1. Ferrari, Gloria.  “Figures in the text: metaphors and riddles in the 'Agamemnon.'” Classical Philology 92 (1997): 1-45. (Jeremiah Keller)

     Gloria Ferrari takes it upon herself to focus on how metaphors and literary imagery in Agamemnon must evoke certain images available to the audience of the time period, “Students of Aeschylus' 'Agamemnon' must take into consideration the verbal images' visual dimension. The play provides an example of how literary imagery must have the ability to be visualized. In particular, the ecphrasis metaphors evoke figures visually available to the spectator” (1).  She provides several points to be explored, but I will focus on one, “Since [Aristotle] says that humans (and some animals) all have the ability to form [visual images], one might say that mental pictures are a society's visual archive that all its members share and use for thinking. In the sense that they are the product of common experiences, although not necessarily sense perception, the notion of such images bears some resemblance to that of ‘collective representations’” (1).  In other words, a society has a certain set of images available and we (in modern society) find it difficult to understand another culture without the luxury of having those certain visual images available.
     Ferrari indicates that there has long been a debate between historians whether we can actually understand ancient societal literature without the aid of the visual imagery of the time period, “In particular, it has long been a matter of debate whether it is possible to understand the visual representations of a culture that is not our own without the support of its literature. Most interpreters of literature, on the other hand, have just begun to be concerned with the visual dimension of verbal imagery. It may be time to ask the question in reverse: Can you interpret written texts without recourse to visual ones? My answer is that you cannot and, in actual practice, you do not [emphasis added]” (2).  Ferrari proceeds to provide examples of this phenomenon in Agamemnon.  One such examples involves Iphigenia’s sacrifice to Artemis, “The most vexed question here concerns Iphigenia's clothes, [which is a] good example[e] of Aeschylus' implosive language, which requires the audience to reach deep within themselves to a shared fund of knowledge. Interpretations fall into two broad categories: those proposing that the [clothes] come off at the moment of sacrifice, either torn off or voluntarily shed; and those that hold that she remains dressed. Each understanding of the text puts forward, and depends upon, a specific visual image” (3).  The essence of Ferrari’s argument is that our interpretation of this passage could very well be different than the Greek’s interpretation.  We simply do not have the same reference point that the Greeks did.
     Ferrari came up with some good ideas and it gave me a new view of how literary imagery and visual imagery work hand in hand to produce something of value to their respective audiences.  I admit that it is fairly difficult to come up with an image of some of the events described in this play (such as the sacrifice of Iphigenia).  I rely only on my imagination because I do not have a reference point for my visual image as the Greeks of the time would have had.

1b. Ferrari, Gloria.  "Figures in the text:  metaphors and riddles in the 'Agamemnon.'"  Classic Philology 92  (1997):  1-45 (Nic Wolfe)

     The author of "Figures in the text: metaphors and riddles in the 'Agamemnon'", Gloria Ferrari firmly believes and attempts to persuade the belief that the TRUE meaning and intentions can only be gathered through a visual spectator's eyes,(TRUE meaning how the Aeschylus intended it). In other words, simply
reading the text of Agamemnon is not enough to see Aeschylus' vision. She argues that items such as ekphrasis in the play cannot be fully understood without seeing the actual reproduced item. She quotes directly from Zeitlin's analysis of plays from Euripides and states that knowlegde is built on the "...joining of word and image...". The author also argues that it would be impossible for any modern day reader to visualize any of the images produced in the play, and therefore could not completely understand it. Basically the author believes that it is impossible for a modern-day reader to fully grasp Aeschylus' intentions with Agamemnon, but firmly believes that if you  want to have a better grasp on Agamemnon you should read it and see it. 

2. Hogan, James C.  A commentary on the Complete Greek Tragedies: Aeschylus.  Chicago: University of Chicago Press, 1984. (Jeremiah Keller)

      This book comprises James C. Hogan’s commentaries on Aeschylus’ complete Greek plays, Agamemnon being the play of interest.  In Hogan’s commentary, He undertakes a dissection of the play into its various characters, literary devices, and use of language.  His commentary is rather comprehensive, so I will provide two examples of his analysis.
      At the beginning of the play, the audience is introduced to the watchman on the rampart, who serves as a means for us to become familiar with the play and any background information necessary.  Hogan offers some deeper insights, “While this watchman conveys essential information concerning place, time, and his own function (lines 3, 5, and 8), he also takes on some shape as a character: he is tired, a little impatient, intimidated, hopeful, and loyal but cautious.  His most important function, however, is to hint at Clytaemestra’s treachery and thus to establish through metaphor and image the themes and motifs that will pervade the trilogy” (30).  This watchman is not simply a character who has been dropped into the play conveniently to provide us with background information; Aeschylus actually develops this character, thus making his chief function as a forbearer of Clytaemestra’s treachery all the more powerful and engaging to the audience.
      Hogan’s commentary was not confined to a study of the characters but also the use of language in the play, “186 Turned with the crosswinds of fortune might also be translated breathes together with the blasts of fortune. . .’ [T]his line implies a physiological harmony uniting the man and the events; unlike 218, there is yet no suggestion of moral choice” (44).  This passage is essentially justifying Agamemnon’s decision to sacrifice his daughter to Artemis because of the poor weather.  Aeschylus’ use of language gives the audience the feeling that Agamemnon had no choice and that the will of the gods had to prevail no matter what.  We know that when Clytaemestra finds out about Iphigenia’s sacrifice, she sees it as murder, whereas Agamemnon sees it simply as a decision that had to be made.
      Overall, I thought Hogan had some very insightful and informative comments.  The literary analysis helped me to better understand the play, as I had some trouble completely comprehending some of the lines.

3. Morrell, Kenneth Scott. "The fabric of persuasion: Clytemnestra, Agamemnon and the sea of garments." The Classical Quarterly 92 (1996):  141 (Nic Wolfe)

     In "The fabric of persuasion: Clytemnestra, Agamemnon and the sea of garments" Kenneth Scott Morrell attempts to argue that the garments in which Clytemnestra and Agamemnon wear in Agamemnon represent their character traits. Clytemnestra's garments convey a controlling powerful woman who is very capable
of violence, while her husbands foreshadow his inevitable tragedy and death. The author believes that Aeschylus' intention was to use the garments as a median for further enriching the play to careful readers. In sum, he is attempting to persuade the reader that the physical appearance is completely representational of the character. 

4. Pulleyn, Simon. "Erotic undertones in the language of Clytemnestra."  The Classical Quarterly 47 (1997):  560-565. (Nic Wolfe)

     Simon Pulleyn's "Erotic undertones in the language of Clytemnestra" offers the reader with an intepretation of the text in Aeschylus' Agamemnon. Pulleyn argues that when Clytemnestra kills her husband, Agamemnon, she is sexually stimulated. The blood spurting from the wounds being analagous to the male ejaculation, and the climax of his death being the climax of her sexual experience. Pulleyn also argues that, other than the blood spurting and the climax of death, there are other undertones within the text signally a significant sexual presence in Agamemnon. He also believes that physical objects such as the hearth are allusions to the female sex organs. The main idea in "Erotic undertones in the language of Clytemnestra" is that there is a link between food and sex, death and sex, and death and food. The author continues to argue and provide quotes to support as evidence. (The quotes were not available in the reading, only; "[Greek text not reproducible in AscII]").