Aegisthus


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(Greek mythology) the seducer of Clytemnestra and murderer of Agamemnon who usurped the throne of Mycenae until Agamemnon's son Orestes returned home and killed him

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fair wind so that his army could sail to Troy, and Aegisthus wants
After Clytemnestra has been killed and Leander has installed a new regime, Aegisthus, bis new ally, urges caution in releasing enslaved enemy soldiers: "they should be released only in twos and threes, having been carefully vetted" (269).
But what are the tyrannical traits of Aegisthus, what his relation
Practically, the suitors must eliminate Telemachus, Odysseus's heir, to claim the throne and avoid retribution, like that visited upon Aegisthus and Clytemnestra by Orestes.
In the years following the Trojan War, Electra waits for many years for the return of her brother Orestes from exile to help her take revenge against her mother Clytemnestra and stepfather Aegisthus for the murder of their father Agamemnon.
Clytemnestra rules Mycenae now, along with her new lover Aegisthus, and together they plot the bloody murder of Agamemnon on the day of his return after nine years at war.
Which legendary king of Mycenae was murdered by his wife Clytemnestra and her lover Aegisthus? 6.
(18) Latrobe's figures are nearly identical to Clytemnestra and Aegisthus slain by Orestes as illustrated in Plate Twenty-Six of Flaxman's Aeschylus plates: Orestes over the Dead Bodies of Clytemnestra and Aegisthus (fig.
Having done so, he sailed off to war for many years, during which Clytemnestra, filled with hatred for her husband, took Aegisthus as a lover and co-ruler over the city during the king's absence.
More localized treatments of ritual in Euripides's Electra have also cast light on its use of and response to specific practices and categories: Barbara Goff (1991), for instance, explores the ways in which Orestes's identifying scar situates him as failed initiate in comparison to the Homeric Odysseus; whereas John Porter (1990) sees a disturbing appropriation of the Buphonia ritual in Orestes's assassination of Aegisthus. Such explorations reveal Euripides's Electra to be a particularly rich and challenging engagement with the ritual life of late fifth-century BCE Athens, the place and time of Electra's first production.
And considering that Pelops was father of the criminal sons Atreus and Thyestes, who in turn fathered Agamemnon, Menelaus, and Aegisthus whose crimes and war are at the heart of Greek epic and tragedy from Homer onwards, Socrates surely has a point.
Sophocles' Electra is marked by an excessive and long-lived mourning: her father Agamemnon was brutally murdered by her mother Clytemnestra and suitor Aegisthus, the usurping king of Mycenae, and she has continued to mourn his death long past the customary grieving period.
And Clytemnestra's case is doubly tainted in that she has taken Aegisthus as lover.
At one point in the story, one of the characters, Aegisthus, has managed to work his way into the halls of power by seducing the king's wife, Clytemnestra, while the king, Agamemnon (who happens to be his uncle), has been out of town.
Hugo von Hofinannsthal's text is a tale of revenge, a retelling of the ancient Orestes legend that focuses on Orestes' sister Electra and the twisted and ultimately fatal family romance that arises out of the murder of their father King Agamemnon by their mother Clytemnestra and her lover Aegisthus. The psychological and emotional intensity of the story has a poignant analogue in Strauss' vividly colorful orchestration and restless, hypet-thromatic musical language that stretches law 19[th] century harmony n) the breaking point and underscores the grinding mental anguish of Electra as she struggles with duty, memory, degradation and alienation.