Agamemnon in Herodotus and Thucydides: Exploring the historical uses of a mythological paradigm
This paper explores the use of the myth of Agamemnon in Herodotus and Thucydides. I argue that the deployment of Agamemnon in their works is shaped by, and sheds additional light on, the historians’ attitude toward myth (and its use in rhetoric), their narrative aims and historical outlook. Herodotus’ readiness to embrace myth in both narrative and speeches, his representation of complex motivation, his description of the conflict between the Greeks and the Persians, and his panhellenic outlook, influence the function of Agamemnon: as king of Sparta and the leader of the Greeks in the Trojan War, he reflects the idealistic and pragmatic motivation of the Spartans in the context of the Persian Wars. Agamemnon’s function in Thucydides is different since it is affected by the general avoidance of mythological argument – especially in rhetoric – and its merely relative significance, the description of a war between the Greeks, Thucydides’ pragmatism, and his writing for posterity: aptly replaced by Sparta’s Dorianism in the context of the war against Athens, Agamemnon becomes a contemporary tyrant king who may represent any city or individual yearning for power and empire.
Herodotus on the Trojan War
Herodotus' reputation as a critical historian has been increased by such a wealth of articles and papers recently that it might seem superfluous to add to the bulk of material already available. There are, however, some radical notions embodied in Herodotus' treatment of the Trojan War to which further attention should be drawn.
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.