Abstract
BY 573,1 Elektra has rejected all the Aeschylean tokens of recognition that are offered to her by the Old Man, and the play threatens to depart ever more wildly from its prescribed mythic course. It is retrieved by the scar that the Old Man notices at Orestes' eyebrow and points out to Elektra as proof, which she accepts, of Orestes' identity. The scar is necessary to the development of this drama, but it has not attracted much critical attention.2 Tarkow's article of 1981 laid out some basic approaches to the scar; in this paper I want to build on his work and to suggest more precisely what may be at stake in the account of this token. Aristotle's Poetics claims that visible signs or tokens constitute the least satisfactory of all methods of plotting discovery and signal a failure in drama turgy: JT(Q(TT1 Rev l aTreXvo0dTCi xai , JTXnEOTrl XQo)vTal 61' aJToQiacv, I 6&a T(OV
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