Note 319 — AGAMEMNON

There is an ambiguity, possibly an intentional one, in the comparison which Clytæmnestra uses. If there was no such art as that of “staining bronze” (or copper) known at the time, the words would be a natural phrase enough to describe what was represented as an impossibility. Later on in the history of art, however, as in the time of Plutarch, a process so described (perhaps analogous to enamelling) is mentioned (De Pyth. Orac. § 2) as common. If we suppose the art to have been a mystery known to the few, but not to the many, in the time of Æschylos, then the words would have for the hearers the point of a double entendre. She seems to the mass to disclaim what yet, to those in the secret she acknowledges.

Another rendering refers “bronze” to the “sword,” and makes the stains those of blood; as though she said, “I am as guiltless of adultery as of murder,” while yet she knew that she had committed the one, and meant to commit the other. The possibility of such a meaning is certainly in the words, and with a sharp-witted audience catching at ænigmas and dark sayings may have added to their suggestiveness. The ambiguous comment of the Chorus shows that they read, as between the lines, the shameful secret which they knew, but of which the Herald was ignorant.