Marx defines the "underclass" as a social, self-conscious group that is oppressed and exploited by the ruling class and therefore possesses a common hostility towards this upper class. This concept is reflected in various literatures throughout history and can also be seen in modern societies around the world. In Greek drama the powerless underclass is, for the most part, ignored and seen as a mass without individual identity. Yet, both in Greek literature and in our contemporary society, the lower classes serve very significant purposes. Aeschylus's Agamemnon, in which Clytemnestra kills her husband, Agamemnon, upon his return from the Battle of Troy, presents an extremely important and significant subclass. In addition to the simple function of telling the background of the play, Agamemnon's powerless underclass, represented by the chorus and the sentry, also serves several important thematic purposes, namely to portray both the despised individual and the oppressed masses, as well as to emphasize the negative aspects. of the main characters offering a stark contrast. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayOne of the purposes of the subclass is that it reflects the situation of overlooked individuals who have no power to influence the course of actions and who suffer from a lack of individual identity. This lack of individual identity is represented through the gatekeeper at the beginning of the play, when he explains his euphoria over the victory at Troy by saying that "his master's fortune is [his]" (34). The guardian has no control over his personal desires. His happiness depends on the situation of his superiors and society in general. In the dialogue between the choir leader and the herald, the repression of those who freely express their thoughts and thus attempt to take an active part in the action is manifested. They are discussing the glorious victory of Troy when the leader of the choir begins to mention certain suspicions about Clytemnestra and how life has gone after Agamemnon's departure: "Leader: For years now only my silence has protected me from evil. Herald: How, with the kings gone, did anyone threaten you? Leader: Anyway... now as you say, it would be nice to die." (538-541)Not only does he allude to his fears that the conflict over the sacrifice of Agamemnon's daughter, Iphigenia, has not yet been resolved, but he also suggests that the individual's freedom to express his own opinion has been oppressed and that one must stay be careful what you say. The culmination of the lack of respect towards the underclass, however, is reached after the death of Agamemnon, when the chorus argues against Clytemnestra and Aegisthus. In a mournful speech, they sing: All failed plans, all hopes! I cannot think [...]"Can you dare this? Kill your master with your own hands." (1560, 1571-1572) Since the choir uses the first person singular, it can be concluded that, in this case, it speaks as an individual. This individual expresses his concern and confusion over the death of his king and verbally attacks his rulers. However, he is disrespected and oppressed by the ruling elite. The powerless individual therefore has no say in the plot and illustrates the oppression of the powerless underclass. What gives further importance to the powerless underclass in Agamemnon, beyond its meaning to represent neglected individuals, is its role as a representation of the oppressed masses. An early indication that the inhabitants of Argos are being oppressed is the warden's complaint about the hashish conditions he faced under Clytemnestra's rule. "So she commands [...]That woman -she maneuvers likea man." (12-13) By comparing her to a man, the sentinel indicates that she does not follow the stereotype of a loving woman, but rather is a strict and disciplined absolute ruler. The actual oppression does not occur until after the death of Agamemnon and after Clytemnestra and Aegisthus claim the throne. After the masses express their strong objection to all this, Aegisthus responds: "You slaves at the oars - while the master on the benches cracks the whip? You will learn, in your old age, how much it hurts to teach old bones their place." ." (1659-1663) It now becomes apparent that Aegisthus is willing to use severe physical punishment and other measures to threaten people and keep the masses in line. Furthermore, in a subsequent dispute with the leader of the chorus over the murder of Agamemnon and the future of Argos, he expresses his intentions to become the ruler." We'll see if the world will come dancing to your song [...] I'll do if you dance, I will bring you all to your knees." (1663, 1665)It can be said that the schism between the two parties, the masses and the rulers, has deepened. In this case, the chorus leader is trying to rally the masses against the new self-proclaimed rulers, but the oppressed passive underclass stands no chance against the tyrannical regime of Aegisthus and Clytemnestra. Finally, the most important role of the subclass in Agamemnon is to offer a stark contrast to the guilty and thus emphasize their evil characteristics. To achieve this, the underclass is described as extremely kind, caring, and loyal people. This is seen in the watchman's speech after he realizes that the king will return soon. "Just take him home. My king, I will take your loving hand in mine and then..." (36, 37) Here you can detect not only the intimate bond the king has with his subjects, but also the subjects' loyalty and their dedication to the king's well-being. Unlike Clytemnestra, who simply acts as if everyone is fine in order to trick Agamemnon and kill him, the lower class shows true devotion. When the king arrives, the chorus alludes to the disloyalty of the rulers. "Seek, my king, and find out at last who remained at home and kept the faith and who betrayed the city." (792-794)Although the chorus does not directly accuse anyone, it is evident to the reader that those who remained loyal were the underclass and that those who betrayed the city were Clytemnestra and Aegisthus. Without the kind-hearted underclass to counteract these actions, however, the roles of Clytemnestra and Aegisthus would appear significantly more human and understandable. This division between "good" and "bad" reaches its peak after the death of Agamemnon. The lower class embarks on a path of direct confrontation with Clytemnestra and Aegisthus and accuses them of having committed terrible acts. "Leader: You dismay me, you, your brazen words exult in your fallen king." (1424-1425)Once again, without the contrast offered by the chorus, the reader would be more inclined to accept the actions of Clytemnestra and Aegisthus as the result of human emotions and perhaps even to consider revenge justified. Through the good example of the lower classes in the work, however, the reader automatically identifies more with them and condemns Agamemnon's murder as unjust and inhumane. The powerless underclass therefore presents a contrast to Agamemnon's murderers and consequently acts to portray them as malevolent characters. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay Therefore, although the subclass serves no active role in the plot, they serve important thematic purposes, portraying both the overlooked individual and the oppressed masses, and presenting a positive contrast to the immoral main characters and thus helping to convey the message foreseen at.