By David Raeburn, Oliver Thomas
This observation 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 considering that 1958. it's designed relatively 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 an entire, and the historic context during which the performs have been produced. It discusses Aeschylus' dealing with of the normal fable and the most principles which underpin his total layout: equivalent to the improvement of justice and the character of human accountability; and it emphasizes how the ability of phrases, visible as ominous speech-acts which could be sure destiny occasions, makes a primary contribution to the play's dramatic momentum. Separate sections discover Aeschylus' use of theatrical assets, the position of the refrain, and the solo characters. eventually there's an research of Aeschylus' precise 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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Additional info for The Agamemnon of Aeschylus: A Commentary for Students
Example text
Literally ‘a sideways knock’, is an external force which shakes its victims from their senses. It makes them susceptible to shameful and rash ideas, which when acted upon lead to woe. The Chorus returns to this theme at 376–86, 461–8, and 757–71. g. Ostwald (1988), 18–19 on Thucydides’ sense of ανα´γκη. 50 At 461–8, the Erinyes overthrow the man who has achieved fortune without justice (such as a πολυκτ νο ). In the second stasimon (757–71), the Chorus believes that one act of hubris and impiety leads in time to another, and to folly characterized by rashness; immediately before and after, they are speaking particularly of the wealthy (752, 776).
533, 1318–19, 1338–40 for the balance of action and suffering. 35 Besides the prevailing code of revenge, and these vain threats of public punishment, Clytemnestra at one point (1568–76) hopes to put down blood-money to bargain with the δα μων of the house. This response to homicide is mentioned in the Iliad (9. 632–6, 18. 497–500), but there blood-money is paid to the victim’s family rather than to an implacable δα μων. Even as Clytemnestra utters her idea we perceive its futility, and at Cho. 48 the Chorus asserts explicitly that there can be no λ τρον (money given in atonement) for blood that has fallen on the ground.
351, 483–7, 1251; cf. ). 1). Clytemnestra’s role in Agamemnon’s death is more important than Aegisthus’; her murder by Orestes is more important than her lover’s. 58 Besides Clytemnestra, Helen also wields metaphorical power (esp. g. Wiles 1997, 84; Goward 2005, 26, 89–90). ). Furthermore, the ske¯ne¯ was still a recent invention in 458 bc, designed to extend the mechanics of theatrical presentation. 57 See § 8 for the general subordination of characterization to broad design, rather than character-study being an end in itself.
