Tragedy = Fun

Tragedy = Fun

A tragedy, by definition, is hardly a piece of optimistic literature; the very thought of an optimistic tragedy seems like a laughable farce. Searching for hope in the confines of a tragedian's work is a foolish endeavor, and this is why making an argument for optimism amidst so much chaos is a daunting task. There are, however, exceptions. Aeschylus' Oresteia trilogy displays to us a plot line analogous to a dark tunnel with a small but vividly apparent ray of light at the end. The events of the tragedy, while bloody, do contain an unexpected peaceful solution, bringing a civilized end to the suffering. This discontinuation of a bloody, barbaric order provides the tragedy with an optimistic conclusion. The transition is seen in three parts Ð'- namely, a theological, judicial, and moral shift.

The most important component to this barbaric end is the theological shift, as the affairs of the divine are apt to affect mortal dealings. The "chorus" in Aeschylus' The Emenides portrays the furies, a group of depraved and vile goddesses who punish the violators of natural law, often far too objectively. We see this objectivity in The Eumenides, where despite the implications surrounding Orestes' murders, the furies are intent to punish him in accordance with ancient law. Athena, a contemporary god, disagrees with their verdict of blood with her "ballot cast for Orestes" (Aeschylus 161). This shows us the evident rift between the old and the new that is a central theme in this tragedy. The furies are understandably angered by this defiant verdict, and state that the "gods of the younger generation have ridden down the laws of the elder time, torn them out of my hands," further exemplifying the widening gap between the divine generations. With mounting threats from the furies in abundance, Athena takes a stance of diplomacy (another trait not found in the elder goddesses) and offers them a new, kind beginning, with residence in her patron city. The compromise is, eventually and with much persuasion, agreed to by the furies and they begin to change, stating that "my hate is going" (167). They become the Eunenides, and are a vehicle of kindness (Eumenides literally translating into English as "the kind ones") rather than loathing. The theological shift is seen here clearly with the inception of the Eumenides, as well as with the assertion of the power of the younger divinities, eliminating an overly barbarous method of divine intervention.

The judicial shift within the trilogy is another indication of barbarism's demise. Throughout both Agamemnon and The Libation Bearers, vengeance is a key theme. Clytemnestra's vindictive slaughter of Agamemnon is returned with her own death coupled with the death of her cowardly lover. The element of revenge lurks surreptitiously amongst the blood in these instances. The revenge factor is a focal variable in this tragedy's redemption because that variable changes, it becomes justice. The key ingredient in civility! The antithesis of barbarism! This beautiful beginning hinges on Athena's idea to consult a jury of Athenian citizens, and it ends with justice. Orestes' life is spared, and rightly so. "This was the result of a fair ballot," claims Athena, and a fair ballot it was (163). The majority concluded Orestes' innocence, and no blades were involved. This is a stunning twist in comparison to the last two judicial decisions made in the trilogy, where law was an undeveloped theory that involved slaughtering any perpetrators regardless of any judicial opinion. Here we see an organized form of justice, where Athena goes so far as to designate a "ground where forevermore justices will be deliberated" (159). This shift toward