The extended mourning for Agamemnon in the kommos scene of the Choephoroi dramatizes relationships to the dead not found previously in the trilogy. Unlike in the Agamemnon, in the kommos, death is neither an end point nor a peaceful rest. Instead, the mourners repeatedly alternate contradictory conceptualizations of Agamemnon’s existence and power in the beyond: They insist on his outraged, avenging spirit; paradoxically, they also refer to his honored place among kings in the underworld. At some points, they call on him to send his power from below; at others, they beg him to rise from the dead. None of the characters seems to know which of these possible afterlives, if any, are true. The “poetics of multiplicity” evident in the kommos affects the emotional, epistemic, and ethical aspects of the scene. The Chorus’s contrafactual image of Agamemnon as glorious king in the afterlife, jammed against their insistence on his dishonored death and burial, compels Orestes to begin the second coup d’état. It is potentially the first instance in extant Greek literature in which a fictional depiction of the afterlife motivates extreme political action.

Theocritus’ Syrinx is one of the Technopaegnia, a corpus of Hellenistic and Roman calligrames with an intricate and enigmatic vocabulary. The Palaiologan scholars Maximos/Manuel Holobolos and John Pediasimos rediscovered this poem and composed commentaries for didactic purposes. The first part of this chapter delves deeper into the teaching of Holobolos, who has not received as much attention as other Palaiologan scholars. With a particular focus on his commentary on the Syrinx, it analyses Holobolos’ work on the Technopaegnia and addresses questions such as: Why was Holobolos interested in these poems? Which sources did he employ and how did he adapt them to his didactic needs? What literary competence did his students acquire by reading the Technopaegnia? The second part of the chapter explores Pediasimos’ detailed commentary on Theocritus’ Syrinx by addressing the same questions. It also deals with the scholarly context and dating of his exegetical work on the poem. The last part presents a comparative study to explore how Holobolos’ work influenced Pediasimos’ commentary. In this framework, the chapter also examines the manuscripts preserving the Technopaegnia in order to shed light on the scholarly milieu and production of these copies as well as the commentaries by Holobolos and Pediasimos.

This chapter opens a perspective onto the more theoretical or conceptual side of humorous discourse in twelfth-century Byzantium by exploring the reflections on ridicule and comedy in Homeric poetry in the commentaries by Eustathios of Thessalonike. Eustathios addresses the social aspects of ridicule, as well as its rhetorical dynamics and its role in narrative. In his view, Homer uses comic elements to counterbalance the gloominess of the Iliad’s war narrative, as a good rhetor should do. Flyting has the same function: even if the addressees in the narrative are stung by such insults, Homer’s primary narratees are expected to be amused by the often humorous verbal abuse. Eustathios repeatedly points to the moral tensions inherent in ridicule and laughter; as the consummate orator, however, Homer always finds a way to keep his dignity intact. Throughout his commentaries, Eustathios offers his target audience of prose writers numerous examples of how to adopt and adapt Homer’s words in order to ridicule certain bodily defects, excessive behaviours or less-than-perfect intellectual skills. Such comments shed light on what was worthy of mockery in the mind of a Byzantine audience and show that it was expected of urbane rhetors to use ridicule in their writings.

The Periegesis or Description of the Known World by Dionysius of Alexandria (second century ad) is the only Greek didactic poem composed to teach the Roman student elementary notions about the inhabited world. Eustathios of Thessalonike, who prior to his nomination for the position of archbishop of Thessalonike in 1175/8 was maistor ton rhetoron, the leading professor of rhetoric in Constantinople, wrote a systematic commentary on the poem in the form of parekbolai, as he had previously done for the Homeric epics. The prefatory letter addressed to John Doukas, the son of Andronikos Kamateros, suggests that the influential Kamateros family was the primary addressee of a work that certainly was also used by Eustathios in his teaching. Eustathios did not seek to correct errors and ambiguities or to question the validity of Dionysius’ vision of the world, even if he did not shrink from pointing out some of the contradictions found throughout the poem. Rather, his aim was to expand the brief information that the poem gives about towns and places, explain the poet’s stylistic decisions and specify the origin and spelling of toponyms and demonyms.

The Eumenides contains one of the earliest descriptions anywhere of Hades as a universal judge. The Erinyes threaten Orestes with a continuation of his punishment after death by “the great assessor of mortals beneath the earth.” This passage contains the first extant catalogue of Hades’ ethical concerns: he is said to punish human–divine, parent–child, and guest–host transgressions. Although he “sees all things,” the name Hades derives from a-idein, literally the “unseen,” a moniker that exemplifies the human inability to confront this nonpolitical, absolute judge. By differentiating Hades from the Erinyes, this chapter draws out the dynamics of his character and ethical law. Like them, Hades’ connection with blood and punishment entails pollution, but unlike them, he is never subordinated to Athens. The analysis then contrasts Hades’ law to the “new law” that Athena creates. It argues that Hades represents an alternate, yet still valid ethical code that can be used to critique the jingoistic and bellicose politics of the trilogy’s ending.

The Chorus of the Agamemnon depict death and the afterlife in diverse ways, both in their dramatic role as the Elders of Argos and in their more universal choral songs. This chapter examines the ethical and political values their contradictory references imply, whether any affect their actions as characters, and how each links to other themes in the trilogy. The Elders go further than the Herald by not only treating death as oblivion at some points but even actively wishing death at others. In what way does this seeming escapism, contrasted with their emphasis on a good death as glorious, affect their resistance to the coup d’état? How does their story of returning casualties color the Argive critique of the Trojan War? The choral songs introduce different types of afterlives into the trilogy: in the memory of the living, at the grave, through the psyche that survives after death, in the possibility of resurrection, and even as a realm of punishment for ethical wrongs. The rest of the Oresteia significantly develops many of the Elders’ wide-ranging speculations.

The celebrated scholar and literatus Maximos Planoudes (ca. 1255–ca. 1305) was a leading exponent of the study of ancient literature in the late Byzantine world. While best known for this engagement – embodied in his collection of epigrams, the Planoudean Anthology, in his critical editions of, and scholia for, classical texts and in his translations of Latin literature – he also composed an undeservedly little-known poem in the tradition of the ancient Greek idyll. A humorous piece, drawing on numerous ancient sources, particularly on bucolic poetry in the tradition of Theocritus and on Lucian’s satires, it exhibits a refreshing jocularity not usually evident in his other literary activities. This chapter offers a close reading of the Idyll, highlighting its themes of love and homoeroticism, the alterity of otherworlds, and magic and the marvellous. It investigates its connections to other literary traditions and to Planoudes’ scholarship as a whole, and considers the reception of the poem in Byzantium. In composing an idyll – unprecedented in Byzantine poetry – Planoudes creates a parody of ancient texts and authors that is both entertaining and instructive, while being unique in its setting and context.

The introduction provides necessary background on Ancient Greek religious and literary ideas about the afterlife, methods for analyzing ethics in literature that several of the chapters will challenge, a working definition of tragic poetics, and historical context and preliminary definitions relevant for political structures and themes in the Oresteia.