Realm Of Gods Research Articles

Double-Dealing Ares in the Oresteia

T wHE first word of Oresteia is the gods to whom watchman prays for surcease of toils; first god specifically named after Zeus in this trilogy of toils is Ares,1 presiding deity of war and of all strife. His eminence is not to be denied.2 The watchman, in what seems an endless, dank duty marked by no change save repeating cycle of stars, is waiting for signal of Troy's fall; immediately upon its entrance, chorus sings of Trojan expedition and of how force of men screamed Ares ! lustily at its departure. The context of Ares' first appearance merits scrutiny, for language Aeschylus uses here suggests much about nature of this important god which poet, in his usual fashion, will clarify and develop in rest of trilogy.3 In words meant to emphasize grandeur and majesty, chorus portrays two Atreidai in their very doubleness-6tdp6Vov, 6LT K?Tpov-and connects their twin royalty with Zeus-Ato6EY-to enhance it all more (43).4 This deliberate repetition of words beginning with a disound is striking. It is obvious that Aeschylus wants to draw attention to notion of duality, but it is also clear that he encompasses within this notion more than mere twoness; for he associates it, through verbal echo, with nothing less than realm of gods. It appears, that is to say, that twoness can mean different things in different contexts, including both simple fact that Menelaos and Agamemnon are two people and also possibility that

Un nuevo amanecer. Lectura de la idea de esperanza en el pensamiento de S. Kierkegaard

The article attempts to offer a phenomenological and hermeneutical reading of the problem of hope in Kierkegaard’s thought. First, it grounds the peculiar legitimacy of the phenomenon in the notion of spirit. Second, in philosophical terms, it elucidates the hope in the realm of God as an ontogenetic correlation that is realized in a process. Then, it analyzes silence, obedience, and happiness as indications of the experience of hope. Finally, it specifies the temporality and the aesthetic dimension of the phenomenon.