1125-1126) and the female murder of the male (Ag. "The Marriage of Cassandra and the Oresteia: Text, Image, Performance". [v]. Apollo’s articulation of marriage and motherhood also demonstrates how the marital bond reinforces patrilineal succession and male political power in its subordination of the mother’s role. Indeed, so would Cassandra’s comment that she will lift the veils (καλυμμάτων) from her prophecies like a bride (νεογάμου νύμφης δίκην, Ag. of an unknown male. Thanks X 1504). What might be a very positive marital element is here inverted. I would love to talk more, but dinner will be commencing soon and I have to deal with some satyrs, so feel free to walk around and Carmine will help you with any questions that you might have." 1138). [xxix]. Last year it ranked 1,075th in the U.S. Social Security Administration list of most popular baby girl names. Paula Debnar argues that Clytemnestra “metaphorically violates [Cassandra] – behind the skene with her weapon and before the audience of the theater with her coarse sexual accusations.”[xxi] Such a complex role, that of insulted wife as well as bridegroom’s mother and consummator of the marriage, is particularly fitting for Clytemnestra, a woman with an ἀνδρόβουλον κέαρ (“a heart that gives counsel like a man,” Ag. So basically you go poof, and you're wearing a different set of clothes that matches who your godly parent is, so for example, for me, I got dressed up in a rainbow dress with the mark of my mum on the left-hand side of my chest." Clytemnestra is no exception, for her disruption of marriage comes alongside an illicit affair with Aegisthus. Such an offering would usually be made, at least in part, to Artemis, as brides would be leaving her sphere of influence as goddess of young girls. #protective 1178- 1179). I'm sure your experience here will be different to the schools you've gone to." The image of that infamous jar is even conjured up by Aeschylus when his chorus tells of the funerary urns sent home to wives of soldiers who died fighting for Helen in Troy (. The same question is repeated and amplified at 1138: “Where indeed have you led wretched me?” (ποῖ δὴ με δεῦρο τὴν τάλαιναν ἤγαγες; Ag. The wife is again the instrument of ruin. [xvii] However, Itys is not a fortunate παῖς ἀμφιθαλής with two living parents. She is noted as being rather short in stature. "The Tragic Wedding." What Robin Mitchell-Boyask calls the “dual ‘grotesque marriage’ of Agamemnon and Agamemnon with Cassandra” swaps gender expectations at the very last minute. Like these other themes, it follows a trajectory from destruction to restoration, from pollution to cleansing, and from disorder to order. Sacrificial language mingles with marital language in ways that pervert both. A bunch of people who they walked by greeted Carmine and looked at Persephone with interest, muttering amongst themselves. Clytemnestra, claiming to speak as the daimon, points to Agamemnon as her “full-grown” sacrificial victim (τέλεον, Ag. #girlxboy Paula Debnar argues that Clytemnestra “metaphorically violates [Cassandra] – behind the, Such a complex role, that of insulted wife as well as bridegroom’s mother and consummator of the marriage, is particularly fitting for Clytemnestra, a woman with an ἀνδρόβουλον κέαρ (“a heart that gives counsel like a man,”, The parable of the lion and its comparison to Helen further explores the destructive reversal she brought about at Troy, highlighting the dissonance between pleasing initial appearance and dangerous reality. Sacrificial language again joins marital language when Iphigenia’s death is named a “preliminary sacrifice for the ships” (προτέλεια ναῶν, Ag. Zeitlin, Froma. Richard Seaford, “The Tragic Wedding,” The Journal of Hellenic Studies 107 (1987), 106. The name Persephone means Bringer Of Destruction and is of Greek origin. Cassandra will enter the household, not as a wife but as a sacrifice, and her symbolic marriage will be “consummated in her death.”[xvi] Therein lies another inversion; while Ancient Greek brides might sing at their weddings in lamentation over their symbolic or figurative death, Cassandra sings at a symbolic wedding in lamentation over her very real death to come. "The Marriage of Cassandra and the Oresteia: Text, Image, Performance" Transactions of the American Philological Association 136.2 (2006): 269-97, accessed December 2, 2015, doi: 10.1353/apa/2006.0011. "We're going to go see Chiron, he's kind of like the headmaster here, he'll want to meet you." Not only does such imagery highlight the grotesqueness of human sacrifice, it also evokes language often used of virgin brides who are frequently depicted as beasts to be tamed. Both types of marital corruption contribute to the larger sense of disrupted order in Agamemnon, particularly gender order, which is ultimately righted with the successful incorporation of the Furies into the institution of marriage in Eumenides.