The extended mourning for Agamemnon in the kommos scene of the Choephoroi dramatizes relationships to the dead not found previously in the trilogy. Unlike in the Agamemnon, in the kommos, death is neither an end point nor a peaceful rest. Instead, the mourners repeatedly alternate contradictory conceptualizations of Agamemnon’s existence and power in the beyond: They insist on his outraged, avenging spirit; paradoxically, they also refer to his honored place among kings in the underworld. At some points, they call on him to send his power from below; at others, they beg him to rise from the dead. None of the characters seems to know which of these possible afterlives, if any, are true. The “poetics of multiplicity” evident in the kommos affects the emotional, epistemic, and ethical aspects of the scene. The Chorus’s contrafactual image of Agamemnon as glorious king in the afterlife, jammed against their insistence on his dishonored death and burial, compels Orestes to begin the second coup d’état. It is potentially the first instance in extant Greek literature in which a fictional depiction of the afterlife motivates extreme political action.