This is a red figure vase painting from the archaic period. It portrays the scene in the Libation Bearers where Orestes murders Aegisthus. Interestingly this scene in was not performed but instead the audience heard an off-stage scream to show that Orestes murdered Aegisthus. Similar to the Aeschylus’s characterization of Aegisthus, the artist portrays Aegisthus as weak and somewhat effeminate. He is smaller than the other characters and grasps Orestes’ cloak as he falls to the ground with terror on his face, appearing to be begging for his life. In his other hand we see a lyre, again emphasizing his artistic rather than violent side of Aegisthus. It is interesting that the artist chooses to depict this scene (which is not performed onstage) instead of the more climactic moment in the play where Orestes kills his own mother, Clytemnestra. This choice seems to reflect the artist’s personal understanding of the play. The artist does not intend to depict Clytemnestra as a victim. Even in the moment where her lover, Aegisthus is being slain, the artist’s representation does not present her in a way that invites sympathy. As she watches Orestes stab her lover, she stands behind him with an axe and a numb look on her face. Even though Orestes is in the middle of killing Aegisthus, Clytemnestra still appears as more of a villain than he does. Clytemnestra is sneaky and deceitful, as is seen by her strategic placement, sneaking up behind her son with her weapon drawn. Still, there is still an air of delicateness to the brutal Clytemnestra. The gentleness of her one hand compared to the violent grasping of the axe in her other shows the complexity in understanding her character. It brings to question Aeschylus’ intension behind Clytemnestra’s character and about the possible interpretations that people can make from the play.
How The World Sees Clytemnestra
March 17, 2009 by lindsaylevine
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I agree with your analysis. Aegisthus is definitely more effeminate, almost pleading like in his futile attempt to stop Orestes to enact revenge. He is in a lesser dominant position, sitting down, fully exposed and defenseless against the approaching sword. On the other hand, Clytemnestra is behind, axe in hand, but seeming less determined to hit Orestes rather stop and console him. Also, what I find interesting, is the hands on the left and right sides of the vase. It seems like the left side hand seems to be trying to stop Clytemnestra from axing her son, while the right side vase hand is in a position that seems to be upholding and praising something, perhaps the Orestes fulfilling his prophecy.
Also, I think it is important to focus on the weapon that Clytemnestra attempts to stop Orestes. The axe is unintimidating and she does not seem like she is willing to strike with it. Further supporting Jun’s analysis that she is attempting to stop and console him rather than to hurt, disable, or kill him.
I disagree. I don’t think Clytemnestra is attempting to stop Orestes. Instead, I think the vase reflects her deceitful, underhanded nature in the Oresteia. Just as she snuck up behind Menelaus when he didn’t expect it, so too is she sneaking up behind Orestes and preparing to stab him in the back. She seems to be just as much the villain as she was in the Oresteia.
Why is Clytemnestra condemned for sneakiness? They are all sneaky in these plays, but because she is a woman she is expected never to deceive (in her own interest), but to submit to being a victim. Going back in the Atreus story, Atreus deceives his brother with the murdered children; Agamemnon deceives Clytemnestra to get her to send their daughter to Aulis for the sacrifice; later, Orestes will deceive several people to get access to the palace. Clytemnestra is defiant against the roles assigned to her, but that does not mean she cannot have a maternal side. For more about the plays, I have a post at http://silverseason.wordpress.com/2010/03/23/aeschylus-the-oresteian-trilogy/.