Most of the work done on tracing persistent themes and images in the Oresteia has failed to take account of the associations of the theme or image for the original audience. Some of these associations are with certain highly emotional rituals. In evoking the ritual the poet evokes also some at least of the emotion which generally accompanies its performance. I will take here as an example the association of the manner of Agamemnon's death, the fatal bath and the fatal (...) robe, with the ritual of the funeral. This will I hope help to enrich our own emotional reaction to Aeschylus' presentation of this event, as well as to shed light on certain problematic passages. (shrink)

The fire beacon in the opening scenes of the Agamemnon commands attention and creates the positive image of light from darkness. In the immediate context the light of the beacon relieves the watchman of his toil and brings joy to Argos. The image, however, is not totally positive. The fire signal announces both the fall of Troy and the return of Agamemnon to Clytemnestra. The negative aspect, furthermore, is emphasised at the opening — the watchman's joy at seeing the beacon (...) gives way at line 36 to foreboding . For the original audience of 458 b.c. I suggest that this fire beacon proclaiming victory must have conveyed other negative overtones. In brief, it will have recalled to them vividly the signals used by the Persian commanders during the great invasion of 480 to announce Athens' capture to an expectant Persian court. (shrink)

In Eum. 1028–9 the Furies mark their transformation into Eumenides by donning red robes over their black costumes in imitation of the robes worn in the Panathenaea by metics . Greek epic was sensitive to the symbolic value of clothing and Aeschylus had experimented in the Persians with the greater scope that drama offered for clothing-symbolism. Scholars have detected a wealth of associations in the Furies' robing-scene: this culmination of the trilogy echoes the red carpet upon which Agamemnon walks to (...) his death in the first play, which is actually referred to as ‘garments’ , and the net in which Agamemnon is caught , which is brought on stage in the middle play . Another series of stage-actions of equal importance in preparing for the robing of the Furies has not been so well explained. (shrink)

History of religion, in its beginnings, had to struggle to emancipate itself from classical mythology as well as from theology and philosophy; when ritual was finally found to be the basic fact in religious tradition, the result was a divorce between classicists, treating mythology as a literary device, on the one hand, and specialists in festivals and rituals and their obscure affiliations and origins on the other.