Endnotes explained

What happens

Themes in this chapter

• Sacrifice and Violence

  The sacrifice of Iphigenia is discussed as a result of Agamemnon's acceptance of the sign; human sacrifice is noted as a primitive rite.

• Deception and Appearance vs. Reality

  Clytemnestra's deceptive welcome and the contrast between appearance and reality are highlighted, especially in her beacon speech and her apology for 'womanlike anxiety.'

• Fate and Free Will

  The prophecy of Calchas and the inevitability of the events are discussed; the concept of the 'Tritos Sôtêr' reflects a cycle of sin, vengeance, and salvation.

• Suffering and Wisdom

  The Herald's description of the horrors of war and the Chorus's reflections on human happiness and suffering are noted.

Characters to notice

• Clytemnestra

  Her silent scene is compared to Cassandra's silence and Prometheus's silence; her beacon speech is noted for its vivid imagination and excitement; her hatred and fear of Agamemnon are highlighted.

• Agamemnon

  His return is marked by triumph and the spoils of war; his temptation and yielding are analyzed; his contrast with the Herald is noted.

• Cassandra

  Her silent prophecy and eventual speech are discussed; her vision grows steadily more definite; her sob 'otototoi' is noted as a stage direction.

• Herald

  His arrival is full of excitement and love for home, contrasting with Agamemnon; his speech confirms Clytemnestra's worst fears.

• Aigisthos

  Mentioned in the context of the Watchman's Homeric origin and the rejoicing over his death.

• Apollo

  Described as a sinister figure in tragedy; his name is associated with destruction ('apollyon'); he is the chief enemy of the Greeks at Troy.

• Zeus

  The conception of Zeus as the Saviour Third is discussed; he is invoked as 'Zeus, whate'er He be' and as the fulfiller of prayers.

• Helen

  Her name is analyzed in the context of the nature of language; a wraith of Helen is seen haunting the palace in a vision.

Key passages

• “The Watchman, like most characters in Greek tragedy, comes from the Homeric tradition, though in Homer ( Od. IV 524) he is merely a servant of Aigisthos.”

  The Watchman character is derived from Homer, where he is just a servant of Aigisthos.

  Source of the Watchman character.

• “With this silent scene of Clytemnestra’s, compare the long silence of Cassandra below, and the silence of Prometheus in that play until his torturers have left him.”

  Clytemnestra's silent scene is comparable to Cassandra's long silence and Prometheus's silence until his torturers depart.

  Comparison of silent scenes in Aeschylus.

• “All through this chorus the language of the prophet Calchas is intentionally obscure and riddling—the style of prophesy.”

  Calchas's language in the chorus is deliberately obscure and riddling, typical of prophecy.

  Style of prophetic language.

• “This conception of Zeus is expressed also in Aeschylus’ Suppliant Women, and was probably developed in the Prometheus Trilogy.”

  The idea of Zeus as the Saviour Third appears in Aeschylus's other works.

  Zeus as Saviour Third.

• “There is no need to inquire curiously into the practical possibility of this chain of beacons. Greek tragedies do not care to be exact about this kind of detail.”

  The practical feasibility of the beacon chain is not important; Greek tragedies are not precise about such details.

  Lack of exactness in Greek tragedy.

• “A woman’s word.—Her hatred and fear of Agamemnon, making her feel vividly the horrors of the sack and the peril overhanging the conquerors, have carried her dangerously far.”

  Clytemnestra's hatred and fear of Agamemnon cause her to speak too vividly about the horrors of war, and she checks herself.

  Clytemnestra's self-censorship.