Unit I: The Classical West

Summary

Unit I: The Classical West provides a foundational framework for understanding tragedy as a literary and theatrical genre. Beginning with Aristotle’s definition of tragedy as the imitation of an action that is serious, complete, and of magnitude, the chapter outlines the six constituent parts—plot, character, thought, diction, song, and spectacle—and explains why Aristotle considered plot (mythos) the soul of tragedy. The discussion then shifts to David Rush’s modern analysis of plot architecture, emphasizing the causal chain, inevitability, and the interplay between necessity and probability. Through Rush’s lens, the chapter examines the five‑stage structure (exposition, rising action, climax, falling action, denouement) and distinguishes simple from complex plots, noting the critical roles of peripeteia and anagnorisis.

The theoretical groundwork is applied to Aeschylus’ Agamemnon, the opening play of the Oresteia trilogy. A detailed synopsis situates the work within the mythic curse of the House of Atreus, highlighting the return of King Agamemnon from Troy and his murder by Clytemnestra and Aegisthus. The chapter explores how the play fulfills Aristotelian criteria: a tightly unified action observing the unities of time and place, and a cathartic evocation of pity and fear. By integrating Rush’s plot concepts with Aeschylus’ dramatic techniques—extended choral odes, messenger speeches, and symbolic staging—the chapter illustrates how ancient Greek tragedy simultaneously adheres to formal principles and innovates upon them.

Finally, the unit situates Agamemnon within its historical and cultural milieu, noting its premiere at the City Dionysia of 458 BCE, its role as the sole surviving complete trilogy, and its performance conditions (all‑male cast, masks, minimal scenery). The chapter concludes by tracing the play’s enduring influence on Western drama, from Sophocles and Euripides through Seneca, Shakespeare, and modern reinterpretations such as Eugene O’Neill’s Mourning Becomes Electra. Through this synthesis of theory, text, and context, students gain a comprehensive grasp of the foundations of tragic form and its lasting legacy.

Characters

The central figures in Agamemnon embody the tensions between personal agency, familial duty, and divine fate that drive the tragedy.

Agamemnon – King of Argos, commander of the Greek forces at Troy. His return victorious is marred by the earlier sacrifice of his daughter Iphigenia, an act that fuels Clytemnestra’s vengeance. Agamemnon’s hubris is symbolized by his walk upon the red tapestries, a gesture that signals his overreach and invites divine retribution.
Clytemnestra – Queen of Argos and Agamemnon’s wife. She orchestrates his murder as retribution for Iphigenia’s sacrifice and to secure power with her lover Aegisthus. Clytemnestra’s complex portrayal challenges gender norms, presenting a woman who wields political authority and enacts violent justice.
Aegisthus – Cousin of Agamemnon and Clytemnestra’s lover. He represents the lingering curse of the House of Atreus, seeking to reclaim the throne lost to Agamemnon’s father, Atreus. His role underscores the theme of inherited vengeance.
The Chorus of Argive Elders – A group of senior citizens who provide background, moral commentary, and lyrical reflection through odes. They serve as the audience’s moral compass, expressing fear, pity, and a sense of inevitable doom.
Cassandra – Trojan princess and prophetess, taken as Agamemnon’s concubine. Her prophetic visions of the house’s doom and her own impending death add a layer of tragic irony and highlight the theme of futile foresight.
The Watchman – Opens the play with a weary vigil for the signal fire announcing Troy’s fall. His opening monologue establishes the atmosphere of anticipation and fatigue that permeates the city.