Themis, a study of the social origins of Greek ... - Warburg Institute

Agon, Pathos, Messenger, Threnos 355
The scene before has certainly been an Agon between Heracles and Lvcus
(cf. 789, 812). Thus we get the sequence Agon (Agon), Pathos and Messenger,
Threnos, and, clearly, Anagnorisis 1089—1145 : then, instead of a god,
Theseus appears, ex machina as it were : see above.
Ion : typical. Great Agon scene, Creusa against Apollo 859—922, or one
may perhaps count it as lasting till 1047 ;
then Pathos-Messenger 1106— 1228,
brief Threnos 1229— 1250; then second Agon 1250— 1394 and Anagnorisis
1395— 1549 (with Peripeteia); then Theophany.
Troades : the form in many ways peculiar, but the latter part has the
sequence: Agon of Helen against Hecuba-Menelaus 860— 1060; Choric ode,
then Messenger 1123— 1155, then great Threnos to the end.
Electra : Agon of Electra and C'lytemnestra 997— 1146 : then the
Messenger is omitted, the Pathos is avrdyyeXov, announced by the shriek of
Clytemnestra and the return of the murderers with bloody swords, 1147
1176 : then Threnos (with a kind of spiritual Anagnorisis and Peripeteia),
then Theophany. The Messenger-form, omitted here, has occurred earlier
in the play, 761—858.
Iphigenia Taurica: the end is clear: Agon, Thoas and Iphigenia 1152
1233: Messenger (with a kind of Anagnorisis 1318, 1361): no Threnos,
unless we may take the Chorus's two lines of lamentation, 1420, 1421, as an
atrophied Threnos ; Theophany. The real Threnos of the play has come
earlier, as it tends to come in plays about Orestes.
Helena: Agon with Theoclymenus (I take the diplomatic contest with
these dangerous barbarians to be a clear form of Agon) 1186— 1300: con-
tinued in 1369— 1450: then Messenger 1512— 1618: no Threnos is possible
instead we have a brief Agon, Theoclymenus against the Servant at the door
then Theophany.
1621—1641 :
Phoenissae : there are two Messengers, each with a double speech. We
take at present only the second. The great Agon of the play has occurred
much earlier, 446—637, between Eteocles and Polynices. The sequence at
the end is merely Messenger 1356—1479, Threnos 1485— 1580, and 1710
end, interrupted by an Agon between Creon and Antigone. As Aitia we
have the burial arrangements of Eteocles and Polynices and the expulsion
of Oedipus to Mt Kithairon— perhaps a faded Theophany, see above. The
tabu tombs of the two princes form also the end of the Septem. The general
structure of the Phoenissae is highly formal under its cover of Epic expansion,
but we will not discuss it here.
Orestes : in the conclusion of the play I think we must recognize the
Phrygian as an Exangelos. That is, his dramatic function is to relate what
has taken place inside the house. The lyrical form is merely chosen for
variety's sake.
Threnos : Agon
This gives us the sequence : Messenger
between Orestes and Menelaus : Theophany
combined with
There has been an ordinary Messenger earlier 852—956 :
—
;
of Apollo.
also a Threnos
960— 1012. Also an Evocation of the dead Agamemnon, much atrophied
1225— 1240. (These atrophied evocations of Agamemnon are of course derived
from the great evocation in the Choephori: one would like to know if
that scene itself is softened down from some still more complete predecessor,
in which Agamemnon actually rose from the tomb.)
, Bacchae: absolutely typical : see above.
Iphigenia Aulidensis: the end is lost, but the present traces suggest a
pretty typical sequence : Agon, Achilles pelted by the troops, argument
between Achilles and Clytaenmestra, 1337— 1432 : Threnos of Iphigenia, 1475
—1531 : Messenger 1532— ? Then perhaps Threnos, certainly Theophany.
Rhesus : the Hcniochos is clearly a Messenger. So we end with the
sequence Agon 675—727, fight of Diomedes and Odysseus with the Guards :
Messenger 728—819, continuing into a short Agon between Heniochos and
Hector, 820—881 : then Theophany combined with Threnos.
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