Читать книгу Book of illustrations - Euripides - Страница 11

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}