"women In Greek Tragedy Are Always The Subject Of Male Fear And Loathing."

Within Greek Tragedy there are many examples of feared and loathed women taking revenge, such as Clytaemnestra, Medea and Electra. However all those who are feared and loathed by some male characters are in turn loved by others.

Within Aeschylus` Agamemnon a very masculine Clytaemneatra is presented. Even before her entrance a sense of fear and dread is built up around her as the Watchman notes how strangely masculine she is and how terrifying he finds her. Such a characteristaion, before Clytaemnestra has even appeared, emphasizes her evil nature and role as a demonstration to men to make them fear intelligent women. In addition to this, later in the play, during the Herald`s talk with the Leader, the Leader refuses to speak out against Clytaemnestra for fear of his death. This again emphasizes the fear that Clytaemnestra strikes into the male characters around her and indeed the Chorus despise her after they find her murders and curse her exclusively. Throughout the play, even when ahe is absent, Clytaemnestra is loathed and feared by many different male characters.

However there are those who love Clytaemnestra. Aegisthus and Agamemnon, her love intrests, naturally love Clytaemnestra and is neither feared nor loathed by either of them, despite their naivety in trusting her in the first place. After his arrival home from Troy, Agamemnon speaks lovingly to his wife and althoughfinding her personality too masculine he still trusts her and enters the palace. Aegisthus also shows signs of devotion to her by, although unjustly, defending her from the Chorus with his guards during the Exodus. As it was he who wooed Clytaemnestra he must love her and Agamemnon is likewise in love.

Euripides creates a somewhat different Clytaemnestra within Electra making her more timid in public and although loved by Aegisthus she is hated by Orestes yet not feared. Electra herself however is almost an antithesis of Clytaemnestra while Clytaemnestra is only loved by Aegisthus, Electra is only feared by Aegisthus (due to her bloodline). Aegisthus was so afraid of Electra that he ordered her to be killed, greatly emphasising the degree to which he hates Electra. However Electra is loved not only by her brother Orestes but also the Old Man, her former tutor, and her husband the Peasant. The recognition scene between the two siblings is one of the most heart warming scenes in the play and emphasises the great strength of their love for each other. The Old man also proves his love for Electra through bringing her offerings of food despite his own physical state, that she might appear a good host. The Paesent also loves Electra, valuing her as a princess, and as such he takes as much household reslonsibility to spare her dignity. He has also never slept with her, respecting their birth which again, although it suggests a fear of revenge from Orestes, implies nothing but respect for Electra. These attitudes towards her emphasise the fact that only Aegisthus fears Electra here and Electra herself is the subject of live and respect rather than fear or loathing from other male characters.

Medea in Euripdes` Medea is an archetypal intelligent woman, associated with witchcraft, villainy, debasement of family values and a threat to the state. Her status as a wild force therefore leads to Medea being feared and hated by almost every male character in the play, especially Jason and Creon. During her conversation with Creon over her bannishment, she requests an extra, and Creon states his fears as to what Medea may do, but as it is only a day, grants the request. This empathetic action could as being granted through fear but with Creon`s natural empathy this is unlikely. Instead his fear of what she may do is emphasised through his initial denial of her request and his reluctance to grant the day Medea asks for. Jason also fears Medea and her actions against his children, but that fear and apprehension swiftly turns to loathing as he discovers the deaths of his children. This hatred has been seen building earlier in the play during his arguments with Medea, but now at a fever pitch Jason truly loathes Medea in this climactic ending to the play. Euripides` addition of the new ending containing infanticide gives Jason the grounds to loathe Medea.

Medea is loved by a few individuals in the play, although naievly. Her friendship with King Aegeus, although before her dreadful actions in the play`s exodus, implies he is neither afraid of Medea nor loathes her as he seeks her advice on personal matters and offers her sanctuary in Athens after her bannishment. The other male characters Medea who don`t fear or loathe Medea are her sons. Despite their age they still understand human emotion and bring Medea to tears simply through smiles. Such an act implies their love for her and her love for them, however this soon turns to fear as they cry for help against Medea as they are murdered. Such a heart rending act of infanticide leaves Medea at the end of the play feared and loathed by all remaining male characters around her.

In conclusion I think women aren`t always the subject of male fear and loathing as its only when they are a threat to established society that they become feared or loathed (Clytaemnestra`s affair or Medea`s deathwish for Jason). Otherwise they are treated with love and respect by all the virtuous male characters in the play.