This week Dcn. Garlick is joined by Mr. Thomas Lackey and the Adam Minihan to discuss part one of the Libation Bearers, the second play in Aeschylus' Oresteia.

Check out thegreatbooksdpodcast.com for more resources.

Check out our Patreon for a written GUIDE to the whole Oresteia.

From our guide:

The Libation Bearers presents Orestes as both the hero and the victim. The cycle of violence will both demand his action and condemn it. “The one who acts must suffer,” as Aeschylus observes. The play builds an incredible tension within the current mechanics of justice and primes the audience to desire some lasting resolution—a resolution that will only come in the Eumenides.

Aeschylus’ Libation Bearers, the second play in the triad of the Oresteia, places Orestes within the moral tension of lex talionis and its cycle of violence. He is the son who, to avenge his father, must kill his mother, Clytemnestra. Aeschylus presents us with fundamental questions on justice—a primitive justice that demands blood for blood, an eye for an eye. The cycle of violence both demands action and condemns it.

What makes the Libation Bearers such an essential and resonant part of the Oresteia is its relentless focus on the mechanics of justice and its interplay between violence and fate. Aeschylus "pushes us to think not only about the relationships in play but about larger moral questions.” Through Orestes’ struggle to fulfill his divine obligation as blood avenger, and through Electra’s own crisis of prayer, the play asks profound questions about the nature of justice. Aeschylus’ beautiful line, "The anvil of justice stands fast... fate beats out her sword" (628), is arguably the moral heart of the play. A tale of pain, justice, and fate.

 I.             Orestes Returns Home (1)

The story begins several years after the murder of Agamemnon, when Orestes, now a young man of eighteen or so, secretly returns home from exile.[1] Much of the tragedy lies in understanding Orestes’ difficult situation: to be a blood avenger for his father, he must kill his own blood, his mother.

Orestes’ opening monologue invokes Hermes—who fittingly serves as the bridge between the living and the dead (1). The opening invocation to the divine was seen in Agamemnon as well and will be seen again in the Eumenides. The relationship between the living and the dead is a key theme in this play and a perennial question that makes this a great book. It will contain both prayers on behalf of the dead and the intercession of the dead for the living.

It is notable that in the absence of having a father, Orestes is presented as a confident, determined figure ready to do the unthinkable. In the Odyssey, he served as the role model for Telemachus, and here we see him lack the timidity and self-doubt that plagued the fatherless Telemachus. It raises the question, however, of who or what shaped Orestes into a character ready to face this grave moral burden? To use a phrase, who was his Mentor? As we will see in the text, as Telemachus had Athena, Orestes had Apollo....

Keep up the good work!

[1] Fagles, 305.