The characterization shows a marked advance on the _Prometheus_ in variety and colour. This is not so much because three actors are needed as against two in the earlier play; for though they are necessary, comparatively little use is made of the increased facilities. But, while Clytæmnestra is technically as great a creation as Prometheus, the secondary persons are much more interesting in themselves than in the earlier drama. They do of course form a series of admirable foils to the queen, but they are worthy of careful study for their own sakes, which cannot be said very heartily for the lesser personages of the _Prometheus_. The sentinel is excellent, sketched in a few lines with a sureness of touch which is a new thing in this poet’s minor characters. The sense of impending trouble mixed with expected joy, the flavour of rich colloquialism about his speech, and the hearty dance upon the palace-roof wherewith he hails the beacon, make him live. Even more commonplace, theoretically, is the part given to the herald, but him again Æschylus has created a real man. The passionate joy with which he greets his native soil, and the lugubrious relish wherewith he details the hardships of the army before Troy, make him our friend at once, and present us with that sense of atmosphere which is often lacking in Greek tragedy. Agamemnon may seem a disappointing figure; very naturally, for it is the poet’s purpose to disappoint us. To depict a great and noble king would have spoiled the splendid effect of Clytæmnestra. Agamemnon’s murder must be made for the moment as intelligible as may be, therefore the dramatist shows us a conceited, heavy-witted, pompous person who none the less reveals certain qualities which have made it possible for such a man to overthrow Troy.