episode. After the boys agree to capture and not kill the unicorn, Agravaine runs
up behind it and begins stabbing it repeatedly. He could not stand that the Unicorn ever
leave him, so by killing it he thinks to own it forever. Agravaine is the boy most like his
mother, in that he can not see past his own interests.
The next child Gaheris, seems to have little personality. He is described as "a stolid
child." More often than not he seems to be just along for the ride. He does not take part
in the arguments. He generally just sits back and watches. When Gawaine goes into a rage
and attacks Agravaine, he does not intercede on either boy's behalf. The only thing he
does in the fight is to take the dirk which had been flung from Agravaine's hand and
ensure that it was not recovered. He seems afraid of action. He prefers to take as passive
a role possible in confrontations. When Agravaine begins killing the unicorn, Gaheris is the
last to come out of hiding. When Gareth starts moaning over it being dead, all Gaheris has
to say is, "Anyway, now its dead." Unlike Gawaine, Gareth is reclusive and hesitant to act.
The final child, Gareth, is by far the kindest. He balances out Agravaine's cruelty
with his good will. When Agravaine is being beat by Gawaine, Gareth saves his life by
pulling Gawaine off him, despite the fact that Gawaine was much larger than him. When
Agravaine kills the Unicorn, Gareth tries to stop him, and he then cries over the unicorn's
death. Gareth seems to have the disposition of a monk. He believes that the King of
Ireland was correct to attempt to save his savior despite his condition. Gareth puts the
welfare of other people before his own.
The four boys, all brought up in the same manner, have different and balancing
features. Gawaine is outgoing and quick to act, but he is balanced by Gaheris who is
reclusive and slow to action. Agravaine is sadistic and selfish, but he is balanced by Gareth
who is kind and generous. They compliment each other and together are stronger than
they can ever be apart.
Thursday, 18 October 2012
Progression of Light in Aeschylus Oresteia
Progression Towards Light
Aeschylus' use of darkness and light as a consistent image in the Oresteia depicts a progression from evil to goodness, disorder to order. In the Oresteia, there exists a situation among mortals which has gotten out of control; a cycle of death has arisen in the house of Atreus. There also exists a divine disorder within the story which, as the situation of the mortals, must be brought to resolution: the Furies, an older generation of gods, are in conflict with the younger Olympian gods because they have been refused their ancient right to avenge murders between members of the same family. The Oresteia presents two parallel conflicts, both of which must be resolved if harmony is ever to be desired again. As one can expect, these conflicts eventually do find their resolutions, and the images of darkness and light accompany this progression, thereby emphasizing the movement from evil to good.
The use of darkness imagery first emerges in the Agamemnon. In this first play of the trilogy, the cycle of death which began with the murder and consumption of Thyestes' children continues with Clytaemestra's murder of Agamemnon and Cassandra. The darkness which is present in the beginning of the story is further magnified by the death of Agamemnon. This is illustrated when Clytaemestra says, "Thus he [Agamemnon] went down, and the life struggled out of him; and as he died he spattered me with the dark red and violent driven rain of bitter savored blood" (lines 1388-1390). Clytaemestra has evilly and maliciously murdered her own husband; thus the image of the dark blood. The darkness is representative of the evil which has permeated the house of Atreus, and which has persisted with this latest gruesome act of murder. Because darkness results from the death of Agamemnon, Aeschylus clearly illustrates that this murder was nothing but pure evil. As long as this type of evil continues to be practiced in the house of Atreus, darkness will continue to emerge. The Oresteia has not yet seen the light.
The beginning of the progression from darkness to light can initially be seen in the second play of the trilogy, The Libation Bearers. Orestes is the embodiment of this light, a beacon signalling a possible end in the evil that has infected the house of Atreus. It is true that Orestes, in revenge for Agamemnon, kills his mother Clytaemestra. Yet the darkness that is expected from such a murder, a matricide, is negated by one of the main reasons that Orestes commits the murder: his fear of the wrath of Apollo, who has ordered him to commit the deadly act. Aeschylus provides Orestes with a justification for his action in the form of the oracle from Apollo. For not only does Orestes' murder of his mother fail to differ greatly from Clytaemestra's murder of Agamemnon, but it can in fact be seen as a worse crime because of the blood ties. Therefore, in order to convincingly prove his assertion that Orestes is justified in killing his mother, Aeschylus must include the order from Apollo, who by no mere coincidence is the god of light. With the divine support of the light god on his side, Orestes is the beginning of the progressive illumination towards goodness and order in the Oresteia.
Another example of Orestes' introduction of light into a story of darkness occurs later in The Libation Bearers. The chorus is describing the dream that Clytaemestra has had of giving birth to a snake, which represents Orestes. The chorus sings of Clytaemestra's fear as she awakens from the nightmare: "She woke screaming out of her sleep, shaky with fear, as torches kindled all about the house, out of the blind dark that had been on them" (lines 535-537). Aeschylus describes the house of Clytaemestra, the rightful house of Atreus and the Atridae, as dark; this darkness has been caused by none other than her own murderous deeds. She has dreamt of the coming of her son Orestes to avenge his father, and the torches that light up the house signal this coming. Clearly, Orestes is the man who will restore light to the house of Atreus.
Orestes is looked upon by those characters sympathetic to his plight (namely Electra and the chorus of The Libation Bearers) as the light which will bring an end to the evil in the house of Atreus. Soon after Orestes reveals his identity to his sister, he proclaims that he will avenge his father's murder. The chorus, who represent the subjects of the late Agamemnon, express their gratitude for Orestes' decision when they say, "But when strength came back hope lifted me again, and the sorrow was gone and the light was on me" (lines 415-417). Orestes' arrival and his resolution to make his mother pay for her crimes illuminates the darkness which Clytaemestra has brought upon the royal house; the chorus, in proclaiming that the light is on them, recognize that Orestes is the man who will achieve this illumination. Electra also recognizes that Orestes will bring good to an evil situation: "O bright beloved presence, you bring back four lives to me" (lines 238-239). Orestes' presence brightens the dark, gloomy state of mind of Electra just as it brightens the dark, gloomy situation in the house of Atreus.
Following the murder of Clytaemestra and Aegisthus at the hands of Orestes, light is finally restored to the conflict within the mortal house of Atreus. Orestes has fulfilled the oracle imposed upon him by Apollo, and the darkness, the evil of Clytaemestra, has been defeated. In reference to this defeat, the chorus proclaims, "Light is here to behold. The big hit that held our house is taken away" (lines 961-962). The disorder and darkness that had reigned in the house of Atreus exists no longer; Orestes has given his family illumination. The evil darkness has been overcome by the good light.
Another way in which Aeschylus manifests the imagery of light and darkness is through the conflict between the Olympic and Chthonic gods. The Olympic gods are represented in the Oresteia by Apollo and Athene. Aeschylus ties together the ideas of justice and reason, Athene's domain, with the idea of light, of which Apollo is god. By contrast, the black clad Chthonic gods, the Furies, tie together the idea of darkness with the idea of bloody revenge, which is their area of specialization. In the Eumenides, Pythia says of the Furies, "They are black and utterly repulsive, and they snore with breath that drives one back" (lines 52-53). The contrast between the two different races of gods sets up Aeschylus' second progression from darkness to light in the Oresteia.
The Furies are at first incapable of treating Orestes with the justice that he deserves. They do not take into account the circumstances under which Orestes killed his mother, specifically the pressure which he had received from Apollo. Therefore, the Furies are at first enraged that Athene allows Orestes to escape their dark and bloody vengeance. Eventually, however, the Furies' hate begins to subside and they accept the arbitration of Athene, who offers them land and honor in Athens. This acceptance marks the beginning of their movement from darkness to light. They embrace the just attitude of the Olympic gods Apollo and Athene, progressing from a doctrine of bloody revenge to one of reason and justice. The light images emerge along with this progression, and the Furies proclaim near the end of the Eumenides: "So with forecast of good I speak this prayer for them [the citizens of Athens] that the sun's bright magnificence shall break out wave on wave of all the happiness life can give , across their land" (lines 921-925). The Chthonic gods have given up their dark ways and have called for light. This light image is also manifested in the garments that the Furies change into at the end of the Eumenides: where they had previously worn black robes, they now wear bright crimson robes. Now calling themselves the Eumenides, or Benevolent Ones, these gods have progressed from symbols of evil darkness into symbols of bright goodness.
In his trilogy the Oresteia, Aeschylus' use of darkness and light imagery coincides with his progression of themes. Orestes, who represents light, brings and end to the vicious cycle of dark death continued by Clytaemestra. He illuminates the dark evil in the house of Atreus. Likewise, Athene and Apollo bring the Furies out of their dark, blood-lusting ways and into an order of justice and reason, transforming them into the brightly clad Benevolent Ones. In the end, goodness prevails over evil just as light conquers darkness. Aeschylus effectively makes use of his images to emphasize this movement.
Aeschylus' use of darkness and light as a consistent image in the Oresteia depicts a progression from evil to goodness, disorder to order. In the Oresteia, there exists a situation among mortals which has gotten out of control; a cycle of death has arisen in the house of Atreus. There also exists a divine disorder within the story which, as the situation of the mortals, must be brought to resolution: the Furies, an older generation of gods, are in conflict with the younger Olympian gods because they have been refused their ancient right to avenge murders between members of the same family. The Oresteia presents two parallel conflicts, both of which must be resolved if harmony is ever to be desired again. As one can expect, these conflicts eventually do find their resolutions, and the images of darkness and light accompany this progression, thereby emphasizing the movement from evil to good.
The use of darkness imagery first emerges in the Agamemnon. In this first play of the trilogy, the cycle of death which began with the murder and consumption of Thyestes' children continues with Clytaemestra's murder of Agamemnon and Cassandra. The darkness which is present in the beginning of the story is further magnified by the death of Agamemnon. This is illustrated when Clytaemestra says, "Thus he [Agamemnon] went down, and the life struggled out of him; and as he died he spattered me with the dark red and violent driven rain of bitter savored blood" (lines 1388-1390). Clytaemestra has evilly and maliciously murdered her own husband; thus the image of the dark blood. The darkness is representative of the evil which has permeated the house of Atreus, and which has persisted with this latest gruesome act of murder. Because darkness results from the death of Agamemnon, Aeschylus clearly illustrates that this murder was nothing but pure evil. As long as this type of evil continues to be practiced in the house of Atreus, darkness will continue to emerge. The Oresteia has not yet seen the light.
The beginning of the progression from darkness to light can initially be seen in the second play of the trilogy, The Libation Bearers. Orestes is the embodiment of this light, a beacon signalling a possible end in the evil that has infected the house of Atreus. It is true that Orestes, in revenge for Agamemnon, kills his mother Clytaemestra. Yet the darkness that is expected from such a murder, a matricide, is negated by one of the main reasons that Orestes commits the murder: his fear of the wrath of Apollo, who has ordered him to commit the deadly act. Aeschylus provides Orestes with a justification for his action in the form of the oracle from Apollo. For not only does Orestes' murder of his mother fail to differ greatly from Clytaemestra's murder of Agamemnon, but it can in fact be seen as a worse crime because of the blood ties. Therefore, in order to convincingly prove his assertion that Orestes is justified in killing his mother, Aeschylus must include the order from Apollo, who by no mere coincidence is the god of light. With the divine support of the light god on his side, Orestes is the beginning of the progressive illumination towards goodness and order in the Oresteia.
Another example of Orestes' introduction of light into a story of darkness occurs later in The Libation Bearers. The chorus is describing the dream that Clytaemestra has had of giving birth to a snake, which represents Orestes. The chorus sings of Clytaemestra's fear as she awakens from the nightmare: "She woke screaming out of her sleep, shaky with fear, as torches kindled all about the house, out of the blind dark that had been on them" (lines 535-537). Aeschylus describes the house of Clytaemestra, the rightful house of Atreus and the Atridae, as dark; this darkness has been caused by none other than her own murderous deeds. She has dreamt of the coming of her son Orestes to avenge his father, and the torches that light up the house signal this coming. Clearly, Orestes is the man who will restore light to the house of Atreus.
Orestes is looked upon by those characters sympathetic to his plight (namely Electra and the chorus of The Libation Bearers) as the light which will bring an end to the evil in the house of Atreus. Soon after Orestes reveals his identity to his sister, he proclaims that he will avenge his father's murder. The chorus, who represent the subjects of the late Agamemnon, express their gratitude for Orestes' decision when they say, "But when strength came back hope lifted me again, and the sorrow was gone and the light was on me" (lines 415-417). Orestes' arrival and his resolution to make his mother pay for her crimes illuminates the darkness which Clytaemestra has brought upon the royal house; the chorus, in proclaiming that the light is on them, recognize that Orestes is the man who will achieve this illumination. Electra also recognizes that Orestes will bring good to an evil situation: "O bright beloved presence, you bring back four lives to me" (lines 238-239). Orestes' presence brightens the dark, gloomy state of mind of Electra just as it brightens the dark, gloomy situation in the house of Atreus.
Following the murder of Clytaemestra and Aegisthus at the hands of Orestes, light is finally restored to the conflict within the mortal house of Atreus. Orestes has fulfilled the oracle imposed upon him by Apollo, and the darkness, the evil of Clytaemestra, has been defeated. In reference to this defeat, the chorus proclaims, "Light is here to behold. The big hit that held our house is taken away" (lines 961-962). The disorder and darkness that had reigned in the house of Atreus exists no longer; Orestes has given his family illumination. The evil darkness has been overcome by the good light.
Another way in which Aeschylus manifests the imagery of light and darkness is through the conflict between the Olympic and Chthonic gods. The Olympic gods are represented in the Oresteia by Apollo and Athene. Aeschylus ties together the ideas of justice and reason, Athene's domain, with the idea of light, of which Apollo is god. By contrast, the black clad Chthonic gods, the Furies, tie together the idea of darkness with the idea of bloody revenge, which is their area of specialization. In the Eumenides, Pythia says of the Furies, "They are black and utterly repulsive, and they snore with breath that drives one back" (lines 52-53). The contrast between the two different races of gods sets up Aeschylus' second progression from darkness to light in the Oresteia.
The Furies are at first incapable of treating Orestes with the justice that he deserves. They do not take into account the circumstances under which Orestes killed his mother, specifically the pressure which he had received from Apollo. Therefore, the Furies are at first enraged that Athene allows Orestes to escape their dark and bloody vengeance. Eventually, however, the Furies' hate begins to subside and they accept the arbitration of Athene, who offers them land and honor in Athens. This acceptance marks the beginning of their movement from darkness to light. They embrace the just attitude of the Olympic gods Apollo and Athene, progressing from a doctrine of bloody revenge to one of reason and justice. The light images emerge along with this progression, and the Furies proclaim near the end of the Eumenides: "So with forecast of good I speak this prayer for them [the citizens of Athens] that the sun's bright magnificence shall break out wave on wave of all the happiness life can give , across their land" (lines 921-925). The Chthonic gods have given up their dark ways and have called for light. This light image is also manifested in the garments that the Furies change into at the end of the Eumenides: where they had previously worn black robes, they now wear bright crimson robes. Now calling themselves the Eumenides, or Benevolent Ones, these gods have progressed from symbols of evil darkness into symbols of bright goodness.
In his trilogy the Oresteia, Aeschylus' use of darkness and light imagery coincides with his progression of themes. Orestes, who represents light, brings and end to the vicious cycle of dark death continued by Clytaemestra. He illuminates the dark evil in the house of Atreus. Likewise, Athene and Apollo bring the Furies out of their dark, blood-lusting ways and into an order of justice and reason, transforming them into the brightly clad Benevolent Ones. In the end, goodness prevails over evil just as light conquers darkness. Aeschylus effectively makes use of his images to emphasize this movement.
Pallas Athene versus Minerva
Pallas Athene Versus Minerva
The Goddess Athena has been an incredibly well-liked mythological character for centuries because of her complex personality and the values which are taught through her actions. The powerful Goddess has been generally thought of as being the same person in both Greek and Roman stories alike, but this is not true. Athena was looked upon and spoken of very differently in Roman and Greek myths, though she remains with the same basic personality traits in both cultures.
Rome acquired it's stories of mythology and religion from the Italians (who
derived their beliefs from the Greeks), and therefore most of the myths of deities were the same as the Greeks', but with a few changes. The Italians also gave the Romans stories of Diana, Hercules, Venus, and a few minor characters. The Greeks came about with their Gods from past ancient cultures, weaving in some of their own characteristics as time went on.
Pallas Athena (the name Pallas being that of her best friend, whom she accidentally killed while practicing with spears) in both cultures is the patron Goddess of arts and crafts, weaving, the olive tree, overseer of Athens, and especially of Wisdom/War. Because the Greek culture was one of intelligence, sophistication and knowledge, Their version of Athena was mainly of a logical and sensible person, who would avoid a fight if possible. The Romans, who were a society of warlike men, focused on Minerva's war capabilities and short temper. Both cultures focused on the parts of the Gods which were most like themselves and best suited their needs.
For the Greeks, the Gray-Eyed Goddess was not associated with specific people except for Her rivals. The Romans, however, formed a group of Immortals into the Capitoline triad, consisting of Jupiter, Juno and Minerva. These three assumed a supreme place in the Roman religion, acting like a Jury of Watchers over the mortals. The Romans built a temple in honor of the Triad, named the Temple of Jupiter Capitolinus, which was built in 509 BC.
In conclusion, I have been able to see how these two civilizations have viewed one part of their religion and why they do so. There were logical reasons for their viewing of Athene, most of which were based on their strengths as a group. Romans respected her as a powerful Goddess of war which watched over them was they went into battle, while the Greeks saw her as a thoughtful judge who guided them in their adventures. The Romans warped the Greek's beliefs into ideas and concepts which they could relate to better, and which everyone could have a firm grasp on because of it. This project was helpful to me in both teaching me about this specific Heroine and also about why cultures act as they do.
The Goddess Athena has been an incredibly well-liked mythological character for centuries because of her complex personality and the values which are taught through her actions. The powerful Goddess has been generally thought of as being the same person in both Greek and Roman stories alike, but this is not true. Athena was looked upon and spoken of very differently in Roman and Greek myths, though she remains with the same basic personality traits in both cultures.
Rome acquired it's stories of mythology and religion from the Italians (who
derived their beliefs from the Greeks), and therefore most of the myths of deities were the same as the Greeks', but with a few changes. The Italians also gave the Romans stories of Diana, Hercules, Venus, and a few minor characters. The Greeks came about with their Gods from past ancient cultures, weaving in some of their own characteristics as time went on.
Pallas Athena (the name Pallas being that of her best friend, whom she accidentally killed while practicing with spears) in both cultures is the patron Goddess of arts and crafts, weaving, the olive tree, overseer of Athens, and especially of Wisdom/War. Because the Greek culture was one of intelligence, sophistication and knowledge, Their version of Athena was mainly of a logical and sensible person, who would avoid a fight if possible. The Romans, who were a society of warlike men, focused on Minerva's war capabilities and short temper. Both cultures focused on the parts of the Gods which were most like themselves and best suited their needs.
For the Greeks, the Gray-Eyed Goddess was not associated with specific people except for Her rivals. The Romans, however, formed a group of Immortals into the Capitoline triad, consisting of Jupiter, Juno and Minerva. These three assumed a supreme place in the Roman religion, acting like a Jury of Watchers over the mortals. The Romans built a temple in honor of the Triad, named the Temple of Jupiter Capitolinus, which was built in 509 BC.
In conclusion, I have been able to see how these two civilizations have viewed one part of their religion and why they do so. There were logical reasons for their viewing of Athene, most of which were based on their strengths as a group. Romans respected her as a powerful Goddess of war which watched over them was they went into battle, while the Greeks saw her as a thoughtful judge who guided them in their adventures. The Romans warped the Greek's beliefs into ideas and concepts which they could relate to better, and which everyone could have a firm grasp on because of it. This project was helpful to me in both teaching me about this specific Heroine and also about why cultures act as they do.
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