By David Raeburn, Oliver Thomas

This statement discusses Aeschylus' play Agamemnon (458 BC), that is some of the most renowned of the surviving old Greek tragedies, and is the 1st to be released in English due to the fact 1958. it really is designed really to assist scholars who're tackling Aeschylus within the unique Greek for the 1st time, and encompasses a reprint of D. L. Page's Oxford Classical textual content of the play.
The advent defines where of Agamemnon in the Oresteia trilogy as a complete, and the old context during which the performs have been produced. It discusses Aeschylus' dealing with of the conventional fantasy and the most rules which underpin his total layout: comparable to the advance of justice and the character of human accountability; and it emphasizes how the facility of phrases, visible as ominous speech-acts which could ensure destiny occasions, makes a critical contribution to the play's dramatic momentum. Separate sections discover Aeschylus' use of theatrical assets, the position of the refrain, and the solo characters. ultimately there's an research of Aeschylus' targeted poetic kind and use of images, and an overview of the transmission of the play from 458 BC to the 1st published variants.

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162–3, 778–9). 40 For Apollo in the Oresteia see Roberts (1984), ch. 3. On the Erinyes and their background, see Sewell-Rutter (2007), ch. 4. 42 In Eum. the Erinyes apply a broader range of punishments (186–90) to a narrower range of crimes, though the latter is not defined consistently. At 210–12, 336, 355–6 they imply that they pursue only those who have killed a relative, and they are not concerned for Aegisthus’ claim against Orestes. But at 316–20, 421 they avenge homicide in general. 43 Eum.

Cassandra’s divesting herself of her prophetic garments would have made another memorable moment (1264–8; it influenced Eur. Tro. 451–4). The revelation of Clytemnestra with the bath and corpses has been described above; this spectacle is an important part of the dramatic structure, since it is pointedly paralleled by the tableau of Orestes and corpses at Cho. 973. The play’s ending also relies for its effect on the visual, as the Chorus squares up against Aegisthus’ bodyguards, with staffs drawn against swords, and is perhaps forced out of the theatre by them, in lieu of the choral coda which seems to have been conventional (see the final n.

L. Austin (1962). cf. also the popular superstition of ‘jinxing’ something by praising it excessively. 75 In the later sixth century, Homer was being recited in Athens at the Panathenaea. g. Herington (1985), Scullion (2002). 76 Lines 20, 121, 217, 255, 349, 674, 998–1000, 1249. Schenker (1999), 649–57 adopts a similar position to us on these passages. Introduction li material for prophecy. 77 More generally, in the popular Greek form of divination by κληδ νε a chance remark could be interpreted as an omen, whether intended as such or not.

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