In addition to serving as a foil for Agamemnon, the robes are connected to the "net" metaphor that has pervaded the play. Orestes wonders aloud what he should name these garments; should he call them a trap for an animal? A sheath for a corpse's feet? A curtain for the bath? A hunting net? The robes were literally the means by which Agamemnon was caught, as he was wrapped in them and unable to escape the murderer's blows. However, they are also "the master-plot" that bound Agamemnon. Throughout the Oresteia, we find instances of persuasive words described as "nets". These robes are the manifestation of Clytamnestra's deceit, and thus serve as further evidence against her.

Having finally paid tribute to Agamemnon's memory, and having served poetic justice by wrapping Clytamnestra and Aigisthos in the very robes in which they caught Agamemnon, Orestes has fulfilled his duties. As soon as his work is done, he begins to slip into madness. It is as though the dam that was holding back all of the dark forces of nature until Orestes could finish his work has finally burst. Before losing himself completely to terror at the approaching Furies, Orestes cries out that his crime was justified, and that Apollo promised him protection. After putting on the robes of a supplicant, he flees the stage in the direction of Delphi, where he will seek refuge from the bloody Furies who now pursue him due to Clytamnestra's curse.

The play ends with an unresolved question: when will the blood cease to flow through these palace walls? It is this issue which the Eumenides, the third play in the trilogy of the Oresteia, will address and bring to a happy conclusion. While The Libation Bearers stands on its own as a complete play that addresses many important issues concerning Greek society, it also functions as the link between the story of Agamemnon, which centers on the ancient law of vengeance, and the Eumenides, which establishes the law courts of Athens as the proper venue for addressing crimes of murder.