& fcfcC- 1 \ THE ORESTEIAN TRILOGY AGAMEMNON CHOEiPHOROE EUMENIDES THE ORESTEIA- OF AESCHYLUS M TRANSLATED INTO ENGLISH PROSE BY LEWIS CAMPBELL WITH AN INTRODUCTION I Slpetljuen anti Co- 18 BURY STREET, W.C. LONDON 1893 7SS oEc 1*93 Edinburgh : T. and A. Constable, Printers to Her Majesty. MAIN PREFACE T AVING already published an Aeschylus in English A A Verse with Messrs. Kegan Paul, Triibner and Co., I should probably not have made the present attempt had it not been demanded from me. But ' Poscimur,' as Horace found, is a word of power. And it remains so even where, as in this case, neither Muse nor Lyre is called in aid. Being asked, and having time at my disposal, I did not like to refuse. And having 'tried both ways/ I find that each has its own advantage. If Verse comes nearer to the Spirit, Prose generally though by no means always keeps closer to the Words ; and both forms between them may be said to hammer out some partial approximation to the great original. A few preliminary pages have been added, that the English reader may be placed at the outset in a better position for appreciating the Poet's main intention. When not otherwise noted, it may be assumed that 272780 vi PREFACE Paley's text has been followed. But Wecklein's text and commentary have been consulted throughout ; and some of the emendations which he admits have been adopted. These are referred to in the brief Notes appended to this volume. In some disputed places, where I have departed from my previous rendering, I would not be understood to dogmatize either way. This vacillation is the expression of a doubt. LEWIS CAMPBELL. Kirnan, St. Andrews, July ibth, 1892. CONTENTS THE ORESTEIAN TRILOGY- OUTLINE OF THE ACTION INTRODUCTION AGAMEMNON . CHOEPHOROE . EUMENIDES NOTES PAGE ix 1 i 59 101 - 143 OUTLINE OF THE ACTION I. AGAMEMNON CLYTEMNESTRA has resolved to murder her hus- band, Agamemnon, in revenge for the death of their daughter Iphigeneia, whom he had sacrificed at the outset of the Trojan expedition. In this design she is aided by Aegisthus, who owes a grudge to the house of Atreus, on account of his father, Thyestes. She has set a watchman to look out for the beacon-fire by which the fall of Troy was to be announced. The fire is seen, and Clytemnestra makes great demonstra- tion of joy. The Elders are doubtful until the Herald appears and announces the arrival of the King. Cly-_ temnestra receives her husband with a dissembling speech, and induces him to enter his palace, like an Eastern conqueror, over a path strewn with purple robes. Cassandra, the daughter of Priam, whom he has brought home with him, then prophesies of his impending fate, and her own. A shriek is heard from within, and while the Elders are hesitating, x OUTLINE OF THE ACTION Clytemnestra suddenly appears and avows the murder. The Elders remonstrate with her, a nd lament over the King . Clyt emnest ra_then further declares her secret union with Aegisthus, who at last shows himself, accompanied by his guards. A conflict appears im- minent, but Clytemnestra deprecates further violence and the play is ended. II. CHOEPHOROE Eight years have elapsed, and Orestes, the son of Agamemnon and Clytemnestra, who has spent his youth in Phocis, in the neighbourhood of Delphi, now returns with Pylades, commissioned by Apollo to avenge his father. At the same moment, Electra, his sister, has been sent by Clytemnestra with offerings to the grave of Agamemnon, in consequence of a warning dream. She is accompanied by the Trojan captive women, who have been attached to the palace since the return of Agamemnon. Electra pours the libation. They chant over it, and the recognition of brother and sister follows. Orestes, Electra, and the Chorus then combine in a prolonged invocation to the spirit of Agamemnon, and to the powers of the lower world. Orestes, with his resolution thus confirmed, prepares to act, and the scene changes to before the palace. Or estes^ in dis- guise, with Pylades, knocks at the_door. When it is OUTLINE OF THE ACTION xi opened, Clytemnestra comes forth and receives from the supposed stranger the news of her son's death. She utt ers words of grief, perhaps not al together feigned, but soon recovers her composure, and gives orders for the entertainment of the ' men from Phocis.' Aegisthus, who is from home, is sent for. He goes in hastily to ascertain the truth of the tidings. Presently his cry is heard, and Clytemnestra is loudly called for. She enters and divines the truth.^Whereupon she calls imperiously for a workman's axe. But there is no time to fetch it, for Orestes is discovered with the dead body of Aegisthus beside him. The encounter of son and mother is brief and decisive. She is slain behind the scene. Orestes re-enters, and in self-defence displays the blood-stained web in which Agamemnon had been overpowered. g Bu t presently he is aware of the presence of his mother s Furies. They are as yet invisible to all but him, but they effectually drive him forth. He flies for sanctuary to Delphi. III. EUMENIDES Orestes has found his way to the holy place at Delphi, but has been pursued by the Furies, and all but overtaken. On entering th etemple. howe ver, his pursuers have fallen asleep. But Clytemnestra' s ghost awakens them. Apollo then appears aricT xii OUTLINE OF THE ACTION chases them forth, having previously assured Orestes of his protection. After this prelude, the scene is changed to Athens. A long time has intervened, during which the Furies have been hunting their victim. But his cause is now ready for decision. He clings to the image of Athena, and his accusers threaten him in vain. Athena herself comes and hears their accusations and his plea. She institutes the court of Areopa gus to try the case. Apollo appears in evidence on Orestes' side. The votes are equal, and Athena gives her casting vote for Orestes, who in the joy of his acquittal promises that the league between Athens and Argos shall be inviolable. T he resentm ent of the Furies at first appears inexor- able, and they threa ten all manner of evil to the Athenian land. But Athena reasons with them, and they are at last pacified, and induced to take up their abode beneath the Areopagus, not now as the Furies (Erin yes), but as Gentle Powers (Eumenides). A great torchlight procession of the converted Furies and their attendants, the Councillors of the Areopagus, and others, concludes the Trilogy. INTRODUCTION ' O dark Erinys, dreadful is thy power.' Seven against Thebes. THE three dramas of which an Aeschylean Trilogy is composed are not to be regarded merely as acts of a single drama; yet neither has any one of them, taken apart, the completeness which belongs to Tragedy in its perfection. In point of fact, they were represented continuously, and probably on the same day. And while other poets appear to have been contented with slight or arbitrary links of con- nection between the pieces which they brought out for competition, it is manifest that Aeschylus preferred to avail himself of the triple 1 performance to develop the full proportions of one great subject. Of this unique form of dramatic art, the plays here translated afford the only extant specimen. Each of them is so great in itself as frequently to have become the subject of separate treatment. Editions and translations of the Agamemnon as a single play are too numerous to be mentioned here. 1 Quadruple, if the Satyric Drama is included. xiii xiv INTRODUCTION The Choephoroe of the late Professor Conington (much more elaborate than his Agamemnon) is an admirable example of the scholarly treatment of a difficult and important text, 1 and K. O. Miiller's edition of the Eumenides may be said to mark an epoch in the higher region of classical interpretation and criticism. More recently it has become usual to take the whole Trilogy together, as in the present volume. 2 The O resteia, as it is g enerally called, first appeared at Athens in the year 357 b.c~ within three yea; t he date assigned by tra dition to the poet's death in S icily. More obviously than is the case with most great tragic poems, both the . choice of the Fable, and in some points the treatment of it, have reference to the circumstances of the time in which the dramas were produced. The close alliance between At hens and_Argos, cemented by their common jealousy of Sparta, had been concluded four years previously (36 1 b.c.), and was in full vigour. The building of the long walls between Athens and the Piraeus in 458 b.c. marks a culminating point in Athenian patriotism, and it was 1 His appointment to the Latin Chair at Oxford may have pre- vented the continuation of the work. 2 To treat the Agamemnon separately would be like concluding a representation of Macbeth with the Banquet Scene. INTRODUCTION xv immediately followed by the Spartan invasion of Phocis, which was at least impending when the Oresteia appeared. 1 The vindication of the Argive hero, Orestes, by Athena and her Areopagus, with the assistance of Apollo, God of Delphi, had therefore a special interest for the Athenians at the moment, and was not without national significance. The tale recalls the glories as well as the horrors of the dimly remembered period when Argos and not Sparta had been the mistress of the Peloponnese ; and Argos had recently asserted herself effectively, at least within the valley of Argolis, by crushing the ancient powers of Mycenae and Tiryns. The extinction of Mycenae took place in 468 B.C., and this fact helps to account for the suppression by Aeschylus even of the name of what in Homer's time was the legendary home of Agamemnon. Sophocles, in this and other respects, reverts to the Epic form of legend, but the boldness of Aeschylus was no doubt excused by the coincidence of his innovation with political exi- gencies. In the Odyssey, as in later Greek writings, Menelaus i On a matter of internal politics, the status of the Areopagus, the poet evidently feels strongly, as was natural in a Salaminian warrior, but authorities are too much divided to enable us to speak with confidence of the phase which the question had assumed at this particular time. xvi , INTRODUCTION lives and reigns at Sparta ; but in the Oresteian trilogy Sparta as well as Mycenae is throughout ignored, and in the Agamemnon the two sons of Atreus are imagined as having jointly ruled in Argos until the time of the expedition to Troy. ItTs~"fn the palace of the Pelopidae in Argos (not in My cenae, as in the EUctra of Sophocles) that the banquet of Thyestes had taken place. It was there (and not in Sparta) that Paris had been entertained, and from thence, not from Gythium, he and Helen had sailed forth. ,From thence also they had been pursued by the avenging navy, levied and led by the two joint kings, who, from their palace in Argos, as sole centre, are supposed to have dominated Hellas. But while this alteration of the legend was rendered possible by external circumstances, it had for the poet an interest of a different kind. Under his treatment it is distinctly conducive to dramatic unity and to tragic effect. The city of Argos becomes the metropolis of an imperia l realm. The two sons of Atreus, lea gued in power and mind, and married to the two daughters of Leda, are supposed there to have reigned and feasted gloriously, while past horrors were forgotten, and the paean that rang forth after th e third libation in the crowded banquet-hall was graced by the virgin voice of Iphigeneia. The child Orestes gave the elder sovereign assurance of succession. INTRODUCTION xvii But the flight of Helen, and the summons to the war for reclaiming her, had altered the face of things, and C lytemnestra remained the only royal person o f full years in the great silent house. The delay at Aulis followed, and the unnatural sacrifice. Helen had passively deserted Menelaus for the love of Paris. But the alienation of Clytemnestra from his brother was a passion of different strain, the revenge of an outraged mother, fierce, irreclaimable, and unquench- able. As she brooded over it in those horror-breathing rooms, the creeping blood-feud of the son of Thyestes found its opportunity, and warmed into full life. Aegisthus secret ly returned^ combined in a. g uilty le ague, an d complotted with the Queen. She reserved the act of vengeance for her own right hand, but she reliedjupon the adulterer's support, and he supplied the weapon. 1 Th ose intimately acquainted with tfre , househ old, the Watchm en and the Elders, although they can have no certain know ledge^ojLwhat j sljiqJl. a vowed, are full of dark une asi ness in a nticipating th e return of the King. One hope remai ns to them ^As the b rothers had gone forth toge ther, the y are exp ected to return tog ether. And the victorious army would surely be faithful to its chief. But this hope is crushed. Agamemnon returns, 1 See Wecklein's commentary on Cho. ion ; also an article by the present writer in the American Journal of Philology \ i. 4 (1880). b xviii INTRODUCTION indeed, but unaccompanied, except by the few fol- lowers who were with him in his single ship, including Talthybius the herald. The host has been scattered by a tempest ; Menelaus, for anything that is known, may be no more. 1 Aegi sthus and the band of law less resolutes who form_hi s bodyguard may therefore feel secure of overmastering the immediate followers of Agamemnon who come with him from Troy. And the Elders, who have remained at home, even tho^ them whose loyalty is unquestionable, are old and feeble. To what extent are the Elders firmly loyal ? The chorus of a Gr eek drama are apt to be regard ed as h omog eneous the exponents of one spirit . But in Aeschylus this is not so always. The Danaides at the end of the Suppliant JVojneti are not unanimous, for a \ voice is heard inclining to Hypermnestra's part ; and in Seven against Thebes one half-chorus joins with Antigone, the other with Ismene. The divergen ce in the A gamemnon comes out when the King's two - \ voice old death-shriek has been heard. The vacillation of he old men at this critical moment may be variously explained. ^The hesitation natural to age may account 1 Dr much. The feeling, of which many signs had[ pre- viously been given, that something in the State and i For some hints of the situation developed here see Homer, Odyssey iv. 514 f. INTRODUCTION xix palace was unsound, the fear of precipitating by un- timely action the revolution which is imagined as almost ripe, may also be reckoned as concurrent motives. The spell under which all lay who had listened to Cassandra might be held responsible for everything; but in Greek tragedy (as will be presently seen), while the s upernatural is all-pervading, hum an motives are alway^j3resen_Qo. No merely magical effect is ever admitted. It is to be observed that, while the majority of the council, at least, express themselves as eager to do something, there is a minority of four who, without ope nly dissenting, act as a drag upon the re st (11. 1358-1361, and 1366-1369). Nothing could be more natural than that in a Greek council there should be an element of lukewarmness, if not of disloyalty. These speakers are not to be credited with the out- spoken reproaches afterwards cast at Clytemnestra, or with the open resistance offered to Aegisthus. It would be an anachronism to treat every utterance of a chorus in Aeschylus as if it were dramatically in keeping; but the points which have been observed may suffice to justify, or at least to make intelligible, certain inequalities of tone on the part of the Elders in the earlier portion of the play, such as jhe m ix- ture of outward deferens with disrespectful frinfri towards Clytemnestra, and the combination of sincere xx INTRODUCTION regard for Agamemnon with unsparing criticism of h is actions. 1 It is unnecessary to make each individual choreutes a person in the drama ; enoug h to say that the Chorus is weak, timorous, mistrustful ; not one in spirit, and therefo re incapa ble of unit ed action, although their leadersj w hen fir ed at length by the outrage that has been committed , show some sparks of affection and loyal indignation. The Watchman, like the Chorus-l eader, is deeply loyal to Agamemnon, but full of uneasiness and fear of Clytemnestra, of whose will he is the unquestioning instrument. Agamemnon and Aegisthus are both pro- minent figures, but the poet has not spent on either of them the power of characterisation which is so manifest in the person of Clytemnestra. It may be s aid, however, without paradox, that the absence of dramatic colouring has in both cases a dramatic effect. There is a coldness that may be felt in the meeting of f\ J the King and Queen. Her speech, at once so fulsome and so frigid, his a nswer, formal, self- contained, falling back on commonplaces, yet not concealing the taint of egotism and pride, are equally appropriate to the situation. His death moves horror more than pi ty ; it is Cassandra of whom the Chorus say, ' I commiserate 1 This much may be conceded to Dr. Verrall's suggestion of an Aegisthean faction of * Conspirators. ' INTRODUCTION xxi this more than the other.' Aegisthus is tre at ed ligh tly J and with conte mpt. He is a man of s tr aw, whose > "*] r ecital of the story of Thyestes completes the account V = of antecedent circumstances. T he Herald, as such persons o ften do in Aeschylus, contribute s much to the d evelopm ent of the action. 4r His entrance delays that of Agamemnon, an d holds * 1 - J\ the audience in suspense .^ His efforts to be cheerful /yC in conversing with the Chorus only increase thejjjather- ) ing atmosphere of gloom. His description of the discomforts of the siege and the loss of friends, by which victory had been dearly won, has for its climax the vivid picture of the storm by which the victorious company was parted, and Agamemnon was separated from his brother. The central interest of the Agamemnon turns, of course, upon the person of Clytemnestra, whose crime and its avowal form the crisis or culminating point. Her heroic or daemonic daring, her defiance of opinion, and her powe r of dissim ulation, have been exemplified in the prec eding s cenes, while her eager- ness for the approachi ng o pportunity has been indi- cated through the Watch man's spee ch, wh ich opens the play. And the motive of her act is manifest to all who have heard the Chorus telling of the piteous sacrifice of Iphigeneia. Her guilt with Aegisthus is a subsidiary circumstance, and is only glanced at until xxii INTRODUCTION she herself avows it after the murder. Even then the Elders are slow in speaking of it. But from the beginning of the drama there has been brooding over all minds, save those of the murderess and her unconscious victim, the dim apprehension of some approaching horror : even t he Herald cannot shake off sad presentiments amidst the joy of his return. And the impression thus produced is deepened and intensified by the great scene between the Chorus ancP Cassand ra, w ho supplies the eleme nt of (trf ) j)ity, without which the Agamemnon would be too exclusively a tragedy of terror. She also serves to accentuate the tragic note of Destiny, by connecting the present horrors of the house of Pelops with the past. A ffamemnon ha s appeared together with the captive Princess, has been received with fa wning speeches, which he answers coldly ; and he has finally been prevailed on by the wily importunity of the Queen to enter his own palace in the manner of an East ern potentate , over rich purple carpetings, to the horror of all Greek beholders, to whom such pride appeared certain to provoke the envy of the Gods, as in the case of Pausanias, also the victorious leader of an Hellenic army, it had manifestly led to disaster. Clvte mnestra has come forth for a moment and im- p^ftxitl y summ one d Cassandra , but has left the stage again, professing haste to accomplish some household INTRODUCTION xxiii sacrific e. Then, after long silence, the captive Princess and prophetess utters her warnings, doomed as here- tofore to disbelief. She sees in vision the impending act, with all its circumstances, and her own violent death, which is immediately to follow. Then, after turning away more than once, she goes within the palace. The exit of this most pathetic figure leaves the Proscenium vacant, and while the spectators are yet thrilled with the awe and pity of the great scene, the Chorus chant a few moralising lines. Before they have well finished, the King's death- shriek is heard. The council of Elders are amazed, and hesitate. They have just concluded their feeble deliberations, and are going within, when they are suddenly confronted by the commanding figure of the Queen. By a device called the Ekkyclema, peculiar to the Attic stage, she glides forward from the central door of the palace (which is thrown open) on a low platform, with the corpse of Agamemnon beside her. That of Cassandra is also visible in the background. A convention of the theatre enables the spectators to imagine that the scene is within the house. Aga- memnon is still enveloped in the blood-stained web with which he had been entangled, and his body leans against the side of the bath. Cly temnestra probab ly s till holds the weapon with which she slew him not an axe, as is frequently supposed, but ' the sword of xxiv INTRODUCTION Aegisthus/ as is expressly stated in the Cho'ephoroc, line 101 1. 1 This marks emphatically her relation to the man, and the nature of his complicity in the plot. He does not come upon the scene, however, until the Queen has gloried in her deed to the Argive Elders, who remonstrate feebly, but on the whole are loyal to the King. Aegisthus has his guards in readiness, an d a conflic t is imminent ; but Clytemnestra has had enough of bloodshed, and appeases the strife. She alone, at this moment, is fully conscious of the situation. An interval of at least e ipftt Y Pf> ISirii vl ^ < '* >hn int ' n11 of_ihe_Arame?n?ion from t hat of t he Choephoroe, so named from the Chorus, who carry the libations which, at the bidding of Clytemnestra, Electra, the surviving daughter of Agamemnon, is to pour upon his grave. He had been buried with his fathers ; but, as Clytem- nestra had threatened, had been denied all funeral rites. Nay, more : to render his ghost more helpless she had mangled his remains. And for these eight years his tomb had continued without due honours. But in the preceding night a terrific dream had visited 1 See above, p. xv, note* The notion of the axe in Sophocles and elsewhere is probably derived from the Homeric phrase, wad re Kariicrave fiovv iirl (parry, perhaps also from Cho. 889, where Clytemnestra calls for a labourer's axe, wherewith to defend her- self against her son. See the Frontispiece to this volume. INTRODUCTION xxv the guilty Queen. She dreamt that she had a serpent for her child, and the soothsayers declared that the dream was caused by the wrath of Agamemnon. She therefore s ends the libation by the only hands from whic h the dead man is likely to receive it kindly. Electra is a pathetic figure, by nature womanly and gentle, but emb ittered by long oppres sion, distracted with doubt and with the discouragement oT hope deferred. She p o urs the libation but her prayer is for the return of her brother, w ithout whom she is powerless. Unknown to her, he is standing near. As told in the Agamemnon, he had grown up in Phocis, under the care of Strophius. But the hour of ven- geance is now at hand, and Apollo has sent him on his dreadful mission. He is accompanied by P^lades^thfi soil of Strophius and companion of his youth. Before all else they visit the tomb of Agamemnon ; and the curl, which Orestes cuts off and offers there, leads the way for the simple, but most touching, recognition scene. T he C horus consists of Trojan captive women, who, with Cassandra, had accompanied Agamemnon on his return, and are retained as household slaves of Aegisthus - - t - i '' and Clytemnestra. While cherishing a faithful and fierce loyalty towards their murdered lord, they fulfil a twofold function, both as dramatis personae and as loralisirig the situation. As before remarked, it wouTcl xxvi INTRODUCTION be an error of interpretation to force a harmony between these different aspects of their part. In some of their religious utterances they are simply a mouth- piece for the poet, and in their formal capacity (or as sharers of the lustral waters of the hearth) they lament the deaths of Agamemnon and Clytemnestra, which they have eagerly desired. But as human beings they contribute a necessary link to the main action, which, apart from them, would seem improbable and repulsive. They supply the element of savage vindictiveness, born of cruel servitude, which is alien fr om the person of Electr a, as conceived by Aesjchylu s, and gives felt and t angible support to the attemp t of t he youth Orest es. He has much need of such wild sympathy, besides the sacred frie ndship of Pyladex to nerve his arm for the unnatural stroke to which he is commanded by Apullo. This is the purpose of the great ' Commatic ' sce ne if it shoul d not r ather be called a religious service, or litany to the.ilead i n which Oreste s, Electra,, and the several members of the Chorus invoke the spirit of Agamemnon to be present and give aid to his avenger. If this passage appears inordinately long in propor- tion to the compass of the play, it should be measured rather in comparison with the whole Trilogy ; and it is actually shorter than the Cassandra scene, which occupies the corresponding place of the Agamemnon. INTRODUCTION xxvii leading up as either does to the catastrophe. It belongs to a class of supernatural effects which, like the witch-scenes in Macbeth, are apt to be uncon- vincing to the modern reader. But, if by an effort of imagination we have once realised the gloom of the situation and the horror of the impending act, the skill of the poet in thus indicating the extent of the revulsion by which the son is moved to execute justice upon his mother will be entirely vindicated. In the Choephoroe, Aegisthus is first slain and put out of the way. The hand of Orestes is thus already imbrued with blood not kindred to him, before he comes to the final act of unnatural violence. Moreover, the lament of Clytemnestra over her paramour, whom she really loves, constitutes an immediate provocation which makes the deed of matricide more possible. There still remains the most moving appeal of all : the son hesitates at the sight of his mother s breast. But Pylades (the Delphian devotee) is at hand, and recalls to him- the divine injunction of Apollo . From this point onward he is resolute. The intrepid woman, who if time had been allowed her would ere this have felled her child with an axe, now threatens him with a mother's curse. But the thought of his father s curse prevails with him until the deed is accomplished. The mother's Furies are in reserve, and do not yet appal him. Thus the crisis of the whole Trilogy is xxviii INTRODUCTION reached, the point which, in a Shakespearian drama, would have concluded the third act. The change and the conclusion are still to come ; and (paradoxical as it may seem) the conclusion of this greatest of tragic productions is a happy one. Towards the end of the Chucphoroe the light is already breaking, but the clouds come down again before the close of this, the second play. Orestes at once assumes the attitude of self-defence, not against the sympathising Chorus, nor against his fellow-citizens whom he has delivered from the yoke of tyranny, but against the law of domestic harmony which he has outwardly broken. For the moment he pleads in vain. His mother's Furies are upon him, and pursue him forth. And it may be remarked here, parenthetically, what extra- ordinary histrionic powers must have been required in the actor of the part of Orestes at this juncture. To see the Furies who were still invisible to others, and make the whole concourse of spectators feel that he sees them, and'to express in thrilling tones the conse- quent emotions, is an effort that might well task the most splendid of tragic powers. 1 1 K. O. MUller insists that the Furies are seen by the spectators, though not by the Chorus. He also thinks that the Chorus in the Eumenides are invisible to the Areopagites, etc These are over- refinements. But it may be granted that, although the Furies in the Choephoroe are not yet visible on the scene, they are really approaching, and are not mere creations of Orestes' fancy. INTRODUCTION xxix The impression so far left on the spectator's mind is one of horror, mingled with pity. These emotions do not all at once subside. But yet the key-note of the concluding drama is evrjp,ia religious peace. This is disturbed, but not finally overcome, by the threatening attitude of the Erinyes, who now at last assume a bodily shape. It is no doubt partly owing to the genius of Aeschylus that Athens was in later times regarded as the chief centre of the worship of these Powers, although we find several traces of it, possibly more ancient, in other parts of Hellas. Their shrine on the Areopagus was of historical interest, in that the assassination of Cylon and his fellows by the Alcmaeonidae, so fruitful in consequences, had stained that altar. The obscure question of the origin of this particular ritual need not be touched on here. The elements that entered into it in the time of Aeschylus are well stated in a few pregnant words of K. O. Miiller's famous Dissertation : 1 Although indeed of itself the Erinys, that feeling of deep affront, is of a divine nature, the Erinys first acquired a noted and extensive cultus, and altogether more reality and personality, from the conception of both the great terrestrial and infernal deities, from whom come life and prosperity, as well as ruin and death, to mankind, as offended and angry beings, wherever mortal deeds have violated those sacred and xxx INTRODUCTION eternal laws of nature ' ( 86). Miiller has also pointed out that the duty of avenging blood, devolving on the nearest kinsman, while belonging essentially to the infancy of political life, and maintaining its existence 'more among isolated hordes of rude mountaineers than among the more numerous and intermixed in- habitants of the plain/ had notwithstanding become firmly embedded in Attic law, and was 'still en- twined in the most intimate union with all that was deemed sacred and venerable.' But 'the State had now assumed the office of mediator, and as such, upon the application of the relatives, it either took the charge of inflicting vengeance entirely off their hands, or else assigned certain means and limits for its execu- tion* (45). From this amal gam of custom T ritual, tn^itinn, and legal ordinance, Aeschylus takes occasion to read his fellow-citizens the lesson of Equity versus bare Revenge, o roi 1 'mercy season ing justice Exulting in the union of order and freedom, of reverence and boldness, and of the virtues of war and peace in the same community, he seeks to stamp with a religious sanction the prin- ciples to which he attributes his country's glories. And here, as in the Prometheus, he develops a religious conc eption in the form of an im agined contrast between an earlier and a later dispensa tion. The reciprocal horrors of the never-ending blood-feud INTRODUCTION xxxi are stayed by the wisdom of Athena, and the judicial impartiality of her court of Areopagus. ^Apollo, the God of Light, thus prevails against the powers of dark- ness ; or, rather, these last are transformed to instru- t ments of blessing, by remaining in the land to warn the people of the majesty of those eternal laws, whose violation caused the previous confusion. Dramatically, the Eumenides takes up and continues the unfinished threads of the two preceding dramas. ^-At the close of the Cho'ephoroe the Chorus speak of the ma tricide of Orestes as a ' third storm ' which had swept over the house, the two former being th e banquet of Thyestes and the murder of Agamemnon . It is observable that the sacrifice of Iphigeneia, which supplied the actual human motive for Clytemnestra's crime, is not referred to either here or in the prophecy of Cassandra. The Erinys of Thyestes, then, overtakes Agamemnon, the Erinys of Agamemnon overtakes Clytemnestra, and his mother s Erinyes now pursue Orestes. Will these successive waves of action and reaction ever come to an end ? or, in the words of the Chorus, ' whither will the sway of fate lead forth the issue ? ' That doubt, at the opening of the Eumenides, is still impending over the scene. The mind of the spectator is thenceforth carried up into a higher region, in which the mortal business which has thrilled him becomes subordinated to the conflict of supernal xxxii INTRODUCTION powers, while the local centre of interest is transferred from Argos to the sacred hill of Athens. Clyteranestra was the principal figure in the Agamemnon, Orestes in the Choephoroc ; but i n the co ncluding pl ay the pa rt of ^protagonist is assum ed by the Fu ries them selves, who no w have ta ken visible shape. The drama thus reverts to the earlier mode, in which, as in, the Suppliant Women, and in the Persians, the action turned upon the fate of the Chorus; and the work also ranks with those supernatural dramas in which divine persons have a share in the dialogue. The singular argument by which Apollo pleads the cause of Orestes, reverting to a point of view which in the time of Aeschylus must have been already archaic, belongs to a strain of reasoning which has often characterised ecclesiastical or sacred courts. Such pleadings are apt to preserve, as flies in amber, relics of forgotten controversies, in this case descending from a time when tribal differences between those who, like the Lycians (Herod, i. 172), traced their genealogy through the mother, and those amongst whom the patriarchal system prevailed, were not yet finally adjusted. Athena's preference for the father appertains to the same order of thought. The Goddess's casting vote, given by anticipation in favour of Orestes, has been the occasion of some un- necessary discussion. A fairly constant tradition shows INTRODUCTION xxxiii that when the voting in a criminal suit happened to be equal, the verdict was one of acquittal. Aeschylus, fol- lowed by other authorities, refers this custom to the ima- gined casting vote of Athena. According to Pollux viii. 90, quoted by Wecklein, 1 the Archon Basileus not only presided in his sacred character at the court of Areo- pagus, but, laying aside his crown, sometimes gave the casting vote, in this representing the Divine judg- ment. In the light of these traditions, against which Lucian's fancies are of little weight, the action of Athena in the Eumenides is clearly intelligible. The councillors vote one by one during the altercation be- tween Apollo and the Furies (11. 714-736). Athena also, probably, takes up a voting-pebble ; but, as her vote is not given secretly, it would be futile for her to place it in the balloting-urn ; it matters not if there were one, two, or several; nor by what mark the ballots were distinguished. It is enough that she declares openly that he"r vote, or voting-ball, is given for Orestes. Then, between lines 745 and 754, the ballots are turned out, distinguished, and separated, and the numbers (or the pebbles themselves) are pre- sented to Athena. The human votes prove equal ; and the Goddess, in accordance with her previous statement, pronounces the verdict of acquittal. 1 This is confirmed by the Aristotelian Constitution of Athens, 57. See also Eur. Iph. T. 1470 ff. c xxxiv INTRODUCTION The Eumenides concludes with a magnificent Spectacle, giving the note of triumph, which contrasts with the glo om of the Agamemnon, and c ompletes the Trilo gy. After a formal prayer, which it was needless to record in the text of the play, Athena marshals the pro- cession, in which the torchbearing attendants lead, followed by the twelve Areopagites and the fifteen Choreuiae, no longer Erinyes and powers of darkness, but Eumenides, 'gentle powers,' not for that reason less revered as Semnae (dread, or awful). When the Agamemnon, Choephoroe, and Eumenides are regarded as a single production, it Jjecomes more than ever manifest how little the genius of Aeschylus was hampered by the so-called Aristotelian unities of time and place. The action of the Agamemnon, indeed, requires no change of scene beyond what is provided for through the Ekkyclema ; _although the spectators are carried in imagin ation to Il ium, to the camp at Aulis, an d to t he hi gh seas. But with re- spect to the Choephoroe one of two things must be supposed. Either, according to K. O. Midler's hypo- thesis, which has lately been revived and emphasised by Dr. Dorpfeld in connection with his own theories, the tomb of Agamemnon was represented by the Thymele, decorated for the occasion with images of Hermes and other gods; or there are two distinct INTRODUCTION xxxv scenes, one before the tomb of Agamemnon, and one in front of the palace gate from line 649 to the end of the play. In the former case the action from line 1 to line 582 must take place in the orchestra, the palace front being practically left in the background, whereas, on Orestes' second entrance, he and Pylades move directly to the gate, which becomes now the central point the tomb in the foreground, although still visible, no longer forming part of the scene. The change from Delphi to the Athenian Acropolis at Eum. 234, however it was managed in representa- tion, is too obvious not to have been acknowledged. But it has been treated as wholly exceptional. It is so less in kind than in degree, and might probably be paralleled from other plays now lost to us. The lapse of time, extending to months or years, which is imagined to intervene in the Eumenides be- tween the proem or induction and the main body of the drama, is much more remarkable, and may well be supposed to have been unique. There are two reasons for it. The first and more important is the depth of blood-guiltiness which Orestes has incurred. .^ Time the consoler is also the purifier, according to the .7/1] weighty line {Eum. 286) : ' Time purges all things, growing old together with them.' .^The other reason is more external. While Athens and her patron- goddess claimed to have had the last word in the trial ) xxxvi INTRODUCTION of O restes, there wer e many other shrin es in Hell as of whose ritual and legend his cause formed an important part. T o render the se their due the poet has recourse to the fiction that the matricide had been chased over the habitable world from c ity to city, and on arriving at each new hearth had found a different purifier. The flight of Athena from Sigeum to Athens, be- tween lines 298 and 400, is regarded as miraculous, indeed, but is still to be measured by time. Even granting her steeds to be swifter than the Furies, who compared their own velocity to that of a ship (line 251), the most literal reader who accepts this incident need not be so much offended, as some have been, by the speed of Agamemnon, for whose voyage 473 lines (Agam. 23-496) have been allowed, and not only 100 as here. The first play of a trilogy necessarily contains some account of antecedent circumstances, which, in the Or esteian leg end, are more than usually numerous and co mplex . The immediate cause of the action lies ten years back, and has been preceded by a chain of horrors to which the whole bears reference. Hence the more than epic discursiveness of the choral business in the earlier half of the play, which may appear dis- proportionate, unless considered with reference to the whole Trilogy. And where the survey of times is so wide-sweeping, it is not unnatural that days should shrink to hours, or that the 'unity of time ' should, INTRODUCTION xxxvii as Paley remarks, be somewhat brusquely disregarded. In the interval be tween the appearance of the be acon^ light and the entrance of the King there has been time at Argos for much searching of hearts and for an extended colloquy. All this conceals from the^*> rr* spectators the improbability of the swift passage, And the_aglua.l coming ^_Agaj^mnmi_is_furthej:-jIe- layed by the narration of the herald. In the Chocphoroe, although the action is, comparatively speaking, con- tinuous, it is observable that many things happen after more than one reference has been made to the immediate coming on of night. All this is quite in keeping with the simplicity of antique art and the primitive conventions of the stage, and would never have been questioned but for the observation of Aristotle, who, truly enough, speaks of the general tendency of Tragedy to confine the action within one revolution of the sun. The idea of Fate has often been regarded as the Central Motive in Greek Tragedy. And it would be idle to deny that the chief persons are continually represented as subject to an inscrutable and irresistible destiny. The language which conveys this notion is by no means consistent, but whether as the decree of Zeus, or the act of Moira, or as both combined, this element is always present, and overrules the action. xxxviii INTRODUCTION It is the dark background, which throws the moving figures into relief. But that does not exhaust the in- terest of the machinery. There is something else. In Aeschylus even more than in Sophocles the power of Fate is mysteriously associated with Justice, and (however contradictory this may appear) is not exclu- sive of human volition. The poet had in fact a con- troversy with the dark tradition that was interwoven with the material with which he worked. He was not satisfied, as Herodotus appears to have been, with the bare assumption that an individual was born to misery, that evil was ' bound ' to happen to him. Our poet had looked more deeply into human things. He saw clearly that conduct is the cardinal point. Nor is he contented with indorsing the superstitious feeling that high prosperity ' comes before a fall.' His peculiar message, declared by him with a vividness not to be paralleled except from Hebrew prophecy, is I that sin brings retribution, and that justice alone insures true happiness for families and individuals. ^Prosperity i s dangerous, because it tem pts men to transgre ss. The work that ' stands for ever and ever ' is that which is ( done in truth and equity.' Where Aeschylus had learned that lesson it would be hard to say. Echoes from early philosophers may have pointed to it. Medi- tation on life and death, encouraged by the Mysteries, may have deepened it. As it was, he found the INTRODUCTION xxxix confirmation of it in the events of contemporary history, and read it into the old legends on which he worked. The ' Erinys ' was the personification of certain crude anticipations of this his central idea. But in order to convey the thought of Aeschylus, the f wild justice' represented by the Erinys required to be purified and civilised by the imagined influence of Athena. Sin causes retrib ution, then ; but what is ( S in ' ? It is the transgression of those laws which have a Divin e sanction, and which form the most essential bonds of human so ciety . Most prominent amongst these are the rules which guard the sacredness of the family and inculcate conjugal fidelity and filial piety. ^AU life is precious in the sight of t he Gods, bu Fthe gui lt of every criminal or violent act is indefinitely deepened by nearnes s of kindred. Respect for the suppliant and for the stranger, above all when he has been the giver of hospitality, also stands high in the scale of religious duty. In the application of religious laws as thus conceived there are occasional survivals of strange inconsistency, and even barbarity. But these excep- tions take little from the nobleness of the main out- lines. Nor do the y diminish the importance of the fact that in the drama of Aeschylus a doctrine of restoration is set over against the doctrine of recom- pense for sin. AGAMEMNON PERSONS OF THE DRAMA Watchman. Chorus of 15 Argive Elders. Clytemnestra. lt?A>tA *** Herald. Agamemnon. Cassandra, the daughter of Priam. Aegisthus. SCENE Argos : before the Palace of the Pe/opidae. AGAMEMNON THE Watchman (above). Pray heaven I may be released from this weary task of year-long watching 1 ! Couched here upon the Atreidae's roof, dog-like, reposing on my arm, I have come to know by heart the nightly assemblage of the stars, the wanings and the risings of those constellations, bright potentates that, glittering in Ether, bring on for man- kind their summers and their winter-seasons. And now I am watching for the flame-token, that fiery ray which is to bring from the Trojan land the rumour and report of overthrow. 10 While thus, night after night, I keep my homeless, dew-moistened bed, not visited by dreams : for Fear usurps the place of Sleep beside me, so that I cannot close my eyelids fast in slumber : then, if I think to sing or hum a tune, preparing such medicine to charm off sleep, I groan instead and weep over the disaster of this household, not managed, as erewhile it was, in the best way. But now I pray for a blessed release 20 from my labours through the sudden shining amidst darkness of the beacon-light, the bringer of glad tidings. [The light appears. AGAMEMNON All hail, thou torch of Night, that makest for us the light as of a better day, and givest signal for the set- ting up of many a choir in Argos, to hail with song and dance this great intelligence. Sola, Sold ! Thus loudly I proclaim it to Agamemnon's Queen, that she arise with haste and speedily raise within the palace an auspicious joyful cry, to welcome this light. 30 For taken is the city of Troy ; so yonder beacon brightly tells us. Nay, I myself will dance for pre- lude. I '11 score my master's luck as having had a happy throw. This beacon-game has turned op for us three sixes ! Well, let him come ! and may it be mine to hold in this my hand the dear hand of our kind master ! Of what remains, I speak not. A ton's weight 2 is on my tongue. The house, if it could find a voice, might tell a true story. I, if I can help it, will not confess my knowledge, except to those who know. [Exit. 40 Chorus of Argive Elders {entering). We are now in the tenth year since Priam's noble adversary, lord Menelaus, and Agamemnon too, firm yoke-fellows indued by Zeus with twofold royalty, twin-throned, twin-sceptred, led forth from hence their Argive levy of a thousand ships to aid the army, shouting war from 50 angry hearts, as eagles 3 do, that swerving from the homeward path in pain for their young, fly circling aloft their eyrie, on oarlike pinions, having lost the watchful cares they had spent over their brood. /Then / one aloft, be it Apollo, or Pan, or Zeus, hearing that AGAMEMNON 5 bird-note, the shrill complaint of those their joint tenants of the sky, sends, for after-punishment of the wrong-doers, an Erinys-power. J , Even so against Paris the supreme Lord of Hospi- 60 tality sent Atreus' sons. His purpose was in the contention for a fickle woman to cause the Danai and Trojans likewise many wrestling-bouts wearying the limbs, while knees should press the dust, and spear- shafts should be snapped in the onset. And now the 3 conflict stands even where it stands. But it shall end where fate hath determined it. Neither by after sacrifice or libation, nor by tears, shall the sinner cajole their relentless 4 wrath, whose sacrifices need no fire. 7 But we were left out of that day's levy by reason of our unregarded aged frames, and stay behind support- ing upon staves our feeble childlike steps. /For as the youngling in whose breast the sap of life springs freshly is no better than the aged, since no valour is there ; so extreme old age, whose fading leaf is ready to fall, 80^ moves in a three-footed way, and, no more valiant than a child, moves vaguely like a dream in daylight.) Now, Clytemnestra, Tyndareus' daughter, what new thing is befallen ? what tidings hast thou, Queen? On what intelligence do thy missives kindle sacrifices around ? The altars of all Gods that dwell in our city are ablaze with offerings ; Gods of the earth and sky, 90 of field and market. As high as heaven on every side the flame ascends, fed cunningly by the pure unguent, whose mild persuasive promptings cannot deceive the caked perfume from the royal closet 5 . 6 AGAMEMNON Speak what of this thou canst, and mayest lawfully tell, and so bring healing for this care, which, as it is, ioo one while fills the mind with misery : another while Hope shining from the sacrifices with a kindly ray, bids back the never-satisfied thought of heart-devour- ing sorrow. [The Chorus, now ranged in the orchestra, chant the following strain. I have full power to sing the triumphantly aus- picious departure of the men of valour. Still doth heavenly influence inspire my song, still doth mine age furnish me with might to tell how the twin-throned no Sovereignty of the'Achaeans, the rulers, one in mind, of Hellas' youth, were sped with vengeful spear- armed hands towards the Teucrian country by an ominous warlike bird. It was the King of birds, ap- pearing to the Kings of the fleet, two birds, one black, one backed with white. Fast by the man- sion they appeared, on the spear-hand, conspicuously perched, devouring a pregnant hare and her full brood, 120 whose course was ended ere begun. Say, Woe, woe, woe ! ' But let good auspices prevail ! The heedful prophet of the army, when he looked on the two warlike sons of Atreus with their differing strain, perceived in the hare-devourers the chiefs in command, and spake thus, interpreting the sigD : 1 This expedition doth at length make booty of Priam's 13 town and Fate shall ravage with hands of violence all the riches of the towers once crammed with public stores. Only, may no divine dislike prematurely dash AGAMEMNON 7 with gloom the great curb of Troy, to wit, the em- battled army. For holy Artemis hath a grudge at the house, at her sire's winged hounds that make a sacrifice of the cowering thing in her eaning-time together with her young. She abhors the eagles' ban- quet. Say, " Woe, woe, woe ! " But let good auspices prevail ! ' The Lovely Goddess, although so kind to the tender 140 cubs of ravenous lions and unweaned younglings of all field-roving beasts of chase, consents 6 to ratify the happy fulfilment of the sign. The omens are favour- able, but not unmixed with bane. To Apollo, god of healing, I pray, that she prepare not against the Dana'i some delaying, ship-baffling adverse gales, 150 in her eagerness for a new sacrifice, unprecedented, preluding no feast, worker of strife within the home, annihilating wifely awe. Who keepeth house for him, awaiting his return ? Wrath, unforgetting, child- avenging, couched in dark ambush, and preparing the counter spring.' So rang the voice of Calchas, telling, together with great good, of fatal consequence attending the royal house from the ominous birds. In symphony where- with, say, ' Woe, woe, woe ! ' But let good auspices prevail ! Zeus ! howsoever he be named ; assuming this to 160 be the name that pleases him, I so address him. Scanning all powers, and weighing them together with my need, I find none other on whom to cast with full assurance the burden of vain cares save Zeus alone. 8 AGAMEMNON Not he that aforetime was the Mighty One, abound- 170 ing with all-daring violence, shall even be named, since his day is over. And he that rose up afterward, he too is gone, for he hath found his vanquisher. But they who call on Zeus with a zealous mind, and celebrate his victories, shall attain wisdom to the height, Zeus who hath paved a way for human thought, by ordain- ing this firm law He learns, who suffers.' In sleep 180 there steals before the heart the pain of remembered grief, and submission comes to men who thought not of it. For this one ought to thank the Powers, who man resistlessly the dread rowing-bench above. That day the elder admiral of the Achaean navy, blaming in nowise the soothsayer, but joining with the blast of adverse fortune, (what time the Achaean host were afflicted with stress of weather draining their 190 stores, as they held the coast over against Chalcis in the tide-washed region of resounding Aulis : For a tempest had come from Strymon-mouth fraught with evil tarriance, with famine, with ill roadsteads, mis- guiding mariners, unsparing alike of hulls and cordage, which battered and defaced that flower of Argive chivalry, redoubling the loss of time through wear and tear 7 : When thereupon the prophet had enounced a remedy for the sore storm, that to the chiefs was still 2co more grievous, when he brought Artemis again to mind, whereat the Atreidae struck their staves upon the ground and could not refrain from tears :) Even then the elder chieftain spake and said : ' A cruel fate were mine should I disobey ; but not less cruel will it AGAMEMNON 9 be if I must slay my child, the worship of my home, and stain a father's hand on the altar-step with streams 210 of virgin blood. Each course is full of misery. How should I break league and prove a defaulter from the fleet ? It is but right that they should vehemently rage for the maiden s death, the sacrifice that is to stay the storm. May all end well ! ' So when his neck had received the collar of Neces- sity, his spirit breathed an impious counterblast, im- 220 pure, unholy, so that from that time forth his thoughts were turned to an unfaltering course of crime. The first blow 8 of calamity is rife with base suggestions, and through wretched infatuation makes mortals strangely bold. He, anyway, became his daughter's sacrificer, in aid of a woman-vindicating war, and for the inaugura- tion of that voyage. Her prayers, her cries of 'Father!' her tender maidenhood, went for nothing with the 230 Councillors who were bent on war. Her father, after prayer, gave signal to the ministering priests unshrink- ingly to seize and lift her, as if she were a kid, above the altar, with the head forward, letting her garment fall, and to set a guard upon her lips, restraining the cry that might bring a curse upon her house, with the enforced dumbness of the compelling gag. Then as she shed to the ground her saffron robe, she smote each one of her sacrificers from her eyes with a pity- 240 imploring glance, looking the while, as in a picture, like one desiring to speak since oftentimes in her father's hospitable halls she had sung to them, and with pure virgin voice had kindly graced the hymn 9 10 AGAMEMNON accompanying the third libation, that prayed for prosperity to her dear sire. What followed next I saw not and I speak not of it : The soothsaying craft of Calchas was not belied. 250 There are those who shall know of what is coming, when they suffer it through the award of justice. But farewell at once to listening for it ere it come, since come it will even though you hear. To hearken be- forehand is only to anticipate sorrow 10 . Clear and unmistakable it will arrive, dawning with the beams of day. Howbeit, may the sequel be propitious and answerable to the desires of this, the sole bulwark left to garrison the Apian land. Enter Clytemnestra. Leader of the Chorus. Clytemnestra, we are come hither, bringing homage for thy majesty. The prince's 260 wife should have due honour when the man's seat is empty. Our loyalty would gladly hear whether the sacrifices thou art ordaining are prompted by some happy tidings thou hast received, and attended with good hopes, or not. But if thou still keepest silence we shall not murmur. Clyt. There is a proverb that says, 'Let the Morning bring good tidings from the Night, her mother.' Ye are to learn what is beyond your hopes, and will delight your ears. The Argives have taken the city of Priam. Chor. What dost thou say ? The word escaped me through incredulity. AGAMEMNON 11 Clyt. That Troy belongs to the Achaeans. Is that plain ? Chor. A joy is stealing over me, summoning up tears. 270 Clyt. Your eye then proves your heart to be loyal. Chor. Hast thou evidence of this report that may be trusted ? Clyt. Of course I have unless some god has played us false. Chor. Thou regardest, haply, some persuasive vision of a dream ? Clyt. My judgement could not be convinced by slumberous fancies. Chor. But some chance word that lighted hath elated thee. Clyt. Ye flout my wisdom, as if I were a silly girl. Chor. How long since, then, hath the city been ransacked ? Clyt. I tell you, in the night that even now hath given birth to the day. Chor. What newsbringer could arrive so speedily ? 280 Clyt. Hephaestus, flashing it in brilliant flame from Ida. Fire was the post, and beacon despatched beacon onward hither. First Ida sped the light to the Hermaean bluff of Lemnos : then from that island the spiring flame was taken up by Athos. He reinforced the travelling torch with the blazing pine, that, as with a golden sunrise, overpeered the broad-backed sea, and carried on the tidings to the watch-tower on Macistus' top. Macistus, thoroughly wakeful and alert, per- 290 formed his part in the transmission, and his beacon- 12 AGAMEMNON fires, far seen over the waters of Euripus, gave signal to the watchmen who were stationed on Messapius. They, when the message came, flashed back and sent it forward, by kindling there a mighty heap of aged heather. The flame was nowise dimmed as yet, but in full strength overleaped the Asopian plain, and with a steady radiance, like the orbed moon, beaming on the forehead of Cithaeron, awakened there a fresh 300 relay of conduct for the courier fire. The guard there set gave welcome to the far-sent rays and made a greater blaze than those before them ; the glare wherefrom shot over the Gorgopian bay, and arriving at Mount Aegiplanctus, bade fulfil my hest and burn for me the promised bonfire. Accordingly they sped the news, and with liberal hands fed a great beard of flame that rose on high, and glanced beyond the cliff that beetles over the Saronic gulf. It touched the goal ; it struck on steep Arachnae, our close neighbour- 310 ing hill. And from thence the fire, in lineal sequence from the Idaean flame, was flashed on this habitation of the Atreidae. Such was the torch-race we had ordered and prepared, each course supplied in turn from that preceding it. But the runner first and last was one, and ran from end to end victoriously. Ye hear the proof and fore-appointed token, which my husb and has transmitted to me with true intelligence from Troy. Chor. Lady, our thanks to heaven shall be given hereafter. Meanwhile, we would continue to listen wonderingly to thy tale, so thou wouldst speak again. 320 Clyt. The Achaeans at this hour are masters of AGAMEMNON 13 the land of Troy. In yonder town, methinks, there prevails a loud discordant crying. Pour vinegar and oil into the same jar, and you will find them sundered, not kindly blending. So the voices of the captor and of the captured there, tell in different tones of their widely differing fortune. The conquered, clinging to the prostrate bodies of their dear ones, sisters to brothers, wives to their mates, young children to their grey-haired sires, lament the fate of those they loved from a throat no longer free. The conquerors, sharp- 330 set by toilsome night-roving after battle, are ranged to break their fast on what the city contains, not by prescription, but as each has drawn his lot in the chance medley. So now they inhabit the Trojans' captive dwellings, having escaped from the frosts and dews of the open field. And, counting themselves happy, they will sleep all night without setting a guard. Now if they reverence well the gods that preside over the conquered land and respect their shrines, they may avoid being taken after taking the 34 prey. But let no lust of sacrilegious booty meanwhile invade the army, vanquished by love of gain. For they have yet to measure the return course 11 , and win their way home safely. And though they should withdraw without direct offence against any god, the resentment of the slain may waken, should no cross- accident bar the homeward journey. You hear from me a woman's counsel. May the good prevail, un- questioned and manifest ! Therein I crave the enjoy- 350 ment of my many blessings. 14 AGAMEMNON Leader of Chor. O Queen, thy speech would become the lips of a wise and temperate man. Now that we have heard from thee those certain proofs, we are ready to address the Gods with due thanksgiving. Past labours have led to a fair and honourable close. [Exit Ci.vT. Chor. O kingly Zeus, and thou Night, propitious mistress of splendours manifold, that didst hurl over the towers of Troy the close firm meshes of that 360 all-encompassing net, that mighty snare of captivity, so that neither grown man nor youngling might rise out of it, or avoid the universal ruin ! With awe I wor- ship Zeus, the friend of hospitality, who hath effected this. Long since he had bent his bow at Paris, with a perfect aim, that neither should the shaft fall short of the mark, nor ineffectually alight beyond the stars. From Zeus came the stroke they have experienced. So far one may trace the matter and not fail. They fared as he decreed. There was one who said 370 it could not be deemed worthy of Gods to care for mortal doings, when any trampled on the grace of things inviolable. But he was an impious man. The truth hath been revealed to the descendants of those whose warrior-spirits were bent on deeds of enormous daring, overpassing justice, when their halls were crammed unduly, beyond what is best. Let that 380 be granted ' best/ where sorrow comes not. That shall fully satisfy whoever is wise. For riches afford no shelter to him who, waxing wanton, kicks at the exalted seat of justice, setting her at nought. AGAMEMNON 15 But the wretched influence, disastrous birth of brooding infatuation, forces its way till remedies are utterly vain. The harm cannot be hid, but shines with a ruinous gleam. Like spurious metal, the life, being 390 brought to the test through friction and contact, shows a dark stain. Boylike, the man runs wilfully in chase of a flying bird, and brings intolerable harm upon his people. Deaf to his prayers, the vindictive gods \ shall overtake the unrighteous one who walks in those ways. Even such an one was Paris, who visited the home 400 of the Atreidae, and defiled the hospitable board by stealing the wife. She left behind her, for the men of Argos, the hurtling of shields and spears and arming of war-vessels; and taking with her as a dowry the ruin of Troy, stepped lightly through the doorway, meditating unendurable crime : while thus the home- interpreters 12 , deeply groaning, spake : ' Alas, for 410 the palace ! Alas, for our chief ! Alas ! for the couch, whither she came lovingly to meet her lord ! He is yonder, silent, dishonoured, unreproaching, the witness of his own irreparable sorrow 13 . Through the longing for her who is beyond the sea, a phantom shall seem to queen it in the hall. The lovely statues there are hated by her lord. In the lack of living glances there is no beauty more.' Only in dreams an apparition, bom of grief, brings a 420 vain joy. For it is vain, when, just as one thinks to be beholding good, the vision fleets out of his arms with wings that follow hard upon the footsteps of 16 AGAMEMNON sleep. Such are the sorrows at the hearth within the home ; and others too there are, that transcend these. And throughout Hellas, whencesoever one went forth 430 to join that armament, the signs are manifest of heart- rending woe. Much there is that pierces to the quick. They know whom they sped forth, but what returns to each man's home ? Not the person of the warrior, but the urn that holds his ashes. That heavy dust, blackened in the fire, disappointing the desire of tears, 440 is all that he, the War-god, who traffics in the bodies of men, the grim usurer who sways his balance amidst the hurtling fray, sends back to friends from Ilium. In place of men, he freights with ashes the funeral- vases, easily stowed away. Then they groan out their eulogy over each warrior, saying of one how that he was skilled in fight, and of one that he fell nobly amidst carnage, in the cause of another's wife. These words are muttered in hushed tones, while an indignant 450 grudge spreads covertly against Atreus' sons, who stand in the forefront of the quarrel. Others, without suffering change, are laid in their manly beauty within Trojan earth, before the enemy's wall. The con- quered land they occupy conceals them. Meanwhile the angry murmurs of the citizens are full of danger, meaning nothing less than a people's 460 curse, which fails not. My anxious thought is look- ing for some dark lurking issue. The eyes of the Gods are ever on the man of blood. He who with- out right is fortunate, is enfeebled late or soon by -. the gloomy Erinys, and finds a dire reverse. He sinks AGAMEMNON 17 into an abyss of nothingness, where there is no help for him. Moreover, to be praised exceedingly is a dangerous thing. The lightning from Heaven is hurled at the 470 high places 14 . I choose a fortune that is exempt from envy. I would not be the sacker of a town, nor yet would I myself behold my life made subject to another. The flame that told of good has darted a swift rumour throughout the city, but whether it be true, who knoweth? or whether there has not been some divine deception ? Who is so childish or so bereft of sense as to let his heart be inflamed by the fire-brought 4 8 news, to be vexed thereafter with an altered report ? It beseems a woman's temper to yield assent before proof shown. The pale of woman's judgment is soon encroached on and passed over, so credulous is she. The glory that lies in a woman's voice quickly fades and dies away. V Leader of Chor. Now we shall soon know concern- ing the transmission of the flashing beacon-fires, 490 whether they told truly, or, like a dream, this light that came so pleasingly deceived our thought. I see at hand a Herald approaching from the shore. He is over- shadowed with olive-boughs, and the dry dust 15 , own sister and neighbour to damp clay, assures me that he will deliver his message not voicelessly, nor with flame- signals born from the combustion of mountain-wood, but with clear utterance forthwith will tell you either to rejoice the more, or an alternative which I refuse 18 AGAMEMNON 500 to entertain. Let there be fair corroboration of what promised fairly. Chor. Whosoever would unspeak that prayer for this our state, may he himself reap the fruits of his perversity ! Enter the Herald, attended. Herald. O hallowed ground of Argolis, where my fathers trod, in the light of this tenth year I find thee! This one thing hoped for I obtain, though rudely dis- appointed of so many. I had indeed despaired even of dying upon Argive soil and sharing in the blessed privilege of burial there. Then hail, familiar Earth, familiar Sunlight ! Hail, Zeus, who sittest aloft presid- 510 ing over this land ! Hail, Pytho's lord ! No longer mayst thou shower on us thy fatal shafts ! We felt enough of thine enmity beside Scamander. Now, lord Apollo, be once more our saviour and our God of healing ! Yea, all the great Gods in their conclave I address 16 , and him in chief whom we heralds worship, Hermes the dear herald, and those heroes of old time whose spirits sent us forth : With kindly welcome re- ceive ye back again this remnant that the war hath left. Dear roofs and palace-halls of our Kings ! dread thrones beside the gateway, and Gods that front the 520 morning, if ever heretofore ye did so, with looks of festal cheer to-day receive as ye ought our sovereign lord who has been so long away. He comes, Prince Agamem- non comes, bringing a light to illuminate your gloom, a light wherein all who are here participate. Salute AGAMEMNON 19 him, all ye people, it is meet ye should, for he hath dug up the Trojan field with the spade of retributive Zeus. Therewith that ground is thoroughly Worked over. The altars and the shrines of Gods that were there are no more seen ; all germs of life have been de- stroyed out of the land. Such a yoke hath been laid on the proud neck of Troy by Atreus' princely elder son, who is now 530 arrived, thus favoured of Heaven, and worthiest to receive homage of all who live this day. Since neither Paris, nor the people, his abettors in crime, may boast that the punishment hath fallen short of the deed. Convicted of theft and robbery too 17 , he hath not only lost his prize, but hath laid low in utter ruin his native country and his paternal home. The sons of Priam have paid twofold for their transgression. Leader of Chor. All joy to thee, O herald of the embattled Achaeans ! Herald. I do rejoice ; yea, and if Heaven so wills it, I refuse not to die. Leader of Chor. Wert thou so exercised with long- 540 ing for the land of thy birth ? Herald. Yes. Tears are welling up into mine eyes : so glad I am. Leader of Chor. Therein thou wert happily diseased. Herald. How ? Tell me. Let me understand you. Leader of Chor. Being smitten with longing for those who loved you in return. Herald. Do you mean that the country here was longing for her army ? 20 AGAMEMNON Leader of Chor. From this dark spirit I have heaved many a sigh. Herald* Whence came the gloom that lay so heavy upon your souls 18 ? Leader of Chor. Silence has long been my remedy against mischance. Herald. How mean you ? Had you any one to fear, when your sovereign was abroad ? 550 Leader of Chor. So that, to echo your own words, I could have gladly died 19 . Herald. I meant it because success has come. Much else, in the long retrospect, is mingled of things smooth and questionable. Who, that is not a got!, passeth the whole of his existence without suffering ? Were I to recount the labours, the rough lodging, the narrow bunks on shipboard, with scant covering, what mourned we not the lack of from day to day 20 ? Our lot on shore was still more dismal. Our bivouac 560 was close beneath the enemy's wall ; where rain from above and dews from the open field covered us with drizzling moisture, that ruined our garments beyond remedy, and made our matted hair like that of beasts. Or should I tell you of the eagle-killing storm, with what intolerable force it came forth from the snows of Ida, or of the sweltering heat, when the deep becalmed in his noon-day couch lay slumbering motionless ? W T hy sorrow for past toil or suffering ? past indeed for the dead, who are too weary to care to 570 rise again. Why count them over ? They are spent. Or why should the living grieve at froward fortune ? AGAMEMNON 21 ' Farewell to calamity/ I say. For us of the host of Argos who remain, advantage outweighs distress, so that, fleeting over land and seas, we may boldly say in presence of this day's sun : 'The Argive armament, having finally conquered Troy, fix up these spoils to the glory of the Hellenic gods, an added brightness to their temples for evermore.' Give ear, O people ; 5 8o and call your country and your generals blessed. So the grace of Zeus, that hath accomplished this, shall win due honour. This, Argives, is my tale at full. Chor. Your words prevail with me. I yield belief to them. For the learning of good tidings the old are ever young. And though Clytemnestra and the royal house have naturally the prime interest herein, it is but right that I too should partake in the gain. Re-enter Clytemnestra. Clyt. I shouted for gladness long ago, when in the night the fiery harbinger came that first told of conquest, of the devastation of Troy. Some one then 590 upbraided me and said, ' Giving credence to fire- signals, dost thou believe that at this moment Troy has been overthrown ? How womanlike to be so easily uplifted ! ' Such talk gave me out for a deluded one. But yet I sacrificed. And in female strains a cry of joy was raised in every quarter of the city, while to the auspicious sound, within the holy precinct, they allayed the fragrant flame that consumed the frankincense. You need not inform me more at length. I shall learn all from the very lips of our great lord. But I must 600 22 AGAMEMNON haste to receive most royally ray revered husband at his return. (What light to a woman's eyes is sweeter than when she opens the gates for him, her man, whom Heaven had brought safe from the war ?) Report this message to him, that he come quickly, the desire of Argos. And let him find a faithful wife, unaltered as he left her, the watcher of his home, hostile to his enemies, but ever kind to him ; and, for the rest, 610 untampered with, a sealed possession, unimpaired in all that length of time. Of joy or guilty converse with another man I am as ignorant as of the craft of the smith 21 . Such is my declaration, given in all sincerity, and it is a boast which a princess need not be ashamed to utter. [Exit, Leader of Chor. (to the Herald). That was fairly spoken. Your ears 22 could not fail to interpret clearly. But tell us, herald: it is of Menelaus I would learn : Menelaus, whom this land delights to honour and to obey. Comes he safely to his home along with you? 620 Herald. Were I falsely to give a good report, my friends would reap from it only a short-lived joy. Chor. Tell truth, then, and may the truth be happy ! When good and true are sundered, it cannot well be hid. Herald. He is lost from the Achaean army's ken. His ship and he are vanished. That is the truth. Chor. Do you mean that he was seen launching forth from Ilios ? or was he snatched away from the fleet by a storm whose violence affected all ? AGAMEMNON 23 Herald. There you have hit the mark, like a first- rate archer. You have expressed, in one short phrase, an immense disaster. Chor. But what saith Rumour ? Do other mariners 630 report of him as alive or dead ? Herald. No one knows enough to answer that inquiry clearly ; except the Sun-god, who fosters what Earth brings forth. Chor. Say, how then did the tempest visit your fleet, to end with such an outcome of divine anger ? Herald. It beseems not to stain with evil tidings the light of an auspicious day. Honours paid to Heavenly Powers should be unalloyed 23 . This Paean of the Furies might suit the lowering brows of one who from a ruined army brought news of horrible disaster, 640 how the city suffered from the wound that with one stroke afflicted the whole people, while from many several homes full many a warrior had been stricken with the keen scourge which the War-god loves ; he that was laden with that twofold burden of death, who brought with him that doubly-armed Ate, might chant this burden also, and not break tune. But I, who am come with happy tidings to a city exulting in her fair fortune, wherefore should I dash my good with bad by telling of the tempest that fell upon the Achaeans, not without spite from Heaven ? Fire 650 and the Sea, powers hitherto irreconcilable, con- spired together, and proved their league by devas- tating the hapless host of the Argives. At dead of night came on the baleful billowy trouble, while 24 AGAMEMNON Thracian winds crashed the hulls together in a jostling herd, that thrust one another perforce at the will of the wild tempest, as it pelted them with sleet and brine, until they foundered and sank from sight, driven ruth- lessly by that bad herdsman. Now when the clear day- light came again, the Sun revealed to us the field of 66 the broad Aegean, blossomed over with dead bodies of Achaean warriors and wrecks of warships. Ourselves, meanwhile, and our vessel with unscathed hull, some Power, whether by craft or influence, brought off: a God it must have been, no mortal, that so handled the ship, whereon Fortune herself as preserver deigned to preside, as neither to ride where heavy seas broke over her, nor run aground against a rock-lanced, iron- bound coast. Thereafter, delivered as we were from the dreadful sea, scarcely trusting in our good fortune, (yj% our thoughts began to tend upon a fresh grief on account of our navy thus battered and ill-bested. And now, if any of our comrades are yet alive, they doubt- less talk of us as being no more, even as we imagine about them. But may all end happily ! As for Menelaus, before all else expect him to come. If any- where the bright Sun beholds him and knows of him as living, by the grace of Zeus, who wills not that his seed should perish, he will return to his Argive home, we may well believe. Ye have heard all I have to 680 tell, and you may be assured that all that I have told is true. [Exit. Chor. Who named her so unerringly ? Was it some one whom we dream not of, foreknowing destiny, and AGAMEMNON 25 happy in his foretelling? Who named her 'Helene' 24 ? the spear-wedded one the strife-surrounded ? For, fittingly thereunto, engulfing ships and men and cities, she left the daintily-woven curtains of her bower, 690 and, wafted by the breath of giant Zephyrus, sailed forth. And on the invisible track of their oars there also sailed a full cry of shielded warriors bent on bloody arbitrament. Meanwhile they had landed on the leafy x bank of winding Simois. It was the fateful design of 71 heavenly Wrath that brought upon Ilios that marriage- bond, rightly so named, Wrath, that in after time would wreak the dishonour done to the guest-table and to hospitable Zeus by those who loudly celebrated the marriage-hymn, wherewith it fell that day to her new brethren to honour the bride. But now Priam's 7ii time-worn city has learned a different tune, with wail- ing voice and heavy groans calling out on Paris, whose marriage was a curse Priam's city that hath already passed an age of lamentation for her citizens, whose wretched violent deaths she hath all wretchedly endured. A man once reared a lion's cub in his house, a scarce-weaned fosterling, still craving for the dug. At 72a the first assay and opening of his life he was gentle, a kindly playmate for the boys, a cheering object for their elders to look upon ; many a time, like an infant, being held in arms ; now brightening at touch of hand, now cringing under the stress of appetite. But in the fulness of his days he revealed the parent strain. In requital for nurture he made him a feast, unbidden, 73 26 AGAMEMNON with horrid slaughter of the flock. The house was bedabbled with gore ; the despairing household stood aghast with grief : the destruction was wide and irre- mediable. By some Divine commission, to be a High Priest of calamity, he had been nourished as an inmate of that home. Even such, methinks, was her coming to Ilios town, 740 a spirit as of a windless calm, a tranquil joy for wealth to brood over, an eye whose glances soothe, a blossom of love stinging desire into madness. But by and by her aspect changed and issued in a bitter sequel of consummated rites. It was the Zeus of hospitality who brought her amongst the sons of Priam, a Fury of lament for bridal, a companion and an inmate full of bane. 75 Mankind have an ancient saying, it was framed and uttered of old, that a mortal's happiness, when grown up to the height, brings forth and dies not childless; that out of good fortune springs insatiable misery to plague the race. But I have my own thought