Euripides’ Orestes, produced in 408 BCE, stands as the culmination of a decade of experimentation with monody as a versatile dramatic form. At the climax of the play, the disappearance of Helen is reported not by a messenger in an iambic rhesis, but by an anonymous Phrygian slave in a virtuosic monody that is twice as long as all the combined songs of the chorus. The tonal and rhetorical ambiguities in the Phrygian’s song underscore the increasing fragmentation and chaos of the plot. This monody overturns the expectations of the audience through its combination of the traditionally antithetical genres of monody and messenger speech. The Phrygian is an unprecedented type of narrator in tragedy, offering instead of an objective reporting of events a “polyphonic” account that draws on multiple genres and styles.