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An examination of prominent women in Greek tragedy often reveals to the audience one crucial lesson: strong women should not be underestimated. No matter how loyal and innocuous a wife or mother may seem, it is often the fatal flaw of the woman's spouse to assume that the woman is not capable of sentiments and actions equal to those of her male counterparts. Nevertheless, the gruesome deeds often performed by tragic women cannot be discussed without criticism, and Aeschylus' Klytemnestra and Euripides' Medea are no exceptions to this rule. While the actions of both Klytemnestra and Medea can be somewhat justified based on the dire circumstances present in each woman's life, both women are undoubtedly guilty of despicable acts against others. Still, the lack of remorse present in the actions of Klytemnestra ultimately makes her a more dangerous woman of Greek tragedy. Moreover, I will also attempt to argue some reasons behind the motives of these two characters through an in-depth look at their respective portrayals, in an effort to help explain why one is more dangerous than another.

Aeschylus introduces Klytemnestra to the audience in his play Agamemnon as a dedicated and loyal wife who has been faithful to her husband since his departure for Troy. She initially reveals herself to the audience as a woman "who has / not broken the seal upon her in the length of days" (L609-10). In fact, the audience may initially be sympathetic towards Klytemnestra for the loss of her child, while feeling reproach for her husband, Agamemnon, who sacrificed their child Iphigeneia "to stay the strength of war" (L225). However, the first clue as to the potential danger of Klytemnestra is revealed when the leader of the chorus approaches her "in reverence of [her] power" (L258). I propose that this line characterizes the metis of Klytemnestra, a powerful tool that will aid her in her later quest to avenge her daughter's death, and a trait that ancient men might believe contributed to her danger. If she can assume the responsibilities of the throne while her husband is away, then the logical assumption would be that she is capable of the actions of men in a number of capacities. Nevertheless, she declares that the return of her husband has provided her a "griefless heart," and the audience watches Klytemnestra eagerly approach the chariot of the returning Agamemnon (L895).

These early characterizations would lead the audience to believe that Klytemnestra is simply a woman who was

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