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Updated: May 8, 2025
It is a unity: one thunderbolt from Zeus; first the growl and rumbling of the thunders; then the whirr of the dread missile, and lo, the man dead that was to die. And through the bolt so hurled, so effective, and with it the eagle-bark Aeschylus crying Karma! to the Athenians. So it has been said that Aeschylean Tragedy is more nearly allied to sculpture; Shakespearean Tragedy to the Epic.
He gives utterance, down there in the arena, to certain words tremendous words, as always, we must suppose: words hurled out of the heights of an angry eternity "Aeschylus' bronze-throat eagle-bark for blood," and Athens, that used to thrill and go mad to such tones when they proclaimed the godlike in her own soul and encouraged her to grand aspirations goes mad now in another sense.
I have quoted the wonderful line in which Browning, using similes borrowed from Aeschylus himself, sums up the effect of his style: 'Aeschylus' bronze-throat eagle-bark for blood, which compensates for the more than Greek unintelligibility of Browning's version of the Agamemnon: it gives you some color, some adumbration of the being and import of the man.
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