discovers Clytaemnestra in blood-stained robes, standing with attendants by the corpses of Agamemnon and Cassandra, the former lying in a silvered bath covered with a net.
Clytaemnestra, in an elaborate speech, glories in her deed. Deceit was necessary in dealing with foes: now standing where she did the deed, she glories in it: glories in the net in which she entangled and rendered him powerless, in the blows, one, two, three, like a libation, which she struck, glories in the gush of death-blood which has bespattered her. A late triumph: he had come home to drain the goblet of curses his old deed had been long heaping up. After an interruption of astonishment from the Foreman, she repeats: it is the handiwork of my artist hand. After the Chorus have recovered from their astonishment they (in a lyrical burst) denounce her: her confession is the incense on the Victim's head, she shall feel the people's strong hate, and have an exile's doom. —Clyt. (calmly in Blank Verse): they denounced no such exile against Agamemnon when he sacrificed her daughter, the first of her travail pangs. Besides, are they sure they are the stronger? Perchance, though old, they may yet have to learn. —Chorus (in a similar lyrical burst): she is now maddened with the spirit of vengeance, but she will one day find a nemesis, blow for blow. Clyt. solemnly (in Blank Verse) swears by the deed she has done, and the curse for which she did it, she has no fear of Nemesis, as lone as Aegisthus is her shield. Meanwhile, there they lie: the wife-wronger and his mistress. {1377}
Then follows an elaborate lyrical scene: the Chorus giving vent to their excitement in Strophes and Antistrophes irregularly succeeding one another, Clytaemnestra occasionally joining in. O for death, sudden and without lingering, now that our beloved Protector is gone! Ah! Helen! one more deed of woe to your account! —Clyt. No need to wish for death or upbraid Helen. —Cho. (interrupting) O dread Power that dost attack this household, working even through women deeds of dread! —Clyt. Now thou art right: it is the Evil Genius of the House that feeds in their hearts the lust of blood; bringing fresh blood-guilt ere the old is healed. —Cho. Yes, there is a Power wrathful to the House; but it must be through Zeus he works; what amongst mortal men is wrought apart from Zeus?
Ah me! Ah me! {1467}
My king, my king, how shall I weep for thee?
What shall I speak from heart that truly loves?
And now thou liest there, breathing out thy life,
In impious deed of death,
In this fell spider's web!
Yes woe is me! woe, woe!
Woe for this couch of thine unhonorable!
Slain by a subtle death
With sword two-edged, which her right hand did wield.
Clyt. You speak of me as the doer: it was the Avenger of the seed of Atreus who did the deed in the semblance of this dead man's wife. —Cho. None will hold thee guiltless of the deed; yet, perchance, thou mayest have had as helper the avenging Fiend of that ancestral time; he presses on this rush of murders of near kin.
Ah me! Ah me!
My king, my king, how shall I weep for thee?
What shall I speak from heart that truly loves?
And now thou liest there, breathing out thy life,
In impious deed of death,
In this fell spider's web!
Yes woe is me! woe, woe!
Woe for this couch of thine unhonorable!
Slain by a subtle death
With sword two-edged, which her right hand did wield.
Clyt. This deed brings no dishonor to me: he slew my daughter and his own, wept over with many a tear; now slain in recompense he is gone to Hell with nothing to boast over. —Cho. Whither escape from this House? No longer drops, but fierce pelting storm of blood shakes it to its basement. —Cho. Oh that earth had received me ere I saw this sad sight! Who will perform funeral rites and chant the dirge? Wilt thou who hast slain dare to mourn him? —Clyt. It is no care of thine: we will give him burial; and for mourning – perhaps Iphigenia will greet him kindly by the dark streams below. —Cho. Hard it is to judge; the hand of Zeus is in all this; ever throughout this household we see the fixed law, the spoiler still is spoiled. Who will drive out from this royal house this brood of curses dark? —Clyt. Thou art right; but here let the demon rest content; suffice it for me that my hand has freed the house from the madness that sets each man's hand against each. [Observe: in this last infatuated confidence and throughout Clytaemnestra's exultation in the deed the dramatist is laying the foundation for the second play of the Trilogy.] {1534}
Enter Aegisthus by one of the two Inferior doors in front of the scene [representing the inferior parts of the Palace in which he has been concealed since the return of Agamemnon].
Aegisthus salutes the happy day of vengeance which shows him Agamemnon paying penalty for the deeds of his father: he relates the quarrel between this father Atreus and his own father Thyestes, how when the one brother came as suppliant to the other Atreus spread before him the horrid banquet of his own child's flesh, at the knowledge of which he died. Aegisthus himself had suffered banishment at the hands of Atreus while yet a child, and now has returned full grown to work vengeance on the son of his wronger, to see the long contrived nemesis brought to full conclusion. —Chorus note that he confesses the deed, and he shall not escape the righteous curse a people hurls with stones. —Aeg. Know your place: you are oarsmen, we command the ship; prison and fasting are admirable devices for helping old people to keep their tempers within bounds. Defiances are interchanged: the Chorus taunting him that he had to get a woman to do the deed he dared not do himself, —Aeg. contemptuously says the working out of the fraud was the proper province of a woman, especially as he was a known foe. – The Chorus threaten vengeance and suggest the name ORESTES as avenger: At this Clytaemnestra starts, Aegisthus enraged gives the signal at which {1626}
Bodyguard of Aegisthus pour in through both the Inferior doors on either side of the Central door of the Palace, and fill the stage [thus producing one of the Scenic Tableaux of which Aeschylus was fond]. The Chorus, though of course outnumbered, are nothing daunted, as representing the legitimate authority of the State now Agamemnon is dead, and therefore sure to be backed by the City; they make as if to ascend the stage.
Contest in blows between Chorus and Bodyguard of Aegisthus appears inevitable, but Clytaemnestra throws herself between them, urges that enough ill has already been done, and after further defiances, forces Aegisthus away and play abruptly terminates: the Chorus returning to the Right into the City, and the Bodyguard into the Palace.
SECOND PLAY: MIDDAY:
THE SEPULCHRAL RITES
(CHOEPHORI)
The Permanent Scene, as before, represents the Palace of Agamemnon at Argos. The only difference is that the place of the Thymele in the centre of the Orchestra is taken up by Agamemnon's Sepulchre. Enter by the Left Side-door (signifying distance) Orestes and Pylades, and descending the Orchestra-staircase advance to the Sepulchre.
