In text one, Berkoff’s portrayal of Agamemnon, Clytemnestra and Cassandra support his existentialism through his reducing of the play to being a strike of sexual politics through language. This is displayed through Clytemnestra’s plainspoken confronting questions ‘What are you thinking/of her? Was her body nice to touch/did it pleasing you/softly/comforting/did you break your rock hard…’ masking a less conservative, cynical and objective way of sightedness sexuality. This evident collapse of marriage/religious morality and bristle of individualism/ consumerism mean objectification of sexuality in the play. The relationship amid Clytemnestra and Agamemnon is reduced to a dysfunctional marriage for empathetic companionship with the audience so that the audience can see from Berkoff’s perspective on the reality of the meaninglessness of the world. The chorus presents the ultimate in ‘bad faith’ ‘no curse here(predicate)…clean city…Agamemnon’s city’ becuaase they identify with the solid ground’s state uncritically.
In text 2, Wolf’s characterisation of Cassandra helps support her feminism beca utilize she expresses her feminist views through the heroine Cassandra. Her use of condescending adjectives ‘whimpering, spewing Agamemnon’ contrasts with her affirmative adjectives ‘for I derived joy from everything I motto – joy, not hope!’ enforcing her belief that women has the strength and are more(prenominal) superior than men as women are like the lifetime force whilst men are just related to struggle and death. The diction of ‘prophecy’ in ‘Why did I urgency the gift of prophecy, come what may?’ is used as a symbol for female autonomy and own individual perspective.
These two texts show that the female characters are quite similar in the sense that they are the more...If you want to get a adequate essay, order it on our website: Orderessay
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