Abstract
Abstract: This article offers an auditory analysis of Aeschylus’ innovative staging of the chorus in Eumenides . The Erinyes’ characterization and initial utterances engage a broader tradition of chthonic sound, including the pythikos nomos , an instrumental solo for the aulos that conveyed the serpent’s suffering when Apollo slew her at Delphi. The resonance of this sound recalls the primordial cries of other chthonic figures, embodying a voice that cultural listening practices had associated with resistance to Olympian oppression. Such an auditory analysis motivates the Erinyes’ unique characterization and staging, while also suggesting the use of auletic sound effects on the tragic stage.
Published Version
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