Agamemnon
By Aeschylus.
Translated by Gilbert Murray.
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Preface
The sense of difficulty, and indeed of awe, with which a scholar approaches the task of translating the Agamemnon depends directly on its greatness as poetry. It is in part a matter of diction. The language of Aeschylus is an extraordinary thing, the syntax stiff and simple, the vocabulary obscure, unexpected, and steeped in splendour. Its peculiarities cannot be disregarded, or the translation will be false in character. Yet not Milton himself could produce in English the same great music, and a translator who should strive ambitiously to represent the complex effect of the original would clog his own powers of expression and strain his instrument to breaking. But, apart from the diction in this narrower sense, there is a quality of atmosphere surrounding the Agamemnon which seems almost to defy reproduction in another setting, because it depends in large measure on the position of the play in the historical development of Greek literature.
If we accept the view that all Art to some extent, and Greek tragedy in a very special degree, moves in its course of development from Religion to Entertainment, from a Service to a Performance, the Agamemnon seems to stand at a critical point where the balance of the two elements is near perfection. The drama has come fully to life, but the religion has not yet faded to a formality. The Agamemnon is not, like Aeschylus’ Suppliant Women, a statue half-hewn out of the rock. It is a real play, showing clash of character and situation, suspense and movement, psychological depth and subtlety. Yet it still remains something more than a play. Its atmosphere is not quite of this world. In the long lyrics especially one feels that the guiding emotion is not the entertainer’s wish to thrill an audience, not even perhaps the pure artist’s wish to create beauty, but something deeper and more prophetic, a passionate contemplation and expression of truth; though of course the truth in question is something felt rather than stated, something that pervades life, an eternal and majestic rhythm like the movement of the stars.
Thus, if Longinus is right in defining Sublimity as “the ring, or resonance, of greatness of soul,” one sees in part where the sublimity of the Agamemnon comes from. And it is worth noting that the faults which some critics have found in the play are in harmony with this conclusion. For the sublimity that is rooted in religion tolerates some faults and utterly refuses to tolerate others. The Agamemnon may be slow in getting to work; it may be stiff with antique conventions. It never approaches to being cheap or insincere or shallow or sentimental or showy. It never ceases to be genuinely a “criticism of life.” The theme which it treats, for instance, is a great theme in its own right; it is not a made-up story ingeniously handled.
The trilogy of the Oresteia, of which this play is the first part, centres on the old and everlastingly unsolved problem of
The ancient blinded vengeance and the wrong that amendeth wrong.
Every wrong is justly punished; yet, as the world goes, every punishment becomes a new wrong, calling for fresh vengeance. And more; every wrong turns out to be itself rooted in some wrong of old. It is never gratuitous, never untempted by the working of Peitho (Persuasion), never merely wicked. The Oresteia first shows the cycle of crime punished by crime which must be repunished, and then seeks for some gleam of escape, some breaking of the endless chain of “evil duty.” In the old order of earth and heaven there was no such escape. Each blow called for the return blow and must do so ad infinitum. But, according to Aeschylus, there is a new Ruler now in heaven, one who has both sinned and suffered and thereby grown wise. He is Zeus the Third Power, Zeus the Saviour, and his gift to mankind is the ability through suffering to Learn (pp. 7 f.)
At the opening of the Agamemnon we find Clytemnestra alienated from her husband and secretly befriended with his ancestral enemy, Aigisthos. The air is heavy and throbbing with hate; hate which is evil but has its due cause. Agamemnon, obeying the prophet Calchas, when the fleet lay storm-bound at Aulis, had given his own daughter, Iphigenia, as a human sacrifice. And if we ask how a sane man had consented to such an act, we are told of his gradual temptation; the deadly excuse offered by ancient superstition; and above all, the fact that he had already inwardly accepted the great whole of which this horror was a part. At the first outset of his expedition against Troy there had appeared an omen, the bloody sign of two eagles devouring a mother-hare with her unborn young. … The question was thus put to the Kings and their prophet: Did they or did they not accept the sign, and wish to be those Eagles? And they had answered Yes. They would have their vengeance, their full and extreme victory, and were ready to pay the price. The sign once accepted, the prophet recoils from the consequences which, in prophetic vision, he sees following therefrom: but the decision has been taken, and the long tale of cruelty rolls on, culminating in the triumphant sack of Troy, which itself becomes not an assertion of Justice but a whirlwind of godless destruction. And through all these doings of fierce beasts and angry men the unseen Pity has been alive and watching, the Artemis who “abhors the Eagles’ feast,” the “Apollo or Pan or Zeus” who hears the crying of the robbed vulture; nay, if even the Gods were deaf, the mere “wrong of the dead” at Troy might waken, groping for some retribution upon the “Slayer of Many Men” (pp. 15, 20).
If we ask why men are so blind, seeking their welfare thus through incessant evil, Aeschylus will tell us that the cause lies in the infection of old sin, old cruelty. There is no doubt somewhere a πρώταρχος Ἄτη, a “first blind deed of wrong,” but in practice every wrong is the result of another. And the Children of Atreus are steeped to the lips in them. When the prophetess Cassandra, out of her first vague horror at the evil House, begins to grope towards some definite image, first and most haunting comes the sound of the weeping of two little children, murdered long ago, in a feud that was not theirs. From that point, more than any other, the Daemon or Genius of the House—more than its “Luck,” a little less than its Guardian Angel—becomes an Alastor or embodied Curse, a “Red Slayer” which cries ever for peace and cleansing, but can seek them only in the same blind way, through vengeance, and, when that fails, then through more vengeance (p. 69).
This awful conception of a race intent upon its own wrongs, and blindly groping towards the very terror it is trying to avoid, is typified, as it were, in the Cassandra story. That daughter of Priam was beloved by Apollo, who gave her the power of true prophecy. In some way that we know not, she broke her promise to the God; and, since his gift could not be recalled, he added to it the curse that, while she should always foresee and foretell the truth, none should believe her. The Cassandra scene is a creation beyond praise or criticism. The old scholiast speaks of the “pity and amazement” which it causes. The Elders who talk with her wish to believe, they try to understand, they are really convinced of Cassandra’s powers. But the curse is too strong. The special thing which Cassandra tries again and again to say always eludes them, and they can raise no finger to prevent the disaster happening. And when it does happen they are, as they have described themselves, weak and very old, “dreams wandering in the daylight.”
The characters of this play seem, in a sense, to arise out of the theme and consequently to have, amid all their dramatic solidity, a further significance which is almost symbolic. Cassandra is, as it were, the incarnation of that knowledge which Herodotus describes as the crown of sorrow, the knowledge which sees and warns and cannot help (Hdt. IX 16). Agamemnon himself, the King of Kings, triumphant and doomed, is a symbol of pride and the fall of pride. We must not think of him as bad or specially cruel. The watchman loved him (ll. 34 f.), and the lamentations of the Elders over his death have a note of personal affection (pp. 66 ff.). But I suspect that Aeschylus, a believer in the mystic meaning of names, took the name Agamemnon to be a warning that Ἄγα μίμνει, “the unseen Wrath abides.” Agâ, of course, is not exactly wrath; it is more like Nemesis, the feeling that something is ἄγαν, “too much,” the condemnation of Hubris (pride or overgrowth) and of all things that are in excess. Agâ is sometimes called “the jealousy of God,” but such a translation is not happy. It is not the jealousy, nor even the indignation, of a personal God, but the profound repudiation and reversal of Hubris which is the very law of the Cosmos. Through all the triumph of the conqueror, this Agâ abides.
The greatest and most human character of the whole play is Clytemnestra. She is conceived on the grand Aeschylean scale, a scale which makes even Lady Macbeth and Beatrice Cenci seem small; she is more the kinswoman of Brynhild. Yet she is full not only of character, but of subtle psychology. She is the first and leading example of that time-honoured ornament of the tragic stage, the sympathetic, or semi-sympathetic, heroine-criminal. Aeschylus employs none of the devices of later playwrights to make her interesting. He admits, of course, no approach to a love-scene; he uses no sophisms; but he does make us see through Clytemnestra’s eyes and feel through her passions. The agony of silent prayer in which, if my conception is right, we first see her, helps to interpret her speeches when they come; but every speech needs close study. She dare not speak sincerely or show her real feelings until Agamemnon is dead; and then she is practically a mad woman.
For I think here that there is a point which has not been observed. It is that Clytemnestra is conceived as being really “possessed” by the Daemon of the House when she commits her crime. Her statements on p. 69 are not empty metaphor. A careful study of the scene after the murder will show that she appears first “possessed” and almost insane with triumph, utterly dominating the Elders and leaving them no power to answer. Then gradually the unnatural force dies out from her. The deed that was first an ecstasy of delight becomes an “affliction” (pp. 72, 76). The strength that defied the world flags and changes into a longing for peace. She has done her work. She has purified the House of its madness; now let her go away and live out her life in quiet. When Aigisthos appears, and the scene suddenly becomes filled with the wrangling of common men, Clytemnestra fades into a long silence, from which she only emerges at the very end of the drama to pray again for Peace, and, strangest of all, to utter the entreaty: “Let us not stain ourselves with blood!” The splash of her husband’s blood was visible on her face at the time. Had she in her trance-like state actually forgotten, or did she, even then, not feel that particular blood to be a stain?
To some readers it will seem a sort of irrelevance, or at least a blurring of the dramatic edge of this tragedy, to observe that the theme on which it is founded was itself the central theme both of Greek Tragedy and of Greek Religion. The fall of Pride, the avenging of wrong by wrong, is no new subject selected by Aeschylus. It forms both the commonest burden of the moralising lyrics in Greek tragedy and even of the tragic myths themselves; and recent writers have shown how the same idea touches the very heart of the traditional Greek religion. “The life of the Year-Daemon, who lies at the root of so many Greek gods and heroes, is normally a story of Pride and Punishment. Each year arrives, waxes great, commits the sin of Hubris and must therefore die. It is the way of all Life.” As an early philosopher expresses it, “All things pay retribution for their injustice one to another according to the ordinance of Time.”1
To me this consideration actually increases the interest and beauty of the Oresteia, because it increases its greatness. The majestic art, the creative genius, the instinctive eloquence of these plays—that eloquence which is the mere despair of a translator—are all devoted to the expression of something which Aeschylus felt to be of tremendous import. It was not his discovery; but it was a truth of which he had an intense realization. It had become something which he must with all his strength bring to expression before he died, not in a spirit of self-assertion or of argument, like a discoverer, but as one devoted to something higher and greater than himself, in the spirit of an interpreter or prophet.
Dramatis Personae
Characters in the Play
-
Agamemnon, son of Atreus and King of Argos and Mycenae; Commander-in-Chief of the Greek armies in the War against Troy
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Clytemnestra, daughter of Tyndareus, sister of Helen; wife to Agamemnon
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Aigisthos, son of Thyestes, cousin and blood-enemy to Agamemnon, lover to Clytemnestra
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Cassandra, daughter of Priam, King of Troy, a prophetess; now slave to Agamemnon
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A Watchman
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A Herald
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Chorus of Argive Elders, faithful to Agamemnon
Characters Mentioned in the Play
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Menelaus, brother to Agamemnon, husband of Helen, and King of Sparta
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The two sons of Atreus are called the Atreidae
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Helen, most beautiful of women; daughter of Tyndareus, wife to Menelaus; beloved and carried off by Paris
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Paris, son of Priam, King of Troy, lover of Helen. Also called Alexander
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Priam, the aged King of Troy
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The Greeks are also referred to as Achaians, Argives, Danaans; Troy is also called Ilion
Family Trees
The chief characters in the play belong to one family, as is shown by the two genealogies:—
I
(Also, a sister of Agamemnon, name variously given, married Strophios, and was the mother of Pylades.)
II
Agamemnon
The Scene represents a space in front of the Palace of Agamemnon in Argos, with an Altar of Zeus in the centre and many other altars at the sides. On a high terrace of the roof stands a Watchman. It is night.
Watchman2 |
This waste of year-long vigil I have prayed
And still I await the sign, the beacon pyre
Howbeit, may God yet send us rest, and light
And I myself will tread the dance before
|
Exit into the Palace. The women’s “Ololûgê” or triumph-cry,3 is heard within and then repeated again and again further off in the City. Handmaids and Attendants come from the Palace, bearing torches, with which they kindle incense on the altars. Among them comes Clytemnestra,4 who throws herself on her knees at the central Altar in an agony of prayer. Presently from the further side of the open space appear the Chorus of Elders and move gradually into position in front of the Palace. The day begins to dawn. |
|
Chorus |
Ten years since Ilion’s righteous foes,
So Zeus the Watcher of Friend and Friend,
We saw the Avengers go that day,
|
Chorus |
The sign seen on the way; Eagles tearing a hare with young.
It is ours to tell of the Sign of the War-way5 given,
|
How Calchas read the sign; his Vision of the Future. | |
And the War-seer wise, as he looked on the Atreïd Yoke
|
|
He prays to Artemis to grant the fulfilment of the Sign, but, as his vision increases, he is afraid and calls on Paian, the Healer, to hold her back. | |
“Thou beautiful One, thou tender lover
|
|
Such religion belongs to old and barbarous gods, and brings no peace. I turn to Zeus, who has shown man how to Learn by Suffering. | |
Zeus! Zeus, whate’er He be,7
One there was who reigned of old,
Zeus the Guide, who made man turn
|
|
Agamemnon accepted the sign. Then came long delay, and storm while the fleet lay at Aulis. | |
So that day the Elder Lord,
|
|
Till at last Calchas answered that Artemis was wroth and demanded the death of Agamemnon’s daughter. The King’s doubt and grief. | |
And winds, winds
blew from Strymon River,8
But the King, the elder,
hath found voice and spoken:
|
|
But ambition drove him, till he consented to the sin of slaying his daughter, Iphigenia, as a sacrifice. | |
To the yoke of Must-Be
he bowed him slowly,
Her “Father, Father,”
her sad cry that lingered,
With violence and a curb’s voiceless wrath.
What came thereafter I saw not neither tell.
|
|
Leader |
Before thy state, O Queen, I bow mine eyes.
|
Clytemnestra |
Glad-voiced,13 the old saw telleth, comes this morn,
|
Leader |
How?
|
Clytemnestra |
Ilion is ours. No riddling tale I tell. |
Leader |
Such joy comes knocking at the gate of tears. |
Clytemnestra |
Aye, ’tis a faithful heart that eye declares. |
Leader |
What warrant hast thou? Is there proof of this? |
Clytemnestra |
There is; unless a God hath lied there is. |
Leader |
Some dream-shape came to thee in speaking guise? |
Clytemnestra |
Who deemeth me a dupe of drowsing eyes? |
Leader |
Some word within that hovereth without wings?14 |
Clytemnestra |
Am I a child to hearken to such things? |
Leader |
Troy fallen?—But how long? When fell she, say? |
Clytemnestra |
The very night that mothered this new day. |
Leader |
And who of heralds with such fury came? |
Clytemnestra15 |
A Fire-god, from Mount Ida scattering flame.
|
Leader |
Woman, speak on. Hereafter shall my prayer
|
Clytemnestra |
Now, even now, the Achaian holdeth Troy!
Here women in the dust about their slain,
|
Leader |
O Woman, like a man faithful and wise
|
An Elder |
O Zeus, All-ruler, and Night the Aid,
|
Another |
And Zeus the Watcher of Friend and Friend
|
Chorus |
This is God’s judgement upon Troy. May it not be too fierce! Gold cannot save one who spurneth Justice.
The stroke of Zeus hath found them! Clear this day
Never shall state nor gold
|
The Sinner suffers in his longing till at last Temptation overcomes him; as longing for Helen overcame Paris. | |
The tempting of misery forceth him, the dread
Paris to Argos came;
|
|
Helen’s flight; the visions seen by the King’s seers; the phantom of Helen and the King’s grief. | |
She hath left among her people
a noise of shield and sword,
Images in sweet guise
|
|
His dreams and his suffering; but the War that he made caused greater and wider suffering. | |
But a shape that is a dream,
’mid the phantoms of the night,
In the mid castle hall,
on the hearthstone of the Kings,
Knoweth she them she sent,
|
|
The return of the funeral urns; the murmurs of the People. | |
And the gold-changer, Ares,
who changeth quick for dead,
There by Ilion’s gate
|
|
For the Shedder of Blood is in great peril, and not unmarked by God. May I never be a Sacker of Cities! | |
But the rumour of the People,
it is heavy, it is chill;
Glory that breedeth strife,
|
|
Divers Elders |
—The fire of good tidings it hath sped the city through,
—’Tis like a woman’s sceptre, to ordain
—Too lightly opened are a woman’s ears;
|
Leader |
Soon surely shall we read the message right;
|
Herald |
Land of my fathers! Argos! Am I here …
O House of Kings, O roof-tree thrice-endeared,
Grand greeting give him—aye, it need be grand—
For Paris nor his guilty land can score
|
Leader |
Be glad, thou Herald of the Greek from Troy! |
Herald |
So glad, I am ready, if God will, to die! |
Leader |
Did love of this land work thee such distress? |
Herald |
The tears stand in mine eyes for happiness. |
Leader |
Sweet sorrow was it, then, that on you fell. |
Herald |
How sweet? I cannot read thy parable. |
Leader |
To pine again for them that loved you true. |
Herald |
Did ye then pine for us, as we for you? |
Leader |
The whole land’s heart was dark, and groaned for thee. |
Herald |
Dark? For what cause? Why should such darkness be? |
Leader |
Silence in wrong is our best medicine here. |
Herald |
Your kings were gone. What others need you fear? |
Leader |
’Tis past! Like thee now, I could gladly die. |
Herald24 |
Even so! ’Tis past, and all is victory.
Oh, could I tell the sick toil of the day,
Would I could tell how ghastly midwinter
Why think of it? They are past and in the grave,
|
Leader |
Indeed thou conquerest me. Men say, the light
|
Clytemnestra |
Long since I lifted up my voice in joy,
A boast so faithful and so plain, I wot,
|
Leader |
Let thine ear mark her message. ’Tis of fair
|
Herald |
I know not how to speak false words of weal
|
Leader |
Canst speak of truth with comfort joined? Those two
|
Herald |
Your king is vanished from the Achaian host,
|
Leader |
Sailed he alone from Troy? Or was he caught
|
Herald |
Thou hast hit the truth; good marksman, as men say!
|
Leader |
How ran the sailors’ talk? Did there prevail
|
Herald |
None knoweth, none hath tiding, save the head
|
Leader |
Then tell us of the storm. How, when God hurled
|
Herald |
It likes me not, a day of presage high
Two enemies most ancient, Fire and Sea,
|
Chorus |
Surely there was mystic meaning in the name Helena,30 meaning which was fulfilled when she fled to Troy.
Who was He who found for thee
|
The Trojans welcomed her with triumph and praised Alexander till at last their song changed and they saw another meaning in Alexander’s name also. | |
So the Name to Ilion came
|
|
Like a lion’s whelp reared as a pet and turning afterwards to a great beast of prey. | |
Lo, once there was a herdsman reared
Then on a day outflashed the sudden
|
|
So was it with Helen in Troy. | |
And how shall I call the thing that came
But she swerved aside and wrought to her kiss a bitter ending,
|
|
Men say that Good Fortune wakes the envy of God; not so; Good Fortune may be innocent, and then there is no vengeance. | |
A grey word liveth, from the morn
But I hold my thought alone and by others unbeguiled;
But the man who walketh straight, and the house thereof, though Fate
|
|
It is Sin, it is Pride and Ruthlessness, that beget children like themselves till Justice is fulfilled upon them. | |
But Old Sin loves, when comes the hour again,
But Justice shineth in a house low-wrought
|
|
Leader |
All hail, O King! Hail, Atreus’ Son!
But I hide nothing, O King. That day
|
Agamemnon32 |
To Argos and the gods of Argolis
Even now in smoke that City tells her tale;
For which let thanks, wide as our glories are,
Lo, to the Gods I make these thanksgivings.
Well can I speak. I know the mirrored glass
|
Clytemnestra33 |
Ye Elders, Council of the Argive name
Oh, had he half the wounds that variously
Aye, many a time my heart broke, and the noose
For that, too, young Orestes is not here
From all which stress delivered and free-souled,
These be my words to greet him home again.
Ho, bondmaids, up! Forget not your employ,
What followeth next, our sleepless care shall see
|
Agamemnon35 |
Daughter of Leda, watcher of my fold,
So be it; and if, as this day I have done,
|
Clytemnestra |
Tell me but this,36 nowise against thy will … |
Agamemnon |
My will, be sure, shall falter not nor fade. |
Clytemnestra |
Was this a vow in some great peril made? |
Agamemnon |
Enough! I have spoke my purpose, fixed and plain. |
Clytemnestra |
Were Priam the conqueror … Think, would he refrain? |
Agamemnon |
Oh, stores of broideries would be trampled then! |
Clytemnestra |
Lord, care not for the cavillings of men! |
Agamemnon |
The murmur of a people hath strange weight. |
Clytemnestra |
Who feareth envy, feareth to be great. |
Agamemnon |
’Tis graceless when a woman strives to lead. |
Clytemnestra |
When a great conqueror yields, ’tis grace indeed, |
Agamemnon |
So in this war thou must my conqueror be? |
Clytemnestra |
Yield! With good will to yield is victory! |
Agamemnon |
Well, if I needs must … Be it as thou hast said!
Quick! Loose me these bound slaves37 on which I tread,
Now therefore, seeing I am constrained by thee
|
Clytemnestra |
There is the sea—its caverns who shall drain?—
What trampling of rich raiment, had the cry39
Zeus, Zeus! True Master, let my prayers be true!
|
Chorus |
Strophe 1
What is this that evermore,
Yet I know that manifold
Antistrophe 1
And in harbour—mine own eye
Strophe 2
—Surely of great Weal at the end of all
—Woe to him who fears not fate!
Antistrophe 2
—But once the blood of death is fallen, black
—One there was of old41 who showed
—Save that every doom of God
|
Clytemnestra |
Thou likewise, come within! I speak thy name,
And more, if Fate must bring thee to this stress,
|
Leader |
To thee she speaks, and waits … clear words and true!
|
Clytemnestra |
Methinks, unless this wandering maid is one
|
Leader |
Ah, come! ’Tis best, as the world lies to-day.
|
Clytemnestra |
How long must I stand dallying at the Gate?
|
Leader |
The strange maid needs a rare interpreter.
|
Clytemnestra |
’Fore God, she is mad, and heareth but her own
I waste no more speech, thus to be defied. She goes back inside the Palace. |
Leader |
I pity thee so sore, no wrath nor pride
|
Cassandra45 |
Moaning to herself.
Otototoi … Dreams. Dreams.
|
Second Elder |
Why sob’st thou for Apollo? It is writ,
|
Cassandra |
Otototoi … Dreams. Dreams.
|
Leader |
Still to that god she makes her sobbing cry
|
Cassandra |
Apollo, Apollo! Light of the Ways of Men!
|
Second Elder |
How? Will she prophesy about her own
|
Cassandra |
Apollo, Apollo! Light of all that is!
|
Leader |
The Atreidae’s castle. If thou knowest not, I
|
Cassandra |
Whispering.
Nay, nay. This is the house that God hateth.
|
Second Elder |
Keen-sensed the strange maid seemeth, like a hound
|
Cassandra |
The witnesses … I follow where they lead.
|
Second Elder |
Recognizing her vision, and repelled.
Word of thy mystic power had reached our ear
|
Cassandra |
Ah, ah! What would they? A new dreadful thing.
|
Leader |
This warning I can read not, though I knew
|
Cassandra |
O Woman, thou! The lord who lay with thee!
|
Leader |
I see not yet. These riddles, pierced with blind
|
Cassandra |
Ah, ah! What is it? There; it is coming clear.
|
Second Elder |
What Fury Voices call’st thou to be hot
And deep within my breast I felt that sick
|
Cassandra |
Ah, look! Look! Keep his mate from the Wild Bull!
|
Leader |
No great interpreter of oracles
What spring of good hath seercraft ever made
|
Cassandra |
Poor woman! Poor dead woman! … Yea, it is I,
|
Leader |
Thou art borne on the breath of God, thou spirit wild,
|
Cassandra |
Oh, happy Singing Bird, so sweet, so clear!
|
Second Elder |
Whence is it sprung, whence wafted on God’s breath,
|
Cassandra |
Alas for the kiss, the kiss of Paris, his people’s bane!
|
Leader |
How sayst thou? All too clear,
|
Cassandra |
Alas for the toil, the toil of a City, worn unto death!
|
Second Elder |
Dark upon dark, new ominous words of ill!
|
Cassandra46 |
By an effort she regains mastery of herself, and speaks directly to the Leader.
’Fore God, mine oracle shall no more hide
Hath it missed or struck, mine arrow? Am I a poor
|
Elder |
And how should oath of mine, though bravely sworn,
|
Cassandra |
The Seer Apollo made me too to see. |
Elder |
In a low voice. Was the God’s heart pierced with desire for thee? |
Cassandra |
Time was, I held it shame hereof to speak. |
Elder |
Ah, shame is for the mighty, not the weak. |
Cassandra |
We wrestled, and his breath to me was sweet. |
Elder |
Ye came to the getting of children, as is meet? |
Cassandra |
I swore to Loxias, and I swore a lie. |
Elder |
Already thine the gift of prophecy? |
Cassandra |
Already I showed my people all their path. |
Elder |
And Loxias did not smite thee in his wrath? |
Cassandra |
After that sin … no man believed me more. |
Elder |
Nay, then, to us thy wisdom seemeth sure. |
Cassandra |
Oh, oh! Agony, agony!
From these, I warn ye, vengeance broodeth still,
What fangèd reptile like to her doth creep?
What if no man believe me? ’Tis all one.
|
Leader |
The Thyestean feast of children slain
|
Cassandra |
Man, thou shalt look on Agamemnon dead. |
Leader |
Peace, Mouth of Evil! Be those words unsaid! |
Cassandra |
No god of peace hath watch upon that hour. |
Leader |
If it must come. Forefend it, Heavenly Power! |
Cassandra |
They do not think of prayer; they think of death. |
Leader |
They? Say, what man this foul deed compasseth? |
Cassandra |
Alas, thou art indeed fallen far astray!47 |
Leader |
How could such deed be done? I see no way. |
Cassandra |
Yet know I not the Greek tongue all too well? |
Leader |
Greek are the Delphic dooms, but hard to spell. |
Cassandra |
Ah! Ah! There!
Oh, why these mockers at my throat? This gear
Yet not of God unheeded shall we lie.
Why should I grieve? Why pity these men’s doom?
I go to drink my cup. I will endure
|
Leader |
O full of sorrows, full of wisdom great,
|
Cassandra |
There is no escape, friends; only vain delay. |
Leader |
Is not the later still the sweeter day? |
Cassandra |
The day is come. Small profit now to fly. |
Leader |
Through all thy griefs, Woman, thy heart is high. |
Cassandra |
Alas! None that is happy hears that praise. |
Leader |
Are not the brave dead blest in after days? |
Cassandra |
O Father! O my brethren brave, I come! She moves towards the House, but recoils shuddering. |
Leader |
What frights thee? What is that thou startest from? |
Cassandra |
Ah, faugh! Faugh! |
Leader |
What turns thee in that blind
|
Cassandra |
Death drifting from the doors, and blood like rain! |
Leader |
’Tis but the dumb beasts at the altar slain. |
Cassandra |
And vapours from a charnel-house … See there! |
Leader |
’Tis Tyrian incense clouding in the air. |
Cassandra |
Recovering herself again.
So be it!—I will go, in yonder room
|
Leader |
Alas, I pity thee thy mystic fate! |
Cassandra |
One word, one dirge-song would I utter yet
O world of men, farewell! A painted show
|
Chorus |
Great Fortune is an hungry thing,
|
Voice |
Ho! Treason in the house! I am wounded: slain. |
Leader |
Hush! In the castle! ’Twas a cry
|
Voice |
Ah God, another! I am stricken again. |
Leader |
I think the deed is done. It was the King
|
Elder B |
I give you straight my judgement. Summon all
|
Elder C |
No, no! Burst in at once without a word!
|
Elder D |
Yes; that or something like it. Quick, I say,
|
Elder E |
We have time to think. This opening … They have planned
|
Elder F |
Yes, while we linger here! They take no thought
|
Elder G |
I have no counsel. I can speak not. Oh,
|
Elder H |
I say as this man says. I have no trust
|
Elder I |
How mean you? Drag out our poor lives, and stand
|
Elder J |
Nay, ’tis too much! Better to strive and die!
|
Elder K |
We heard a sound of groaning, nothing plain,
|
Elder L |
Oh, let us find the truth out, ere we grow
|
Leader |
Break in, then! ’Tis the counsel ye all bring,
|
Clytemnestra |
Oh, lies enough and more have I this day
Which things being so, ye Councillors high-born,
|
Leader |
We are astonied at thy speech. To fling,
|
Clytemnestra |
Wouldst fright me, like a witless woman? Lo,
|
Chorus |
Woman, what evil tree,
|
Clytemnestra |
Aye, now, for me, thou hast thy words of fate;
|
Chorus |
Thy thought, it is very proud;
|
Clytemnestra |
And heark what Oath-gods gather to my side!
|
Chorus |
Some Elders.
Would God that suddenly
|
Another |
For woman’s sake he endured and battled well,
|
Others |
What hast thou done, O Helen blind of brain,
|
Clytemnestra |
Nay, pray not for the hour of death, being tried
|
Chorus |
—Daemon,52 whose heel is set
—Like a raven swoln with hate
|
Clytemnestra |
Ah, call upon Him! Yea, call—
From him is the ache of the flesh
|
Chorus |
—Indeed He is very great,
—Ah me,
|
Mourners |
Ah, sorrow, sorrow! My King, my King!
|
Clytemnestra |
And criest thou still this deed hath been
|
Chorus |
—That thou art innocent herein,
—On the red Slayer crasheth, groping wild
|
Mourners53 |
Ah, sorrow, sorrow! My King, my King!
|
Clytemnestra |
And what of the doom of craft that first
|
Chorus |
I am lost; my mind dull-eyed
Doth ever the sound abate?
|
Mourners |
Would thou hadst covered me, Earth, O Earth,
Not thine, O Woman who dared to slay him,
—Oh, who with heart sincere
|
Clytemnestra |
His burial is not thine to array.
His own child for a day like this
|
Chorus |
Lo, she who was erst reviled
This is God’s law and grace,
|
Clytemnestra |
Aye, thou hast found the Law, and stept
All the affliction he doth heap
Some little dower, and leave behind
|
Aigisthos |
O shining day, O dawn of righteousness
For Atreus, this man’s father, in this land
For that lies this man here; and all the plot
|
Leader |
Aigisthos, to insult over the dead
|
Aigisthos |
How, thou poor oarsman of the nether row,56
|
Leader |
Turning from him to Clytemnestra.
Woman! A soldier fresh from war! To keep
|
Aigisthos |
These be the words, old man, that lead to tears!
|
Leader |
Thou master? Is old Argos so accurst?
|
Aigisthos |
To entice him was the wife’s work. I was known
|
Leader |
Thou craven soul! Why not in open strife
|
Aigisthos |
’Fore God, if ’tis your pleasure thus to speak and do, ye soon shall hear!
|
Leader |
Ho there, ye Men of Argos! Up! Stand and be ready, sword from sheath! |
Aigisthos |
By Heaven, I also, sword in hand, am ready, and refuse not death! |
Leader |
Come, find it! We accept thy word. Thou offerest what we hunger for. Some of the Elders draw swords with the Leader; others have collapsed with weakness. Men from Agamemnon’s retinue have gathered and prepare for battle, when, before they can come to blows, Clytemnestra breaks from her exhausted silence. |
Clytemnestra57 |
Nay, peace, O best-belovèd! Peace! And let us work no evil more.
|
Aigisthos |
And who are these to burst in flower of folly thus of tongue and brain,
|
Leader |
To cringe before a caitiff’s crown, it squareth not with Argive ways. |
Aigisthos |
Sheathing his sword and turning from them. Bah, I will be a hand of wrath to fall on thee in after days. |
Leader |
Not so, if God in after days shall guide Orestes home again! |
Aigisthos |
I know how men in exile feed on dreams … and know such food is vain. |
Leader |
Go forward and wax fat! Defile the right for this thy little hour! |
Aigisthos |
I spare thee now. Know well for all this folly thou shalt feel my power. |
Leader |
Aye, vaunt thy greatness, as a bird beside his mate doth vaunt and swell. |
Clytemnestra |
Vain hounds are baying round thee; oh, forget them! Thou and I shall dwell
|
Endnotes
-
See my Four Stages of Greek Religion, p. 47. Cornford, From Religion to Philosophy, Chapter I. See also the fine pages on the Agamemnon in the same writer’s Thucydides Mythistoricus, pp. 144, ff. (E. Arnold 1907). ↩
-
The Watchman, like most characters in Greek tragedy, comes from the Homeric tradition, though in Homer (Od. IV 524) he is merely a servant of Aigisthos. ↩
-
Women’s triumph cry.—This cry of the women recurs several times in the play: cf. line, line. It is conventionally represented by “ololû”; as the cry to Apollo, Paian is “I-ê,” line, and Cassandra’s sob is “ototoi” or “otototoi,” line. ↩
-
With this silent scene of Clytemnestra’s, compare the long silence of Cassandra below, and the silence of Prometheus in that play until his torturers have left him. See the criticism of Aeschylus in Aristophanes, Frogs, ll. 911–920, pp. 68, 69 in my translation. ↩
-
Sign of the War-Way.—i.e. an ominous sign seen by the army as it started on its journey. In Homer, Iliad, ll. 305–329, it is a snake which eats the nine young of a mother bird and then the mother, and is turned into stone afterwards.—All through this chorus the language of the prophet Calchas is intentionally obscure and riddling—the style of prophesy. ↩
-
But I-ê, i-ê.—(Pronounce Ee-ay.) Calchas, catching sight in his vision of the further consequences which Artemis will exact if she fulfils the sign, calls on Apollo Paian, the Healer, to check her. ↩
-
Zeus, whate’er He be.—This conception of Zeus is expressed also in Aeschylus’ Suppliant Women, and was probably developed in the Prometheus Trilogy. See my Rise of the Greek Epic, p. 291 (Ed. 2).
It is connected with the common Greek conception of the Tritos Sôtêr—the Saviour Third. First, He who sins; next, He who avenges; third, He who saves. In vegetation worship it is the Old Year who has committed Hubris, the sin of pride, in summer; the Winter who slays him; the New Year which shall save. In mythology the three successive Rulers of Heaven are given by Hesiod as Ouranos, Kronos, Zeus (cf. Prometheus, 965 ff.), but we cannot tell if Aeschylus accepted the Hesiodic story. Cf. note on l. 246, and Clytemnestra’s blasphemy at line. ↩
-
Winds from Strymon.—From the great river gorge of Thrace, N.N.E.; cf. below, line. ↩
-
Artemis.—Her name was terrible, because of its suggestion. She demanded the sacrifice of Agamemnon’s daughter, Iphigenia. (See Euripides’ two plays, Iphigenia in Tauris and Iphigenia in Aulis.) In other poets Agamemnon has generally committed some definite sin against Artemis, but in Aeschylus the death of Iphigenia seems to be merely one of the results of his acceptance of the Sign. ↩
-
’Tis a Rite of old.—Literally “it is Themis.” Human sacrifice had had a place in the primitive religion of Greece; hence Agamemnon could not reject the demand of the soldiers as an obvious crime. See Rise of Greek Epic, pp. 150–157. ↩
-
The Third Cup.—Regularly poured to Zeus Sôtêr, the Saviour, and accompanied by a paean or cry of joy. ↩
-
This Heart of Argos, this frail Tower:—i.e. themselves. ↩
-
Glad-voiced.—Clytemnestra is in extreme suspense, as the return of Agamemnon will mean either her destruction or her deliverance. At such a moment there must be no ill-omened word, so she challenges fate. ↩
-
A word within that hovereth without wings.—i.e. a presentiment. “Winged words” are words spoken, which fly from speaker to hearer. A “wingless” word is unspoken. The phrase occurs in Homer. ↩
-
Beacon Speech. There is no need to inquire curiously into the practical possibility of this chain of beacons. Greek tragedies do not care to be exact about this kind of detail. There may well have been a tradition that Agamemnon, like the Great King of Persia, used a chain of beacons across the Aegean.—Note how vividly Clytemnestra’s imagination is working in her excitement. She seems to see before her every leaping light in the chain, just as in the next speech she imagines the scene in Troy almost with the intensity of a vision. ↩
-
Victory in the first as in the last.—All are Victory beacons; the spirit of Victory infects them all equally. Cf. line, where Agamemnon prays that the Victory which is now with him, or in him, may abide. ↩
-
A woman’s word.—Her hatred and fear of Agamemnon, making her feel vividly the horrors of the sack and the peril overhanging the conquerors, have carried her dangerously far. She checks herself and apologizes for her womanlike anxiety. Cf. line. ↩
-
Seers they saw visions.—A difficult and uncertain passage. I think the seers attached to the royal household (cf. Libation-Bearers, l. 37, where they are summoned to read a dream) were rather like what we call clairvoyants. Being consulted, they look into some pool of liquid or the like; there they see gradually emerging the palace, the injured King, the deserted room, and at last a wraith of Helen herself, haunting the place. ↩
-
This break in the action, covering a space of several days, was first pointed out by Dr. Walter Headlam. Incidentally it removes the gravest of the difficulties raised by Dr. Verrall in his famous essay upon the plot of the Agamemnon. ↩
-
Dry dust, own brother to the mire of war.—i.e. “I can see by the state of his clothes, caked with dry dust which was once the mire of battle, that he comes straight from the war and can speak with knowledge.” The Herald is probably (though perhaps not quite consistently) conceived as having rushed post-haste with his news. ↩
-
Herald.—The Herald bursts in overcome with excitement and delight, full of love for his home and everything he sees. A marked contrast to Agamemnon, line. Note that his first speech confirms all the worst fears suggested by Clytemnestra. Agamemnon has committed all the sins she prayed against, and more. The terrible lines 527 ff., “Till her Gods’ Houses, etc.,” are very like a passage in the Persae, 811 ff., where exactly the same acts by the Persian invaders of Greece make their future punishment inevitable. ↩
-
Pythian Lord.—Apollo is often a sinister figure in tragedy. Cf. Sophocles Oedipus, ll. 915 ff., pp. 52 ff., and the similar scene, Electra, 655 ff. Here it is a shock to the Herald to come suddenly on the god who was the chief enemy of the Greeks at Troy. One feels Apollo an evil presence also in the Cassandra scene, ll. 1071 ff., pp. 47 ff. ↩
-
Happy among men.—The crown of his triumph! Early Greek thought was always asking the question, What is human happiness? To the Herald Agamemnon has achieved happiness if anyone ever did. Cf. the well-known story of Croesus asking Solon who was the happiest man in the world (Herodotus, I 30–33). ↩
-
Herald’s second speech.—The connection of thought is: “After all, why should either of us wish to die? All has ended well.” This vivid description of the actualities of war can be better appreciated now than it could in 1913. ↩
-
These spoils.—Spoils purporting to come from the Trojan War were extant in Greek temples in Aeschylus’ day and later. ↩
-
Our women’s joy-cry.—There seems to have been in Argos an old popular festival, celebrating with joy or mockery the supposed death of a man and a woman. Homer (Od. III 309 f.) derives it from a rejoicing by Orestes over Aigisthos and Clytemnestra; cf. below, line; Aeschylus here and Sophocles in the Electra, from a celebration by Clytemnestra of the deaths of Agamemnon and Cassandra. Probably it was really some ordinary New Year and Old Year celebration to which the poets give a tragic touch. It seems to have had a woman’s “Ololugmos” in it, perhaps uttered by men. See Kaibel’s note, Soph. Electra 277–281. ↩
-
Bronze be dyed like wool.—Impossible in the literal sense, but there is after all a way of dying a sword red! ↩
-
Menelaus.—This digression about Menelaus is due, as similar digressions generally are when they occur in Greek plays, to the poet feeling bound to follow the tradition. Homer begins his longest account of the slaying of Agamemnon by asking “Where was Menelaus?” (Od. III 249). Agamemnon could be safely attacked because he was alone. Menelaus was away, wrecked or wind-bound. ↩
-
Twofold scourge.—Ares works his will when spear crosses spear, when man meets man. Hence “twofold.” ↩
-
Chorus. The name Helena.—There was a controversy in Aeschylus’ day whether language, including names, was a matter of Convention or of Nature. Was it mere accident, and could you change the name of anything at will? Or was language a thing rooted in nature and fixed by God from of old? Aeschylus adopts the latter view: Why was this being called Helena? If one had understood God’s purpose one would have seen it was because she really was “Helenâs”—Ship-destroyer. (The Herald’s story of the shipwreck has suggested this particular idea.) Similarly, if a hero was called Aias, and came to great sorrow, one could see that he was so called from “Aiai,” “Alas!”—The antistrophe seems to find a meaning in the name Paris or Alexandras, where the etymology is not so clear. ↩
-
Entrance of Agamemnon. The metre of the Chorus indicates marching; so that apparently the procession takes some time to move across the orchestra and get into position. Cassandra would be dressed, as a prophetess, in a robe of white reaching to the feet, covered by an agrênon, or net of wool with large meshes; she would have a staff and certain fillets or crowns. The Leader welcomes the King: he explains that, though he was against the war ten years ago, and has not changed his opinion, he is a faithful servant of the King … and that not all are equally so. He gave a similar hint to the Herald above, lines. ↩
-
Agamemnon.—A hard, cold speech, full of pride in the earlier part, and turning to ominous threats at the end. Those who have dared to be false shall be broken.—At the end comes a note of fear, like the fear in Shakespeare’s Julius Caesar. He is so full of triumph and success; he must be very careful not to provoke a fall.—Victory, Nike, was to the Greeks a very vivid and infectious thing. It clung to you or it deserted you. And one who was really charged with Victory, like Agamemnon, was very valuable to his friends and people. Hence they made statues of Victory wingless—so that she should not fly away. See Four Stages of Greek Religion, p. 138 note. ↩
-
Clytemnestra.—A wonderful speech. It seems to me that Aeschylus’ imagination realized all the confused passions in Clytemnestra’s mind, but that his art was not yet sufficiently developed to make them all clear and explicit. She is in suspense; does Agamemnon know her guilt or not? At least, if she is to die, she wants to say something to justify or excuse herself in the eyes of the world. A touch of hysteria creeps in; why could he not have been killed in all these years? Why must he rise, like some monster from the grave, unkillable? Gradually she recovers her calm, explains clearly the suspicious point of Orestes’ absence, and heaps up her words and gestures of welcome to an almost oriental fullness (which Agamemnon rebukes, line). Again, at the end, when she finds that for the time she is safe, her real feelings almost break out. ↩
-
What is the motive of the Crimson Tapestries? I think the tangling robe must have been in the tradition, as the murder in the bath certainly was. One motive, of course, is obvious: Clytemnestra is tempting Agamemnon to sin or “go too far.” He tries to resist, but the splendour of an oriental homecoming seduces him and he yields. But is that enough to account for such a curious trait in the story, and one so strongly emphasized? We are told afterwards that Clytemnestra threw over her victim an “endless web,” long and rich (line), to prevent his seeing or using his arms. And I cannot help suspecting that this endless web was the same as the crimson pall.
If one tries to conjecture the origin of this curious story, it is perhaps a clue to realize that the word droitê means both a bath and a sarcophagus, or rather that the thing called droitê, a narrow stone or marble vessel about seven feet long, was in pre-classical and post-classical times used as a sarcophagus, but in classical times chiefly or solely as a bath. If among the prehistoric graves at Mycenae some later peasants discovered a royal mummy or skeleton in a sarcophagus, wrapped in a robe of royal crimson, and showing signs of violent death—such as Schliemann believed that he discovered—would they not say: “We found the body of a King murdered in a bath, and wrapped round and round in a great robe?” ↩
-
Agamemnon is going through the process of temptation. He protests rather too often and yields. ↩
-
Tell me but this.—This little dialogue is very characteristic of Aeschylus. Euripides would have done it at three times the length and made all the points clear. In Aeschylus the subtlety is there, but it is not easy to follow. ↩
-
These bound slaves.—i.e. his shoes. The metaphor shows the trend of his unconscious mind. ↩
-
This princess.—This is the first time that the attention of the audience is drawn to Cassandra. She too is one of Aeschylus’ silent figures. I imagine her pale, staring in front of her, almost as if in a trance, until terror seizes her at Clytemnestra’s greeting in line. ↩
-
The cry.—i.e. the cry of the possessed prophetess which rang from the inner sanctuary at Delphi and was interpreted by the priests.—The last two lines of the speech are plain in their meaning but hard to translate. Literally: “when the full, or fulfilled, man walketh his home—O Zeus the Fulfiller, fulfil my prayers.” ↩
-
The victim has been drawn into the house; the Chorus sing a low boding song: every audience at a Greek tragedy would expect next to hear a death cry from within, or to see a horrified messenger rush out. Instead of which the door opens and there is Clytemnestra: what does she want? “Come thou also!” One victim is not enough.—In the next scene we must understand the cause of Clytemnestra’s impatience. If she stays too long outside, someone will warn Agamemnon; if she leaves Cassandra, she with her second sight will warn the Chorus. If Cassandra could only be got inside all would be safe! ↩
-
“One there was of old.”—Asklêpios, the physician, restored Hippolytus to life, and Zeus blasted him for so oversetting the laws of nature. ↩
-
Alcmêna’s son.—Heracles was made a slave to Omphalê, Queen of Lydia. His grumbles at his insufficient food were a theme of comedy. ↩
-
Belike thou canst not yet.—Cf. below, line The Elder speaks in sympathy. “Very likely you cannot yet bring yourself to submit.” ↩
-
Thou show her.—It seems odd to think that this passage has for centuries been translated as if it was all addressed to Cassandra: “But if you do not understand what I say, please indicate the same with your barbarous hand!”—What makes Cassandra at last speak? I think that the Elder probably touches her, and the touch as it were breaks the spell. ↩
-
Cassandra.—“Otototoi” really takes the place of a stage direction: she utters a long low sob.—The exclamation which I have translated “Dreams!” seems to occur when people see ghosts or visions. Alcestis, 261; Prometheus, 567. Cf. Phoenissae 1296.—“Mine enemy!” The name “Apollon” suggested “apollyon,” Destroying … the form which is actually used in the Book of Revelation (Rev. 9:11).
Observe how, during the lyric scene, Cassandra’s vision grows steadily more definite: First vague horror of the House: then the sobbing of children, slain long ago: then, a new deed of blood coming; a woman in it: a wife: then, with a great effort, an attempt to describe the actual slaying in the bath. Lastly, the sight of herself among the slain. (This last point is greatly developed by Euripides, Trojan Women, ll. 445 ff., pp. 33 f.).
The story of the Children of Thyestes is given below, ll. 1590 ff., p. 73. Procnê (or Philomêla) was an Attic princess who, in fury against her Thracian husband, Tereus, killed their child Itys, or Itylus, and was changed into a nightingale, to weep for him forever. ↩
-
Dialogue. During the lyrics Cassandra has been “possessed” or “entranced”: the turn to dialogue marks a conscious attempt to control herself and state plainly her message of warning. In order to prove her power, she first tells the Elders of deeds done in the past which are known to them but cannot have been known to her. When once they are convinced of her true seercraft, she will be able to warn them of what is coming!—The short “stichomythia” (line for line dialogue), dealing in awed whispers with things which can hardly be spoken, leaves the story of Cassandra still a mystery. Then her self-control breaks and the power of the God sweeps irresistibly upon her; cf. below, ll. 1256 ff.; where it comes at her like a visible shape of fire, a thing not uncommon with modern clairvoyants. ↩
-
Thou art indeed fallen far astray—Because they had said “what man” ↩
-
These wreathed bands, this staff of prophesy.—Cf. Trojan Women, ll. 451 ff., p. 34. ↩
-
The death cry; the hesitation of the Elders.—This scene is often condemned or even ridiculed; I think, through misunderstanding. We knew the Old Men were helpless, like “dreams wandering in the day.” It is essential to the story that when the crisis comes they shall be found wanting. But they are neither foolish nor cowardly; each utterance in itself is natural and characteristic, but counsels are divided. One would like to know whether Aeschylus made them speak together confusedly, as would certainly be done on the modern stage, or whether the stately conventions of Greek tragedy preferred that each speaker should finish his say. In any case, what happens is that after a moment or two of confused counsel the Elders determine to break into the Palace, but as they are mounting the steps the great doors are flung open and Clytemnestra confronts them, standing over the dead bodies of Agamemnon and Cassandra.
The illusion intended is that the Elders have entered the Palace and discovered Clytemnestra. But, as the mechanical arrangements of the Greek stage were not equal to this sudden change of scene, and since also it would, even with perfect machinery, have a tiresome interrupting effect, a slight confusion or inconsistency is allowed. We are supposed to be inside the house; but as a matter of fact the supposition is soon forgotten, and the play goes on without any attention to the particular place of the action. On Clytemnestra’s speech see Preface. ↩
-
A prayer well sped to Zeus of Hell—As the third gift or libation was ritually given to Zeus the Saviour, Clytemnestra blasphemously suggests that her third and unnecessary blow was an acceptable gift to a sort of anti-Zeus, a Saviour of Death. ↩
-
Aigisthos.—At last the name is mentioned which has been in the mind of everyone!—Chryseis was a prisoner of war, daughter of Chrysês, priest of Apollo. Agamemnon was made to surrender her to her father, and from this arose his quarrel with Achilles, which is the subject of the Iliad. ↩
-
Daemon.—The Genius or guardian spirit of the house has in this House become a Wrath, an “Alastor” or “Driver Astray.” See Preface. ↩
-
Mourners.—This attribution of the different speeches or songs to different speakers is, of course, conjectural. Ancient dramas come down to us with no stage directions and very imperfect indications of the speakers. ↩
-
Aigisthos.—The entry of Aigisthos enlivens the scene again after the brooding and bewildered end of the dialogue between Clytemnestra and the Elders. At the same time, it seems, no doubt by deliberate intention, to reduce it to commonplace. Aigisthos’ self-defence is largely justified, but he is no hero. ↩
-
Pleisthenês.—Apparently one of the ancestors of Atreus, but it is not clear where he comes in the genealogy. He may be identical with Pelops. ↩
-
Oarsman of the nether row.—On an ancient galley, bireme or trireme, the rowers of the lower bank of oars ranked as inferior to those who used the long oars from the deck. ↩
-
Clytemnestra, see Preface. She longs for peace, yet after all “Had Zimri peace who slew his master?” The end of the play leaves us waiting for the return of Orestes. In the first scene of the Libation-Bearers, he is discovered standing by night at his father’s grave. ↩
Colophon
Agamemnon
was completed around 458 BC by
Aeschylus.
It was translated from Ancient Greek in 1920 by
Gilbert Murray.
This ebook was produced for
Standard Ebooks
by
Emma Sweeney,
and is based on a transcription produced in 2004 by
Paul Murray, Charles Bidwell, and The Online Distributed Proofreading Team
for
Project Gutenberg
and on digital scans from the
HathiTrust Digital Library.
The cover page is adapted from
Clytemnestra,
a painting completed in 1882 by
John Collier.
The cover and title pages feature the
League Spartan and Sorts Mill Goudy
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