Tragedy = Fun
...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 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...
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