Aeschylus, Eumenides 778-1020. Observations on the form of the lyric-epirrhematic amoibaion

Eumenides’ final scene, conceived as a sequence of two lyric-epirrhematic amoibaia, is examined from both a formal and compositional perspective. A critical apparatus, an apparatus of ancient and modern colometries together with a metrical analysis are also presented. General evaluations are developed on the atypical dramaturgy of the two amoibaia where, despite their poematic form, no proper dialogue takes place, and on the artistic and semantic purpose hiding behind this anomaly