The Agamemnon of Aeschylus
characteristic, but counsels are divided. One would like to know
whether Aeschylus made them speak together confusedly, as would
certainly be done on the modern stage, or whether the stately
conventions of Greek tragedy preferred that each speaker should finish
his say. In any case, what happens is that after a moment or two of
confused counsel the Elders determine to break into the Palace, but as
they are mounting the steps the great doors are flung open and
Clytemnestra confronts them, standing over the dead bodies of
Agamemnon and Cassandra.
The illusion intended is that the Elders have entered the Palace
and discovered Clytemnestra. But, as the mechanical arrangements of
the Greek stage were not equal to this sudden change of scene, and
since also it would, even with perfect machinery, have a tiresome
interrupting effect, a slight confusion or inconsistency is
allowed. We are supposed to be inside the house; but as a matter of
fact the supposition is soon forgotten, and the play goes on
without any attention to the particular place of the action. On
Clytemnestra’s speech see Introduction, p. xiii.
[P. 63, l. 1387, A prayer well sped to Zeus of Hell]—As the third gift
or libation was ritually given to Zeus the Saviour, Clytemnestra
blasphemously suggests that her third and unnecessary blow was an
acceptable gift to a sort of anti-Zeus, a Saviour of Death.
[P. 65, l. 1436, Aigisthos.]—At last the name is mentioned which has
been in the mind of every one!—Chrysêïs was a prisoner of war,
daughter of Chrysês, priest of Apollo. Agamemnon was made to surrender
her to her father, and from this arose his quarrel with Achilles,
which is the subject of the Iliad.
[Pp. 67-72, ll. 1468-1573, Daemon.]—The Genius or guardian spirit of
the house has in this House become a Wrath, an ‘Alastor’ or ‘Driver
Astray.’ See Introduction, pp. x ff.
[P. 68, l. 1513, MOURNERS.]—This attribution of the different speeches
or songs to different speakers is, of course, conjectural. Ancient
dramas come down to us with no stage directions and very imperfect
indications of the speakers.
[P. 72, l. 1579, AIGISTHOS.]—The entry of Aigisthos enlivens the scene
again after the brooding and bewildered end of the dialogue between
Clytemnestra and the Elders. At the same time, it seems, no doubt by
deliberate intention, to reduce it to commonplace. Aigisthos’
self-defence is largely justified, but he is no hero.
[P. 73, l. 1602, Pleisthenês.]—Apparently one of the ancestors of
Atreus, but it is not clear where he comes in the genealogy. He may be
identical with Pelops.
[P. 74, l. 1617, Oarsman of the nether row.]—On an ancient galley,
bireme or trireme, the rowers of the lower bank of oars ranked as
inferior to those who used the long oars from the deck.
[P. 76, l. 1654.]—Clytemnestra, see Introduction, p. xiii. She longs
for peace, yet after all “Had Zimri peace who slew his master?” The
end of the play leaves us waiting for the return of Orestes. In the
first scene of the _Libation-Bearers,_ he is discovered standing by
night at his father’s grave.