Book of illustrations. Euripides

Чтение книги онлайн.

СКАЧАТЬ thus vainly sought to save Troy, with its fall fell into captivity, and to the lot of Agamemnon, with whom she died.

TRILOGY OF THE ORESTEIA

       Table of Contents

      FIRST PLAY: IN THE MORNING:

       AGAMEMNON

      PROLOGUE

       The Permanent Scene is decorated to represent the facade of the Palace of Agamemnon, at Argos; the platform over the Central door appearing as a Watch-tower. At intervals along the front of the Palace, and especially by the three doors, are statues of Gods, amongst them Apollo, Zeus, and Hermes. The time is supposed to be night, verging on morning. Both Orchestra and Stage are vacant: only a Watchman is discovered on the Tower, leaning on his elbow, and gazing into the distance.

      The Watchman soliloquizes on his toilsome task of watching all night through for the first sight of the signal which is to tell of the capture of Troy: he has kept his post for years, till the constellations which usher in winter and harvest-time are his familiar companions; he must endure weather and sleeplessness, and when he would sing to keep his spirits up he is checked by thoughts of his absent master's household, in which, he darkly hints, things are "not well." [He is settling himself into an easier posture, when suddenly he springs to his feet.] The beacon-fire at last! [He shouts the signal agreed upon, and begins dancing for joy.] Now all will be well; a little while and his hand shall touch the dear hand of his lord; and then—ah! "the weight of an ox rests on his tongue," but if the house had a voice it could tell a tale! [Exit to bring tidings to the queen.] {39}

      PARODE, OR CHORUS-ENTRY

       As if roused by the Watchman's shout, enter the Chorus: Twelve Elders of Argos: in the usual processional order, combining music, chanting and gesture-dance, to a rhythm conventionally associated with marching. They enter on the right (as if from the city), and the Processional Chant takes them gradually round the Orchestra towards the Thymele, or Altar of Dionysus, in the centre.

      The Chorus in their Processional Chant open the general state of affairs, especially bringing out the doublesidedness of the situation [which is the key-note of the whole Drama]: the expected triumph over Troy, which cannot be far distant now, combined with misgivings as to misfortunes sure to come as nemesis for the dark deeds connected with the setting out of the expedition. They open thus:

      Lo! the tenth year now is passing {40}

       Since, of Priam great avengers,

       Menelaos, Agamemnon,

       Double-throned and double-sceptred,

       Power from sovran Zeus deriving—

       Mighty pair of the Atreidae—

       Raised a fleet of thousand vessels

       Of the Argives from our country,

       Potent helpers in their warfare,

       Shouting cry of Ares fiercely;

       E'en as vultures shriek who hover,

       Wheeling, whirling o'er their eyrie, {50}

       In wild sorrow for their nestlings,

       With their oars of stout wings rowing,

       Having lost the toil that bound them

       To their callow fledglings' couches.

       But on high One—or Apollo,

       Zeus, or Pan—the shrill cry hearing,

       Cry of birds that are his clients,

       Sendeth forth on men transgressing

       Erinnys, slow but sure avenger;

       So against young Alexandros

       Atreus' sons the Great King sendeth,

       Zeus, of host and guest protector: {60}

       He, for bride with many a lover,

       Will to Danai give and Troïans

       Many conflicts, men's limbs straining,

       When the knee in dust is crouching,

       And the spear-shaft in the onset

       Of the battle snaps asunder.

       But as things are now, so are they,

       So, as destined, shall the end be.

       Nor by tears nor yet libations

       Shall he soothe the wrath unbending {70}

       Caused by sacred rites left fireless.

      They are going on to soliloquize how they themselves have been shut out of the glorious expedition, for, in matters of War, old age is but a return to boyhood; when {82}

       The Chorus-Procession having reached the Thymele, turn towards the Stage. Meanwhile the great Central Door of the Stage has opened, and a solemn Procession filed out on the Stage, consisting of the Queen and her Attendants, bearing torches and incense, and offerings for the Gods; they have during the Choral Procession silently advanced to the different Statues along the front of the Palace, made offerings and commenced the sacrificial riles. When the Chorus turn towards the Stage, the whole Scene is ablaze with fires and trembling with clouds of incense, rich unguents perfume the whole Theatre, while a solemn Religious ritual is being celebrated in dumb show.

      The Chorus break off their Processional Chant [keeping the same rhythm] to enquire what is the meaning of these solemn rites, and whether the Queen can solve their doubt, which wavers between hope and foreboding:

      The Queen signifying, by a gesture, that the Ritual must not be interrupted by speech, the Chorus proceed to take their regular position round the Thymele, and address themselves to their {104}

      PRELUDE

      the Music, Poetry, and Gesture-dance changing from a March to a highly Lyrical rhythm; the evolutions of the Dance taking Right and Left hand directions, but without the Chorus quitting their position round the Altar.[1]

       Strophe: during which the evolutions take a Right Hand direction.

      The Chorus resume: though shut out from War their old age has still suasive power of song, and they can tell of the famous omen seen by the two kings and the whole army as they waited to embark: two eagles on the left devouring a pregnant hare:

      Sing a strain of woe

       But may the good prevail! {120}

       Antistrophe: the same rhythm line for line as the Strophe, but the evolutions taking Left Hand direction.

      and СКАЧАТЬ