offers, rather hopefully, ‘All’s well that ends well?’ A section on the Visual Arts demonstrates that scenes from our trilogy were frequent subjects, and perhaps (suggests B.) the Oresteia krater of the Dokimasia Painter inspired Aeschylus to put Agamemnon in a robe: but other playwrights besides Aeschylus will also have written plays about this most famous myth. makes the interesting point that Stesichorus opens with an ornate invocation of the Muse, ‘promising a cheerful and celebratory subject’: not an obvious description of the Oresteia (with its five murders) and B. The Introduction (which rather surprisingly refers readers to Sommerstein’s Aeschylean Tragedy for a summary of the plot) opens with a section on the Myth, which concentrates on the Oresteia of Stesichorus, a most important source. makes generous allusion): at the same time the many points of difficulty are thoroughly examined. Garvie’s major edition of 1986, to which B. This Aris and Phillips commentary is well designed to ‘make the play accessible to a much wider range of readers’ (sc.
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