Ancient Greece was known for their propensity to bring upon justice in a way that is not morally relevant to many readers today. During Aeschylus’ lifetime life in Athens was organized under the rule of a tyrant, and since democracy had not been developed, justice was achieved through cycles of severe punishment typically ending in death. Because Athens at this time operated under Draconian Law the majority of one’s offenses were punishable by death. We see many examples within Greek tragedies where the roles between hero and villain conflict with our contemporary perceptions and ability to distinguish right from wrong. As readers, we must learn to adapt and expand our capacity to experience while reading these tragedies in order to understand why characters may actually be justified in their actions. In the tragedy Agamemnon, there are two contrasting ways to interpret the role of Clytemnestra, but we must detach ourselves and inspect her character apart from absolutism. There exist readers who will judge her as the villain and others will consider her a heroine, but with a thorough inspection of her complex character as a woman, one will notice that she operates with a uniform integrity and moral strength in order to achieve fundamental justice within the given the context. Whereas Agamemnon moral conduct can be disputed due to his inherent bias.

Like many other Athenian tragedies, the chorus in Agamemnon serves a very important function as spectators through the play, but the main difference is their active participation in the drama. Not only do they narrate the play, they actively engage with the characters and surprisingly offer their direct judgement in the condemnation of Clytemnestra. In the very beginning of the play the chorus offers readers outside information that answers any preconceived questions the readers may have about the tragedy:

all for a woman manned by many

the generations wrestle, knees

grinding the dust, the manhood drains,

the spear snaps in the first blood rites

that marry Greece and Troy (page 657, lines 68-72).

This piece of the choral monologue is very important because it discloses the root of the feud. Agamemnon as the brother of Helen’s husband has traveled to Troy leading a Greek army against the Trojans in war in order to restore their reputation and retrieve Helen, a disloyal wife.

Later readers soon become familiar with the ultimatum Agamemnon was faced with in order to return home to Troy. He had sacrificed his own daughter Iphigenia in order to summon a wind that helped his ship sail to troy (page 662; line 249). But supposedly this righteous man and his army had also failed to offer sacrifice or respect to the Gods at the temple of troy (page 664; line 344). Agamemnon’s actions are inconsistent. He has put himself and his army forward to fight a war over an infidelity affair that does not concern him and as his journey progressed he murdered his daughter in order to return home, why then does he fail to simply humble himself at the temples, but will inconvenience himself and kill his kin? He is blinded by great reward and flattery and has put his family second. He does not understand balance and the ancient requirement to stay modest or suffer consequences of too much fortune.

One of the first instances of dramatic irony is the revelation of Agamemnon’s misfortune spoken by the chorus:

God takes aim

at the ones who murder many;

the swarthy Furies stalk the man

gone rich beyond all rights—with a twist

of fortune grind him down, dissolve him

into the blurring dead—there is no help.

The reach for power can recoil (page 667; lines 455-461).

The chorus supplies a foreshadowing and is implying that Agamemnon is guilty of attaining too much fortune too quickly and is bound to face disaster. They are not direct but are also correct in their judgement by reiterating the fundamental law death is punishable by death. He cannot live short of adoration and tribute and willing to fight for it which is an example of him failing to be modest. There is an instance where the chorus seems to contradict itself by saying, “Only the reckless act can breed impiety, multiplying crime on crime, while the house kept straight and just is blessed with radiant children” (page 675; lines 751-754). This can be interpreted as a reference to Agamemnon and Clytemnestra’s household, in the fact that it is no longer blessed with radiant children since Agamemnon had slain Iphigenia. It should also be noted that the chorus has contradicted itself. Earlier they note the belief that immodesty ends disastrously, but here they supposedly believe that only evil acts can bring about evil consequences. Aeschylus may have written this intentionally to display inconsistency in the chorus’ beliefs, whereas you cannot find Clytemnestra’s oscillating between ways of thought. Given the time period, readers will understand that the cultural hegemony was comprised of men, so no discrepancies in judgement would have been detected by the audience seeing that Agamemnon and the chorus are all males. The chorus bitterly alludes to Helen by saying, “Who—what power named the name that drove your date?—what hidden brain could divine your future” (page 674; line 683-684). This serves as a suspenseful moment of recognition and can be interpreted to be applicable to Agamemnon’s fate, and leaves readers wondering who is this “hidden brain” and who will be able to foresee his future? It becomes obvious here that the women of this play will continue to be vilified for equivalent offenses committed by men. Menelaus and his supporters are maddened by Helen’s infidelity but not once in the text do they question the infidelity of Agamemnon.

One profound moment of dramatic irony is spoken by Clytemnestra:

Let the red stream flow and bear him home

to the home he never hoped to see—Justice,

lead him in!

Leave all the rest to me…

We will set things right, with the god’s help.

We will do whatever Fate requires. (page 679-680, lines 903-903, 906-907).

In this passage one can infer that the “hidden brain” from before may be interpreted to be Clytemnestra. This vacuously holds true if you consider her steadfast determination to avenge Iphigenia equal to her foresight. The readers and audience know that she has thought deeply about this and cannot be convinced otherwise, which is one way this moment reveals her sheer commitment to justice. Moments before she is speaking with Agamemnon and tells him “Our child is gone. That is my self-defense.” (page 679; line 876). Here readers know she is alluding to her justification for plotting to avenge Agamemnon. Clytemnestra and Agamemnon quarrel as she seeks answers: Clytemnestra: “Would you have sworn this act to god in a time of terror? Agamemnon: “Yes, if a prophet called for a last, drastic rite.” Clytemnestra: “And you fear the reproach of common men?” (page 680 line 928-929, 932-933). Again, Aeschylus portrays Agamemnon as mutable with respect to his inherent bias and Clytemnestra catches him in oscillation. Agamemnon is not governed by divine laws, he is influenced by common law. He is more concerned with his life here on earth because reward and recognition is, in contrast, palpable, whereas that may not be the case once one has passed. He is motivated by fame and social acceptance, whereas Clytemnestra can live with the idea that she is a threat and may be murdered for avenging her daughter.