[231] Arrangement: protagonist, Clytæmnestra; deuteragonist, Herald, Cassandra; tritagonist, Sentinel, Agamemnon, Ægisthus.
[232] See especially his Introduction (pp. xiii-xlvii of the 2nd edition).
[233] This is noted by an admirable touch. Almost always a tragedy ends with words of the chorus as the least impassioned parties. In the Agamemnon the closing words are uttered by Clytæmnestra.
[234] Choephorœ, 889.
[235] The Relapse, V, iv. 135.
[236] Arrangement: protagonist, Orestes; deuteragonist, Electra, Clytæmnestra; tritagonist, Pylades, nurse, attendant, Ægisthus.
[237] This is of course a conventional mise-en-scène; we are to imagine the tomb as distant from the palace.
[238] On this and the other “tokens” see below, p. 258.
[239] The dead man is undoubtedly supposed to send aid in a mysterious way, but no ghost appears, as in the Persæ. This discrepancy points to a change in religious feeling. Clytæmnestra’s shade “appears” in the Eumenides, but as a dream (see v. 116).
[240] vv. 870-4. It seems most natural to suppose that they altogether quit the orchestra, returning before v. 930.