Mito e dialética na tragédia Agamêmnon de Ésquilo

Abstract

Authorised by the interface between myth (taking myth and mythical thought as the archaic Greek conception of language) and dialectics (understanding dialectics as the philosophical notion developed and put forward in Plato's Dialogues) which provides them - myth and dialectics thus defined - unity and identity in several aspects, we could speak of a tragic dialectics, for two reasons: 1) be it because in tragic drama four points of view, corresponding to the hierarchy of the traditional divine among the Greeks (scilicet: Theoí/Daímones/Iléroes), are mixed up and distinguished. To these one should add up that of the political horizons of Athenian democracy in the 5th century b. C., most frequently represented by the choir or the chorister; 2) be it because in tragic drama these po[itical horizons are explained through the nature of the relationships that, in the course of the drama, are established both among immortal Gods and between mortals and immortals.
In Aeschyllus' Oresteia what is understood by tragic dialectics exemplifies the permanence and transformation of the archaic mythic thought within the political horizon and he cultural context of Athens during the 5th century b. C.