(5) On the other hand, in fifth-century tragedy, Argos is a convenient venue for recognizably Athenian political institutions, (6) and an Athenian audience's association of the tyranny of Aigisthos and Klutaimestra in Agamemnon and Choephori with historical tyrannies in their own city would have been strengthened by Aigisthos s threatening the Chorus with prison and starvation (1621-24); promising to "rule the citizens" ([phrase omitted]) using the wealth of Agamemnon and to "yoke the disobedient citizen to heavy burdens" (1638-42); and calling for the aid of his armed bodyguard (1650; [phrase omitted]), whose almost certain appearance in the orchestra would have been shocking in the democratic city and brought to mind vividly the rule of Peisistratos and his sons.
In Sophocles's Electra 967-68 and 1082-89, when Electra tries to persuade Chrysothemis to join her in killing Klutaimestra and Aigisthos, and when the Chorus praise the sisters using the dual number, their language clearly recalls the skolion and the statue and cult of Harmodios and Aristogeiton.
Pythian 11.15-37 narrates the murderous events of the Oresteia twice, in ring composition, but identifying each participant by name only once: 15-22 Pylades, Orestes, father (= Agamemnon), Klytaimestra, Kassandra, Agamemnon's soul, but then 31-37 son of Atreus (= Agamemnon), the prophetic maiden (= Kassandra), the young boy (= Orestes), Strophios (father of Pylades), mother (= Klytaimestra), Aigisthos
. Again, the audience would recognize all.