'Gender and Sexism in the Oresteia'

' throughout the Oresteia, Aeschylus portrays gender as a socially vapourisable issue that results in increasing miasm within the put forward of Atreus. Aeschylus engages the cultural significance behind much(prenominal) discriminatory disputes by depicting gender-based argu man big businessmant among Greeks who feel jeopardize when others do not maintain their expect masculine and sissy identities. However, he indicates that when wowork force do act accordingly, they be still small from both work force and other women. Through his portrayal of sexist double standards and societys rejection of various(a) gender expression, Aeschylus exposes the widespread, unjust underestimation of females, who in the end, ironi betokeny get authority. \nFor an A thuslyian citizen, power and strength argon essential qualities to stir in direct to be prize; yet such(prenominal) traits are deemed in like manner masculine for women and indeed are solo celebrated when men obtain the m. For example, Agamemnon is surface regarded for representing the culturally ideal sense of manliness for fighting at Troy and returning(a) base of operations safely, while, Aegisthus on the other hand, is mocked for his weak, effeminate qualities. In The Libation Bearers, Orestes honors the soldiers efforts and then ridicules Aegisthuss unmanly complacency, saying, Besides, the miss of patrimony presses tough; and my compatriots, the glory of men who toppled Troy with nerves of singing steel, go at the beck and call of a duo of women. Woman-hearted he is (Aes., Ag., ll. 307-311). Aeschylus specifically uses this quote to see Orestess disapproval of Aegisthus who rest at home under the line up of Clytemnestra, while other real men like Agamemnon symbolise Athens. \nHowever, Aeschylus also highlights Orestess misogynistic views towards his take in mother, a location that resurfaces. For instance, Orestes maintains these views even when he disguises himself as a forei gner to greet his mother: dress out! Whoever rules the house. The charwoman in charge. No, the man, bet...'