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However, the arrival and supplication of the mothers of the dead interrupt Aethra’s generative ritual. 170 In the process, we hear of various ways that humans bring forth and cut down, replacing the natural regenerative cycle with ongoing destruction. Theseus ridicules the Theban refusal to bury the dead out of fear that “those covered in the earth / will somehow dig up your land; or that the earth’s dark womb / will bear children, and with them vengeance” (544–46). 174 The spatially concrete replaces the ambiguities of language and memory, for it is the knife in the ground that guarantees the treaty.

Consider, for example, the emergence of self-referential space following Agave’s arrival in the Bacchae. She carries the mask of Pentheus, which represents both her son’s head and (in her delusion) that of the lion she has killed. Euripides reinforces the spatial play between the theater and its fictive setting by having the actor who previously played Pentheus now play the mother who murdered him. Similarly, the recognition scene in Euripides’ Electra draws on and mocks the parallel scene in Aeschylus’ Choephori, encouraging the audience to view the reunion of Orestes and Electra against its earlier theatrical representation.

The space of the play becomes increasingly reflexive, as the Eleusinian setting and its mythical associations fade. 139 More and more the theater resembles an Athenian public forum. Bringing news of the Athenian victory, the Messenger at first glance introduces a world geographically and temporally distant from fifth-century Athens. 140 However, specific details wrest the action from a distanced space and heroic past, moving it toward the theatrical here-and-now. An escaped Argive prisoner of war, the Messenger watches the battle from a Theban tower, “spectator” (theat¯es, 652) rather than participant.

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