The assassination of the False Smerdis in Book 3 and the ensuing constitutional uncertainty offer Herodotus an inflection point to pause and consider the institution of monarchy in Persia in terms of its strengths and weaknesses. This chapter reexamines the speeches given by the conspirators in advance of the coup and its aftermath. In these episodes, Darius undermines a key nomos held by the Persians, their abhorrence of falsehood. Darius does so as a private citizen but given his subsequent rise to the throne, this invites comparison with the Great Kings. Darius’ disregard for nomos opens a philosophical debate on human motivation and self-interest. In a speech to the Persian conspirators, the future monarch defends "egoism," the philosophy that all action is performed to maximize the individual’s self-interest. This view is set alongside orations by the Persians Otanes and Prexaspes, exponents of cooperative action and altruism, respectively. The chapter argues that fifth-century intellectual culture engaged in a spirited interrogation of the individual in relation to self-interest, often in terms of the social contract. The clash between motivation on behalf of the one versus the many will illustrate the complex negotiation in Persia of ruler and ruled, self and society.

This chapter uses archival material connected to the Royal National Theatre of Great Britain to reconstruct three performances of ancient tragedy in the first decade of its existence, from 1963 to 1973. The productions of Sophocles’ Philoctetes (1963), Seneca’s Oedipus (1968), and Euripides’ Bacchae (1973) each highlight different elements of the British theatre company’s investment in performing ancient Greek and Roman tragedies in this period. Archival material allows the researcher to plot performative trajectories which combine the personal investments of world-renowned artists and theatre professionals like Ted Hughes, Peter Brook, and Wole Soyinka with the angry responses of audience members and the anxious fears of the theatre company. By bringing to light a body of ephemeral evidence including letters, memos, accounts of meetings, telegrams, theatrical programmes, production notes, and stage managers’ reports, the resulting performative reconstructions go beyond the text of the play and bear vivid witness to the powerful emotions and cathexes that ensure the continued popularity of ancient tragedy on the modern stage.