# Endnotes explained — Agamemnon > Chapter companion for Agamemnon by Aeschylus. ## What happens This chapter provides scholarly endnotes and commentary on the Agamemnon, offering critical insights into the play's themes, characters, and historical context. It includes explanations of key terms, references to Homeric tradition, and analysis of Aeschylus's dramatic techniques such as silent scenes, prophetic language, and the use of the beacon chain. ## 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. ## Character check-ins ### 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 lines > 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._ > The Herald bursts in overcome with excitement and delight, full of love for his home and everything he sees. A marked contrast to Agamemnon, line . The Herald enters joyfully, loving his home, in contrast to Agamemnon's demeanor. _Contrast between Herald and Agamemnon._ > Agamemnon is going through the process of temptation. He protests rather too often and yields. Agamemnon is tempted; he protests excessively but ultimately gives in. _Agamemnon's temptation._ > The victim has been drawn into the house; the Chorus sing a low boding song: every audience at a Greek tragedy would expect next to hear a death cry from within, or to see a horrified messenger rush out. Instead of which the door opens and there is Clytemnestra: what does she want? 'Come thou also!' One victim is not enough. After Agamemnon enters, the audience expects a death cry, but Clytemnestra appears and calls for Cassandra as another victim. _Dramatic expectation subverted._ > Observe how, during the lyric scene, Cassandra’s vision grows steadily more definite: First vague horror of the House: then the sobbing of children, slain long ago: then, a new deed of blood coming; a woman in it: a wife: then, with a great effort, an attempt to describe the actual slaying in the bath. Cassandra's vision becomes increasingly specific, from vague horror to the detailed murder in the bath. _Progression of Cassandra's prophecy._ ## Links - HTML: https://www.betterreads.online/discover/agamemnon_se/chapters/endnotes - Book: https://www.betterreads.online/discover/agamemnon_se - All chapters: https://www.betterreads.online/discover/agamemnon_se/chapters