Before the Rain and the Oresteia
ὡς μήτε φεύγειν μήτ’ ἀμύνεσθαι μόρον·
ἄπειρον ἀμφίβληστρον, ὥσπερ ἰχθύων,
περιστιχίζω, πλοῦτον εἵματος κακόν·
παίω δέ νιν δίς, κἀν δυοῖν οἰμώγμασιν
μεθῆκεν αὐτοῦ κῶλα, καὶ πεπτωκότι
τρίτην ἐπενδίδωμι, τοῦ κατὰ χθονὸς
Διὸς νεκρῶν σωτῆρος εὐκταίαν χάριν.
οὕτω τὸν αὑτοῦ θυμὸν ὁρμαίνει πεσὼν
κἀκφυσιῶν ὀξεῖαν αἵματος σφαγὴν
βάλλει μ’ ἐρεμνῆι ψακάδι φοινίας δρόσου,
χαίρουσαν οὐδὲν ἧσσον ἢ διοσδότωι
γάνει σπορητὸς κάλυκος ἐν λοχεύμασιν.
Having just emerged from the palace after murdering Agamemnon, Clytemnestra constructs an explicit analogy between the blood spilled by the killing and the rain that prepares the earth to bear fruit. For her, the image expresses her sense of joy and relief at having exacted vengeance for an earlier act of violence (the sacrifice of Iphigenia). In the context of the Oresteia as a whole, however, Clytemnestra’s metaphor—rain for blood—conjures the same cycle of fertility as the rain imagery in Manchevski’s film. Her description of the murder in terms of the arrival of a spring rain in a farmer’s field looks forward to the bitter harvest she will reap in Libation Bearers, when she is confronted by her son and the violence begotten by her own act of murder. Moreover, both Aeschylus and Manchevski deploy strikingly similar visual strategies to underscore the significance of rain imagery. Just as Aleksandar’s bloody shirt provides the visual link back to the film’s beginning, so in the Oresteia blood-stained garments index the cyclical recurrence of violence. The “dark drops of gory dew” were presumably visible on the garments worn by Clytemnestra in this scene. In the parallel scene in Libation Bearers, Orestes emerges from the palace after killing his mother and Aegisthus and displays the “impassable net” his mother had spoken of in the earlier play, a garment that likewise bears visible bloodstains (cf. lines 1011–1013). The chorus’ reaction to the sight of the robe reminds us of the way Clytemnestra had earlier described the fertilizing effect of drops of blood:
στυγερῶι θανάτωι διεπράχθης.
μίμνοντι δὲ καὶ πάθος ἀνθεῖ.
The “blossoming” of suffering points to the maturing flower of the seeds sown and spoken of earlier by Clytemnestra. 
Dilemmas of self and other
μήθ’ αἱματηρὰς θηγάνας, σπλάγχνων βλάβας
νέων, ἀοίνοις ἐμμανεῖς θυμώμασιν,
μήτ’ †ἐξελοῦσ’† ὡς καρδίαν ἀλεκτόρων
ἐν τοῖς ἐμοῖς ἀστοῖσιν ἱδρύσηις Ἄρη
ἐμφύλιόν τε καὶ πρὸς ἀλλήλους θρασύν.
θυραῖος ἔστω πόλεμος, οὐ μόλις παρών,
ἐν ὧι τις ἔσται δεινὸς εὐκλείας ἔρως·
ἐνοικίου δ’ ὄρνιθος οὐ λέγω μάχην.
This is the compact that permits the Eumenides to find a permanent abode in the heart of the city. The goddesses retain their retributive nature. Within the city that nature is put in the service of ensuring reverence for the city’s laws. But the goddesses’ fundamental association with violence is not thereby sublimated away; it is simply directed outward, toward those persons and groups who can be unambiguously classed as outsiders, and therefore safely targeted as enemies.