Abstract At Aeschylus Agamemnon 985 the manuscript reading ψαμμίας ἀκάτα is corrupt, giving neither meter nor sense. Wilamowitz’ conjecture ψάμμος ἄμπτα has met with some editorial approval, but its sense is dubious and should be rejected. I propose instead ψάλλον ἀκταῖς, “they were plucking on the shore”, referring to the performance of a paean on the lyre by the Greek fleet departing for, or, less likely, arriving at, Troy. The fleet’s departure would be an appropriate time for the soldiers to perform a paean, for which the lyre was a common accompaniment. Plucking a lyre without strumming, however, as ψάλλον implies, seems to have been a less common performance technique, sometimes culturally marked as ‘Asian’. While there is evidence that a paean with plucked accompaniment might have seemed unexceptional to a Greek audience, if Aeschylus did intend an Asian connotation, I suggest that the Chorus, having just witnessed Agamemnon tread on the purple cloths, would thereby portray the Greek army as already tainted by tryphe on their departure for Troy. Whether ‘Greek’ or ‘Trojan’, the conjectured army’s paean would form an effective counterpoint to the lyre-less threnos in the Chorus’ heart that dominates the ode.

中文翻译：

---

关于埃斯库罗斯·阿伽门农的猜想 985

摘要 在埃斯库罗斯·阿伽门农 985 年，手稿中读作 ψαμμίας ἀκάτα 的手稿已损坏，既没有韵律也没有意义。威拉莫维茨的猜想 ψάμμος ἄμπτα 得到了一些编辑的认可，但它的意义是可疑的，应该被拒绝。我建议改为 ψάλλον ἀκταῖς，“他们在岸上采风”，指的是希腊舰队出发前往或抵达特洛伊时用七弦琴演奏一首赞歌。舰队的出发将是士兵们演奏赞歌的合适时机，七弦琴是一种常见的伴奏。然而，正如 ψάλλον 所暗示的那样，在不弹奏的情况下弹奏七弦琴似乎是一种不太常见的表演技巧，有时在文化上被标记为“亚洲人”。虽然有证据表明一首带有弹拨伴奏的赞歌对希腊观众来说可能并不例外，如果埃斯库罗斯真的想要一个亚洲的内涵，我建议合唱团，刚刚目睹了阿伽门农踩在紫衣上，从而将希腊军队描绘成在前往特洛伊的途中已经受到了tryphe的污染。无论是“希腊语”还是“特洛伊木马”，推测的军队的赞歌将与主宰颂歌的合唱队心中没有七弦琴的三重奏形成有效的对立。