Strophe2. Then, oh then, indignant JoveBade the bright sun backward move,And the golden orb of day,And the morning's orient ray;Glaring o'er the Western skyHurl'd his ruddy lightnings fly;Clouds, no more to fall in rain,Northward roll their deep'ning train;Libyan Ammon's thirsty seat,Wither'd with the scorching heat,Feels nor show'rs nor heavenly dewsGrateful moisture round diffuse.
Antis.2. Fame hath said (but light I holdWhat the voice of fame hath told)That the sun, retiring far,Backward roll'd his golden car;And his vital heat withdraw,Sick'ning man's bold crimes to view.Mortals, when such tales they hear,Tremble with an holy fear,And th' offended gods adore;She, this noble pair who bore,Dar'd to murder, deed abhorr'd!This forgot, her royal lord. {815}
As the Ode is concluding, shouts are heard from the direction of the field where the sacrifice is: Chorus summon Electra.
After a brief conversation, a Messenger arrives breathless, and after rapidly giving the news that Aegisthus has fallen, is encouraged to tell the scene at length, which he does in the regular 'Messenger's Speech.'
Mess.Departing from this house, the level road {845}We enter'd soon, mark'd by the chariot wheelOn either side. Mycenae's noble kingWas there, amidst his gardens with fresh streamsIrriguous walking, and the tender boughsOf myrtles, for a wreath to bind his head,He cropt; he saw us, he address'd us thusAloud: "Hail, strangers; who are ye, and whenceCome, from what country?" Then Orestes said,"Thessalians; victims to Olympian JoveWe at the stream of Alpheus go to slay."The King replied, "Be now my guests, and shareThe feast with me; a bullock to the NymphsI sacrifice; at morn's first dawn arise,Then shall you go; but enter now my house."Thus as he spoke, he took us by the handAnd led us, nothing loth: beneath his roofSoon as we came, he bade his slaves prepareBaths for the strangers, that, the altars nigh,Beside the lustral ewers they might stand.Orestes then, "With lavers from the pureAnd living stream we lately have been cleansed:But with thy citizens these rites to share,If strangers are permitted, we, O King,Are ready to thy hospitable feast,Nothing averse." The converse here had end.Their spears, with which they guard the king, asideTh' attendants laid, and to their office allApplied their hands; some led the victim, someThe baskets bore, some rais'd the flames and plac'dThe cauldrons on the hearth; the house resounds.Thy mother's husband on the altars castThe salted cakes, and thus address'd his vows;"Ye Nymphs that haunt the rocks, these hallow'd ritesOft let me pay, and of my royal spouseNow absent, both by fortune blest as now;And let our foes as now, in ruin lie;"Thee and Orestes naming. But my lord,Far other vows address'd, but gave his wordsNo utt'rance, to regain his father's house.Aegisthus then the sacrificing swordTook from the basket, from the bullock's frontTo cut the hair, which on the hallow'd fireWith his right hand he threw; and, as his slavesThe victim held, beneath its shoulder plung'dThe blade; then turning to thy brother spoke:"Among her noble arts Thessalia boastsTo rein the fiery courser, and with skillThe victim's limbs to sever; stranger, takeThe sharp-edg'd steel and show that fame reportsOf the Thessalians truth." The Doric bladeOf temper'd metal in his hand he grasp'd,And from his shoulders threw his graceful robe;Then to assist him in the toilsome taskChose Pylades, and bade the slaves retire:The victim's foot he held, and its white flesh,His hand extending, bared, and stript the hideE'er round the course the chariot twice could roll,And laid the entrails open. In his handsThe fate-presaging parts Aegisthus took,Inspecting: in the entrails was no lobe;The valves and cells the gall containing showDreadful events to him, that view'd them, near.Gloomy his visage darken'd; but my lordAsk'd whence his sadden'd aspect: He replied—"Stranger, some treachery from abroad I fear;Of mortal men Orestes most I hate,The son of Agamemnon; to my houseHe is a foe." "Wilt thou," replied my lord,"King of this state, an exile's treachery dread?But that, these omens leaving, we may feast,Give me a Phthian for this Doric blade,The breast asunder I will cleave." He tookThe steel and cut. Aegisthus, yet intent,Parted the entrails; and, as low he bow'dHis head, thy brother, rising to the stroke,Drove through his back the ponderous axe, and riv'dThe spinal joints: his heaving body writh'dAnd quiver'd, struggling in the pangs of death.The slaves beheld, and instant snatched their spears,Many 'gainst two contesting; but my lordAnd Pylades with dauntless courage stoodOppos'd, and shook their spears. Orestes thenThus spoke: "I come not to this state a foe,Nor to my servants; but my father's deathI on his murderer have aveng'd; you seeTh' unfortunate Orestes: kill me not,My father's old attendants." At these wordsThey all restrain'd their spears, and he was knownBy one grown hoary in the royal house.Crowns on thy brother's head they instant plac'dWith shouts of joy. He comes, and with him bringsProof of his daring, not a Gorgon's head,But whom thou hat'st, Aegisthus: blood for blood,Bitter requital, on the dead has fall'n. {939}
General exultation (in Lyric measures) succeeds, which increases asOrestesandPylades re-enter bearing the corpse of Aegisthus. After brief celebration of the deed the face of the corpse is uncovered, and Electra, gazing at it, gives vent to her scorn and hatred: how he had slain a hero, made her an orphan, lived in shame with her mother, enjoying and trusting in her father's wealth: but
Nature is firm, not riches: she remainsFor ever, and triumphant lifts her head.But unjust wealth, which sojourns with the base,Glitters for some short space, then flies away.
His effeminate manners are more than maiden tongue may speak of; beauty graced his perfect form:
But be not mine a husband, whose fair faceIn softness with a virgin's vies, but oneOf manly manners; for the sons of suchBy martial toils are trained to glorious deeds;The beauteous only the dance give grace.
Let the wicked in future learn they are not secure till the goal of life is reached. {1092}
Clytaemnestra is then seen approaching: they hurry Orestes in; his heart fails him at the thought of his mother; with difficulty Electra rouses him to his appointed vengeance. [Exeunt all but Electra into the Cottage. Enter Clytaemnestra in a Chariot and splendid array.]The Choruswelcome her, and she begs their aid to alight.—Electrathrusts herself forward clad in rags as she is, and begs that she too may assist.—Clyt.feels the impropriety of the scene, and falls into an apologetic tone; it was Electra's father who, by his injustice to Iphigenia, was the real cause of Electra's trouble. This leads to the usual judicial disputation:Clyt.pleading that this sacrifice of her daughter was done not for a good cause, but for the wanton Helen; this sacrifice she had avenged, and to avenge it must join an enemy, not a friend, of Agamemnon.—Electra, getting permission, replies: Helen was not the only wanton one of her family; if no motive but vengeance, why begin to adorn as soon as Agamemnon was out of the way, why rejoice whenever the Trojans prospered, why go on to persecute Orestes and herself, nay, why not slay Aegisthus for persecuting these her children? The sight of Electra's miserable condition makes evenClyt.feel compunction: she has been too harsh, she will be kinder now, and so shall Aegisthus—Electra replying to all that it is too late. At lastClyt.prepares to go within the house and perform the rite for Electra; then she will join her husband.Exeunt Attendants with Chariot, and Electra ushers Clytaemnestra into the Cottage.
Let my poor house receive thee: but take heedLest thy rich vests the blackening smoke denies.—There shalt thou sacrifice, as to the godsBehoves thee sacrifice: the basket thereIs for the rites prepared, and the keen bladeWhich struck the bull; beside him shalt thou fallBy a like blow; in Pluto's courts his brideHe shall receive, with whom in heav'n's fair lightThy couch was shared: to thee this grace I give,Thou vengeance for my father shalt give me. {1274}
The waves of mischief are flowing back, the gale of Violence is veering: Vengeance for the crime of old standing is come at last. {1298}
Cries are heard from within: the Chorus know that the deed is done.
By the machinery of the roller-stage the interior of the Cottage is displayed, with Orestes and Electra standing over the corpse of Clytaemnestra.
A revulsion of feeling has come over them; they did the deed in frenzy; now, instead of triumph, they have no thoughts but for the act they have done, and how they will carry a curse with them ever after, and all will shun them. With horror they recall the details of the scene:
Ores.Didst thou see her when she drew {1338}Her vests aside, and bared her breasts, and bow'dTo earth her body whence I drew my birth,Whilst in her locks my furious hand I wreath'd?
Elec.With anguish'd mind, I know, thou didst proceed,When heard thy wailing mother's piteous cries.
Ores.These words, whilst with her hands she strok'd my cheeks,Burst forth, "Thy pity I implore, my son;"Soothing she spoke, as on my cheeks she hung,That bloodless from my hand the sword might fall.
Chor.Wretched Electra, how could'st thou sustainA sight like this? How bear thy mother's death,Seeing her thus before thine eyes expire?
Ores.Holding my robe before mine eyes, I rais'dThe sword and plung'd it in my mother's breast.
Elec.I urged thee to it, I too touch'd the sword.
Chor.Of deeds most dreadful this which thou hast done.Cover thy mother's body; in her robesDecent compose her wounded limbs.—Thou gav'stBeing to those who were to murder thee.
Suddenly over the Permanent Scene two Supernatural Beings appear and move along, recognized by the Chorus as Castor and Pollux, the Family Deities. {1364}
Hear, son of Agamemnon: for to theeThy mother's brothers, twin-born sons of JoveCastor, and this my brother Pollux, speak.Late, having calmed the ocean waves, that swell'dThe lab'ring vessel menacing, we cameTo Argos, where our sister we beheld,Thy mother, slain: with justice vengeance fallsOn her; in thee unholy is the deed.Yet Phoebus, Phoebus—but, my king is he;I will be silent: yet, though wise, he gaveTo thee response not wise; but I must praisePerforce these things. Thou now must do what FateAnd Jove decree.
Electra is to marry Pylades, and Orestes to flee to Athens and be purified by the Court on the Hill of Mars: Apollo assisting. Orestes' future life is foretold [thus working out various details of the Orestes legends].—With awe Orestes, Electra, and Chorus enter into converse with the gods, and the word is confirmed. They failed to avert the trouble from their house on account of dire Fate and 'the voice unwise of Phoebus from his shrine.' There has been a Demon hostile to Electra's parents.—Then the brother and sister's thoughts turn to the life-long separation, and the painful wandering, sorrows e'en to the gods mournful to hear. Farewell to Argos: the Gods hurry Orestes away for the Furies are already on his track, and conclude:
To the impious thro' the ethereal tractWe no assistance bring: but those to whomJustice and sanctity of life is dear,We from their dangerous toils relieve and save.Let no one then unjustly will to act,Nor in one vessel with the perjured sail:A god to mortals this monition gives.
Chor.Oh, be you blest! And those, to whom is givenCalmly the course of mortal life to pass,By no affliction sunk, pronounce we blest.
[1] The quotations of Euripides are from Potter's translation.
Of the Story as it would be traditionally familiar to the Audience before-hand.—Admetus was the splendid King of Pherae, so famous for the sacred rites of Hospitality that he had Sons of the Gods for Guests, and the God of Brightness, Apollo, himself while he sojourned on earth chose Admetus's household to dwell in. In the full tide of his greatness the time came for him to die: Apollo interposed for his chief votary, and won from the Fates that he might die by substitute. But none was found willing to be the victim, not even his aged parents: at last Alcestis his wife, young and bright as himself, gave herself for her husband and died. Then another Guest-Friend of Admetus came to the rescue, Jupiter's own son Hercules, and by main force wrested Alcestis from the grasp of Death, and restored her to her husband.
Scene: Pherae in Thessaly. The early morning sunshine blazes full on the Royal Palace of the Glorious Admetus, and on the statues, conspicuous in front of it, of Jupiter Lord of Host and Guest, and Apollo: nevertheless the Courtyard is silent and deserted.—At last Apollo himself is seen, not aloft in the air as Gods were wont to appear, but on the threshold of the Central Gate.
APOLLO meditates on his happy associations with the house he is quitting. How when there was trouble in heaven, and he himself, for resisting Jove's vengeance on the Healer Aesculapius, was doomed to a year's slavery amongst mortal men, he had bound himself as herdsman to Admetus, and Admetus exercised his lordship with all reverence:
A holy master o'er his holy slave. {13}
How again when trouble came to Admetus he had saved him from the day of death, on condition that another would die in his stead.
His friends, his father, e'en the aged dame {19}That gave him birth were asked in vain: not oneWas found, his wife except.
The dreadful day has come, and Alcestis is at this moment breathing her last in the arms of her husband: and he himself must leave his loved friend, for Deity may not abide in the neighborhood of death's pollution. {27}
Suddenly, the hideous Phantom of Death becomes visible, ascending the Steps of the Dead [from below the Orchestra on to the Stage]: his pace never flags, yet he cowers, like all things of darkness, before the Bow of Apollo.
Deathreproaches Apollo with haunting the dwellings of mortals, and with seeking by that Bow of his to defraud the Infernal Powers of their due.Apollodefends himself: he is but visiting friends he loves: he has no thought of using force. But would he could persuade Death to choose his victims according to the law of nature, and slay ripe lingering age instead of youth!
Death.Greater my glory when the youthful die! {58}
Apolloappeals to self-interest: more sumptuous obsequies await the aged dead.—That, answersDeath, were to make laws in favor of the rich.—Apollocondescends to ask mercy for his friend as a favor; but favors,Deathsneers, are not in keeping with his manners; and taunts Apollo with his helplessness to resist fate. The taunt rouses Apollo to a flash of prophecy (which is one of his attributes), giving (as the Greek stage loved to do) a glimpse into the end of the story.
Apollo.Yet, ruthless as thou art, soon wilt thou cease {67}This contest; such a man to Pherae's houseComes. . . . . He, in this houseA welcome guest to Admetus, will by forceTake his wife from thee; and no thanks from meWill be thy due; yet what I now entreatThen thou wilt yield, and I shall hate thee still.
Apollo moves away and disappears in the distance [by Left Side-door], while Death, hurling defiance after him, waves his fatal sword and crosses the threshold. {81}
Enter the Orchestra [by the Right Archway, as from the neighborhood] the Chorus: Old Men of Pherae, come to enquire how it is with the Queen on the morning of this appointed day of her death. As usual in such Chorus-Entries their chanting is accompanied with music and gesture-dance to a rhythm traditionally associated with marching. But by a very unusual effect they enter in disordered ranks, moving in two loosely-formed bodies towards the Central Altar.{82}
1st Semichorus.What a silence encloses the Palace!What a hush in the house of Admetus!2nd Semichorus.Not a soul is at hand of the householdTo answer our friendly enquiry—Is it over, all over but weeping?Or sees she the light awhile longer,Our Queen, brightest pattern of womenThe wide world through,Most devoted of wives, our Alcestis?
Arriving at the Altar they fall for a time into compact order, and exchange their marching rhythm for the elaborate Choral ritual, the evolutions taking them to the Right of the Orchestra.{89}
Strophe
Full Chorus.Listen for the heavy groan,Smitten breast and piercing moan,Ringing out that life is gone.The house forgets its royal state,And not a slave attends the gate.Our sea of woe runs high:—ah, mid the wavesAppear, Great Healer, Apollo!
They break again into loose order and marching rhythm, remaining on the Right of the Orchestra.
1st Semi.Were she dead, could they keep such a silence? {94}2nd Semi.May it be—she is gone from the Palace?1st Semi.Never!2nd Semi.Nay, why so confident answer?1st Semi.To so precious a corpse could AdmetusGive burial bare of its honours?
They reunite in Choral order and work back to the Altar.
Antistrophe
Full Chorus.Lo, no bath the porch below, {99}Nor the cleansing fountain's flow,Gloomy rite for house of woe.The threshold lacks its locks of hair,Clipp'd for the dead in death's despair.Who hears the wailing voice and thud of hands,The seemly woe of the maidens?
At the Altar they again break up and fall into marching rhythm.
2nd Semi.Yet to-day is the dread day appointed— {105}1st Semi.Speak not the word!2nd Semi.The day she must pass into Hades—1st Semi.I am cut to the heart!I am cut to the soul!2nd Semi.When the righteous endure tribulation,Avails nought long-tried loveNought is left to the friendly—but mourning!
Accordingly they address themselves to a Full Choral Ode, the evolutions carrying them to the extreme Left of the Orchestra in the Strophe, and in the Antistrophe back to the Altar.
Strophe
In vain—our pious vows are vain— {111}Make we the flying sail our care,The light bark bounding o'er the main;To what new realm shall we repair?To Lycia's hallow'd strand?Or where in solitary state,Mid thirsty deserts wild and wideThat close him round on every side,Prophetic Ammon holds his awful seat?What charm, what potent handShall save her from the realms beneath?He comes, the ruthless tyrant Death:I have no priest, no altar more,Whose aid I may implore!
Antistrophe
O that the Son of Phoebus now {121}Lived to behold th' ethereal light!Then might she leave the seats below,Where Pluto reigns in cheerless night!The Sage's potent art,Till thund'ring Jove's avenging pow'rHurl'd his red Thunders at his breast,Could, from the yawning gulf releast,To the sweet light of life the dead restore.Who now shall aid impart?To ev'ry god, at ev'ry shrine,The king hath paid the rites divine:But vain his vows, his pious care;And ours is dark despair!
At last they have been heard, and one of the Queen's Women comes weeping from the Palace [by one of the Inferior Doors]: the Chorus fall into their Episode position, in two ranks, between the Altar and the Stage, taking part by their Foreman in the dialogue.
The Chorus eagerly enquire whether Alcestis yet lives. {138}
Attend.As living may I speak of her, and dead.Cho.Living and dead at once, how may that be?Attend.E'en now she sinks in death and breathes her last.
They join in extolling her heroic devotion, and the Attendant tells of her bearing on this day of Death, which she celebrates as if a day of religious festival.
When she knew {160}The destin'd day was come, in fountain waterShe bath'd her lily-tinctured limbs, then tookFrom her rich chests, of odorous cedar form'd,A splendid robe, and her most radiant dress;Thus gorgeously array'd she stood beforeThe hallow'd flames, and thus address'd her pray'r:"O Queen, I go to the infernal shades!Yet, e'er I go, with reverence let me breatheMy last request: Protect my orphan children,Make my son happy with the wife he loves, {170}And wed my daughter to a noble husband:Nor let them, like their mother, to the tombUntimely sink, but in their native landBe blest through length'ned life to honour'd age."Then to each altar in the royal houseShe went, and crown'd it, and address'd her vows,Plucking the myrtle bough; nor tear, nor sighCame from her, neither did the approaching illChange the fresh beauties of her vermeil cheek.Her chamber then she visits, and her bed; {180}There her tears flow'd, and thus she spoke: "O bedTo which my wedded lord, for whom I die,Led me a virgin bride, farewell; to theeNo blame do I impute, for me aloneHast thou destroy'd; disdaining to betrayThee and my lord, I die: to thee shall comeSome other woman, not more chaste, perchanceMore happy"—as she lay, she kissed the couch,And bath'd it with a flood of tears; that pass'd,She left her chamber, then return'd, and oft {190}She left it, oft return'd, and on the couchFondly, each time she enter'd, cast herself.Her children, as they hung upon her robes,Weeping, she rais'd, and clasp'd them to her breastEach after each, as now about to die.Each servant through the house burst into tearsIn pity of their mistress; she to eachSt[r?]etch'd her right hand; nor was there one so meanTo whom she spoke not, and admitted himTo speak to her again. Within the house {200}So stands it with Admetus. Had he died,His woes were over: now he lives to bearA weight of pain no moment shall forget.
Alcestis is wasting away, and fading with swift disease, while her distracted husband holds her in his arms, entreating impossibilities. And now they are about to bring her out, for the dying Alcestis has a longing for one more sight of heaven and the radiant morning. The Chorus are plunged in despair: how will their king bear to live after the loss of such a wife!
The lamentations rise higher stillas the Central Gates open and the couch of Alcestis is borne out, Admetus holding her in his arms, and, her children clinging about her; the Stage fills with weeping friends and attendants. The whole dialogue falls into lyrical measures with strophic alternations just perceptible.Alcestiscommences to address the sunshine and fair scenery she has come out to view—when the scene changes to her dying eyes, and she can see nothing but the gloomy river the dead have to cross, with the boatman ready waiting, and the long dreary journey beyond. Dark night is creeping over her eyes, whenAdmetus, as he ever mingles his passionate prayers with her wanderings, conjures her for her children's sake as well as his own not to forsake them. A thought for her children's future rouses the mother from her stupor, and she rallies for a solemn last appeal [the measure changing to blank verse to mark the change of tone]. She begins to recite the sacrifice she is making for her lord:
I die for thee, though free {284}Not to have died, but from Thessalia's chiefsPreferring whom I pleas'd, in royal stateTo have lived happy here—I had no willTo live bereft of thee with these poor orphans—I die without reluctance, though the giftsOf youth are mine to make life grateful to me. {290}Yet he that gave thee birth, and she that bore thee,Deserted thee, though well it had beseem'd themWith honour to have died for thee, t' have savedTheir son with honour, glorious in their death.They had no child but thee, they had no hopeOf other offspring, should'st thou die; and IMight thus have lived, thou mightst have lived till ageCrept slowly on, nor wouldst thou heave the sighThus of thy wife deprived, nor train aloneThy orphan children:—but some God appointed {300}It should be thus: thus be it.
All this is the basis for a requital she demands of her husband: that he shall let her children be lords in their own house, and not set over them the cruel guardianship of a step-mother.
My son that holds endearing converse with thee {315}Hath in his father a secure protection;But who, my daughter, shall with honour guideThy virgin years? What woman shalt thou findNew-wedded to thy father, whose vile artsWill not with slanderous falsehoods taint thy name,And blast thy nuptials in youth's freshest bloom?For never shall thy mother see thee ledA bride, nor at thy throes speak comfort to thee,Then present when a mother's tendernessIs most alive: for I must die! {325}
TheChoruspledge their faith that the king will honour such a request as long as reason lasts.Admetusaddresses a solemn vow to his dying wife, that her will shall be done:
Living thou wast mine, {334}And dead thou only shalt be called my wife.
It will be only too easy to keep such a pledge as that, for life henceforth will be one long mourning to him.
Hence I renounceThe feast, the cheerful guest, the flow'ry wreath, {350}And song that used to echo through my house:For never will I touch the lyre again,Nor to the Libyan flute's sweet measures raiseMy voice: with thee all my delights are dead.Thy beauteous figure, by the artist's handSkillfully wrought, shall in my bed be laid;By that reclining, I will clasp it to me,And call it by thy name, and think I holdMy dear wife in my arms, and have her yet,Though now no more I have her: cold delight {360}I ween, yet thus th' affliction of my soulI shall relieve, and visiting my dreamsShalt thou delight me.
O for the power of Orpheus's lyre, that might rescue thee even from the realms of the dead!
But there await me till I die; prepare {374}A mansion for me, as again with meTo dwell; for in thy tomb I will be laid,In the same cedar, by thy side composed:For e'en in death I will not be disjoin'dFrom thee who hast alone been faithful to me!
As the Chorus join in Admetus's sorrow the pledge is reiterated, and the dying mother is satisfied.
Alc.Thus pledging, from my hands receive thy children. {386}Adm.A much-loved gift, and from a much-loved hand!
The strength Alcestis had summoned for her last effort now forsakes her: she sinks rapidly.
Alc.A heavy weight hangs on my darkened eye. {396}Adm.If thou forsake me I am lost indeed!Alc.As one that is no more I now am nothing.Adm.Ah, raise thy face! forsake not thus thy children!Alc.It must be so perforce: farewell, my children.Adm.Look on them, but a look.Alc.I am no more.Adm.How dost thou? Wilt thou leave us so?Alc.Farewell.Adm.And what a wretch, what a lost wretch am I!Cho.She's gone! Thy wife, Admetus, is no more!
The little Son flings himself passionately on the corpse [the metre breaking out into strophic alternations.]
Strophe
Son.O my unhappy fate! {405}My mother sinks to the dark realms of night,Nor longer views this golden light;But to the ills of life exposedLeaves my poor orphan state!Her eyes, my father, see, her eyes are closed,And her hand nerveless falls.Yet hear me, O my mother, hear my cries!It is thy son who calls,Who prostrate on the earth breathes on thy lips his sighs.
Adm.On one that hears not, sees not! I and youMust bend beneath affliction's heaviest load.
Antistrophe
Son.Ah! she hath left my youth— {417}My mother, my loved mother is no more—Left me my sufferings to deplore,Left me a heritage of woe:Who shall my sorrows soothe?Thou too, my sister, thy full share shalt knowOf grief, thy heart to rend.Vain, O my father, vain thy nuptial vows,Brought to this speedy end:For when my mother died in ruin sank our house! {425}
The Chorus [in calm blank verse] call on their king to command himself and bear what many have had to bear before.—Admetusknows he must: this calamity has not come without notice. He rouses himself to give orders as to the preparations for burial: the mourning rites shall last a whole year, and shall extend throughout the whole region of Thessaly: the very horses shall have their waving manes cut close, and no sound of flute or instrument of joy shall be heard in the city. {445}
The corpse is slowly carried out, and at last the Stage is vacant. Then the Chorus address themselves to a Choral Ode in memory of the Spirit now passed beneath the earth: the evolutions as usual, carrying them with each Strophe to one end of the Orchestra, and with the Antistrophe back to the Altar.
StropheI
Immortal bliss be thine, {446}Daughter of Pelias, in the realms below,Immortal pleasures round thee flow,Though never there the sun's bright beams shall shine.Be the black-brow'd Pluto told,And the Stygian boatman old,Whose rude hands grasp the oar, the rudder guide,The dead conveying o'er the tide,—Let him be told, so rich a freight beforeHis light skiff never bore;Tell him that o'er the joyless lakesThe noblest of her sex her dreary passage takes.
Antistrophe I
Thy praise the bards shall tell,When to their hymning voice the echo rings,Or when they sweep the solemn strings,And wake to rapture the seven-chorded shell:Or in Sparta's jocund bow'rs,Circling when the vernal hoursBring the Carnean Feast, whilst through the nightFull-orb'd the high moon rolls her light;Or where rich Athens, proudly elevate,Shows her magnific state:Their voice thy glorious death shall raise,And swell th' enraptured strain to celebrate thy praise.
Strophe II
O that I had the pow'r,Could I but bring thee from the shades of night,Again to view this golden light,To leave that boat, to leave that dreary shore,Where Cocytus, deep and wide,Rolls along his sullen tide!For thou, O best of women, thou aloneFor thy lord's life daredst give thy own.Light lie the earth upon thy gentle breast,And be thou ever blest!While, should he choose to wed again,Mine and his children's hearts would hold him in disdain.
Antistrophe II
When, to avert his doom,His mother in the earth refused to lie;Nor would his ancient father dieTo save his son from an untimely tomb;Though the hand of time had spreadHoar hairs o'er each aged head:In youth's fresh bloom, in beauty's radiant glow,The darksome way thou daredst to go,And for thy youthful lord's to give thy life.Be ours so true a wife!Though rare the lot, then should we proveTh' indissoluble bond of faithfulness and love.
Enter on the Stage through the distance-entrance [Left Side-door] the colossal figure of Hercules. Here is the turning-point of the play: which has the peculiarity of combining an element of the Satyric Drama (or Burlesque) with Tragedy, the combination anticipating the 'Action-Drama' (or 'Tragi-Comedy') of modern times. Accordingly the costume and mask of Hercules are compounded, of his conventional appearance in Tragedy, in which he is conceived as the perfection of physical strength toiling and suffering for mankind, and his conventional appearance in Satyric plays as the gigantic feeder, etc. The two are harmonized in the conception of conscious energy rejoicing in itself, and plunging with equal eagerness into duty and relaxation, while each lasts.
Herculeshails the Chorus and enquires for Admetus. They reply that he is within the Palace, and [shrinking, like all Greeks, from being the first to tell evil tidings] turn the conversation by enquiring what brings the Demi-god to Pherae—in stichomuthic dialogueit is brought out that Hercules is on his way to one of his 'Labors'—that of the Thracian Steeds; and (so lightly does the thought of toil sit on him) it appears he has not troubled to enquire what the task meant: from the Chorus he learns for the first time the many dangers before him, and how the Steeds are devourers of human flesh.
Herc.A toil you tell of that well fits my fate, {517} My life of hardship, ever struggling upward.
Admetus now appears, in mourning garb: after first salutations between the two friends, Hercules enquires what his trouble is, which gives scope for a favorite effect in Greek Drama—'dissimulation.'
Herc.Why are thy locks in sign of mourning shorn? {530}Adm.'Tis for one dead, whom I to-day must bury.Herc.The Gods avert thy mourning for a child!Adm.My children, what I had, live in my house.Herc.Thy aged father, haply he is gone.Adm.My father lives, and she that bore me lives.Herc.Lies then thy wife Alcestis mongst the dead?Adm.Of her I have in double wise to speak.Herc.As of the living speakst thou, or the dead?Adm.She is, and is no more: this grief afflicts me.Herc.This gives no information: dark thy words. {540}Adm.Knowst thou not then the destiny assign'd her?Herc.I know that she submits to die for thee.Adm.To this assenting is she not no more?Herc.Lament her not too soon: await the time.Adm.She's dead: one soon to die is now no more.Herc.It differs wide to be, and not to be.Adm.Such are thy sentiments, far other mine.Herc.But wherefore are thy tears? What man is dead?Adm.A woman: of a woman I made mention.Herc.Of foreign birth, or one allied to thee? {550}Adm.Of foreign birth, but to my home most dear.
Hercules is moving away for the purpose of seeking hospitality elsewhere: Admetus will not hear of it, and, when Hercules loudly protests, puts aside his opposition with the air of one whose authority in matters of hospitable rites is not to be disputed. He orders attendants to conduct Hercules to a distant quarter of the Palace, to spread a sumptuous feast, and bar fast the doors, lest the voice of woe should affect the feasting guest. When Hercules is gone theChorusare staggered by such a mastery of personal grief as this implies. ButAdmetusasks how could he let a guest depart from his house?
My affliction would not thus {575}Be less, but more unhospitable I.
But why, theChorusask, conceal the truth?—His friend, answersAdmetus, would never have entered, had he known. Some may blame him, he continues, but his house simply knows not how to do dishonor to a guest.—Admetus returns into the Palace, to his funeral preparations: theChorusare moved to enthusiasm by this forgetfulness of self in hospitable devotion; their enthusiasm breaks out in an Ode celebrating the glories of their king's hospitality in the past, and ending in a gleam of hope that it may yet do something for him in the future. {588}
Evolutions, etc., as usual.
Strophe I
O liberal house! with princely state {589}To many a stranger, many a guest,Oft hast thou oped thy friendly gate,Oft spread the hospitable feast.Beneath thy roof Apollo deign'd to dwell,Here strung his silver-sounding shell,And, mixing with thy menial train,Deigned to be called the shepherd of the plain:And as he drove his flocks along,Whether the winding vale they rove,Or linger in the upland grove,He tuned the pastoral pipe, or rural song.
Antistrophe I
Delighted with his tuneful lay, {601}No more the savage thirsts for blood;Amidst the flocks, in harmless play,Wantons the lynx's spotted brood;Pleas'd from his lair on Othrys' rugged browThe lion seeks the vale below:Whilst to the lyre's melodious soundThe dappled hinds in sportive measures bound;And as the vocal echo rings,Lightly their nimble feet they ply,Leaving their pine-clad forests high,Charm'd by the sweet notes of his gladdening strings.
Strophe II
Hence is thy house, Admetus, gracedWith all that plenty's hand bestows;Near the sweet-streaming current placed,That from the lake of Boebia flows;Far towards the shades of night thy wide domain,Rich-pastured mead and cultured plain,Extends, to those Molossian meadsWhere the sun stations his unharnessed steeds;And stretching towards his eastern ray,Where Pelion, rising in his pride,Frowns o'er th' Aegean's portless tide:Reaches from sea to sea thy ample sway.
Antistrophe II
And thou wilt ope thy gate e'en now, {625}E'en now wilt thou receive this guest;Though from thine eye the warm tear flow,Though sorrow rend thy suffering breast,Sad tribute to thy wife, who, new in death,Lamented lies thy roof beneath!Nature in truth has thus decreed:The pure soul must bear fruit of reverent deed.Lo, all the pow'r of wisdom liesFix'd in the righteous bosom: henceRests in my soul this confidence—The good shall yet safe from their trials rise. {636}
The Central Gates open and the Funeral Procession slowly files out and begins to fill the Stage. Admetus beside the bier of Alcestis is calling on the Chorus (as representing the citizens of Pherae) to join in the invocations to the dead—whensuddenly another Procession appears on the Stage [entering by the Right Side-door, as from the immediate neighborhood]: it is headed by the father and mother of Admetus, both of whom have reached the furthest verge of old age, and who with difficulty totter along, while attendants follow them bearing sumptuous drapery and other funeral gifts. The scene settles down into the 'Forensic Contest,' a fixed feature of every Greek Tragedy, in which the 'case' of the hero and the opposition to it are brought out with all the formality of a judicial process, the long rheses representing advocates' speeches, the stichomuthic dialogue suggesting cross-examination, and the Chorus interposing as moderators.
Pheresin the tone of conventional consolation speaks of the virtues of the dead, and the special virtue of Alcestis's sacrifice, which has saved her husband's life, and himself from a childless old age; it is meet then that he should do honor to the corpse.Attendants of Admetus advance to receive the presents: Admetus waves them back and stands coldly confronting his father. At last he speaks.His father is an uninvited guest at this funeral feast, and unwelcome: the dead shall never be arrayed in his gifts. Then was the time for his father to show kindness when a life was demanded: and yet he could stand aloof and let a younger die! He will never believe himself the son of so mean and abject a soul.
At such an age, just trembling on the verge {677}Of life, thou would'st not, nay, thou dared'st not dieFor thine own son; but thou couldst sufferher,Though sprung from foreign blood: with justice thenHer only as my father must I deem,Her only as my mother. Yet this courseMightst thou have run with glory, for thy sonDaring to die; brief was the space of lifeThat could remain to thee: I then had livedMy destin'd time, she too had lived.
Yet Pheres had already had his share of all that makes life happy: a youth amid royal luxury, a prosperous reign, a son to inherit his state and who ever did him honor. But let him beget him new sons to cherish his age and attend him in death: Admetus's hand shall never do such offices for him. And this is all that comes of old age's longing for death: let death show itself, and the old complaints of life are all silenced!
Cho.Forbear! Enough the present weight of woe: {710} My son, exasperate not a father's mind.
To this long rhesisPheresanswers in a set speech of similar length. Is he a slave to be so rated by his own son? And for what? He has given his son birth and nurture, he has already handed over to him a kingdom and will bequeath him yet more wide lands; all that fathers owe to sons he gives. What new obligation is this for Greece to submit to, that a father should die for his son?
It is a joy to thee {730}To view the light of heaven, and dost thou thinkThy father joys not in it? Long I deemOur time in death's dark regions: short the spaceOf life, yet sweet! So thought thy coward heartAnd struggled not to die: and thou dost live,Passing the bounds of life assign'd by fate,By killingher! My mean and abject spiritDost thou rebuke, O timidest of all,Vanquish'd e'en by a woman, her who gaveFor thee, her young fair husband, her own life! {740}A fine device that thou mightst never die,Couldst thou persuade—who at the time might beThy wife—to die for thee!
If such a man takes to heaping reproaches on his own kin he shall at least hear the truth told him to his face!
Cho.Too much of ill already hath been spoken: {750}Forbear, old man, nor thus revile thy son.
Admetussays if his father does not like to hear the truth he should not have done the wrong.
Pher.Had I died for thee, greater were the wrong.Adm.Is death alike then to the young and old?Pher.Man's due is one life, not to borrow more.Adm.Thine drag thou on and out-tire heaven's age!Pher.Darest thou to curse thy parents, nothing wrong'd?Adm.Parents in dotage lusting still to live! {760}Pher.And thou—what else but life with this corpse buyest?Adm.This corpse—the symbol of thy infamy!Pher.For us she died not; that thou canst not say!Adm.Ah! mayst thou some time come to need my aid!Pher.Wed many wives that more may die for thee!Adm.On thee rests this reproach—thou daredst not die!Pher.Sweet is this light of heav'n! sweet is this light!Adm.Base is thy thought, unworthy of a man!Pher.The triumph is not thine to entomb my age.Adm.Die when thou wilt, inglorious wilt thou die. {770}Pher.Thy ill report will not affect me dead.Adm.Alas, that age should outlive sense of shame!Pher.But lack of age's wisdom slewheryouth.Adm.Begone, and suffer me to entomb my dead.Pher.I go: no fitter burier than thyselfHer murderer! Look for reckoning from her friends:Acastus is no man, if his hand failsDearly to avenge on thee his sister's blood.Adm.Why, get you gone, thou and thy worthy wife:Grow old in consort—that is now your lot—The childless parents of a living son:For never more under one common roofCome you and I together: had it needed,By herald I your hearth would have renounced.
Pheres and his train withdraw along the Stage [to the Right Side-door]. The interrupted Funeral Procession is continued, filing amidst lamentations of the Chorus, down the steps from the Stage into the Orchestra: there the Chorus join it and the whole passes out [by the Right Archway] to the royal sepulchre in the neighbourhood.
Stage and Orchestra both vacant for a while.
Enter the Stage [by one of the Inferior Doors of the Palace] the Steward of Admetus: he has stolen away to get a moment's respite from the hateful hilarity of this strange visitor—some ruffian or robber he supposes—on whom his office has condemned him to wait, and thereby to miss paying the last offices to a mistress who has been more like a mother to him. The guest has been willing to enter, and though he saw the mourning of the household, he did not allow it to make any difference to his mirth:
Grasping in his hands {804}A goblet wreath'd with ivy, fill'd it highWith the grape's purple juice, and quaff'd it offUntemper'd, till the glowing wine inflamed him;Then binding round his head a myrtle wreath,Howls dismal discord:—two unpleasing strainsWe heard, his harsh notes who in nought reveredTh' afflictions of Admetus, and the voiceOf sorrow through the family that weptOur mistress. Yet our tearful eyes we showed not,Admetus so commanded, to the guest. {814}
He starts as he feels on his shoulder the huge hand ofHercules, who has followed him, andnow appears on the Stage goblet in hand, wreathed and attired like a reveller in full revel. Hercules good-humouredly scolds him for letting a remote family bereavement hinder him from showing a sociable countenance to his lord's guest. He lectures him on the easy ethics of the banquet-hour:
Come hither, that thou mayst be wiser, friend: {832}Knowst thou the nature of all mortal things?Not thou, I ween: how shouldst thou? hear from me.By all of human race death is a debtThat must be paid; and none of mortal menKnows whether till to-morrow life's short spaceShall be extended: such the dark eventsOf fortune, never to lie learn'd or tracedBy any skill. Instructed thus by me {840}Bid pleasure welcome, drink; the life allow'dFrom day to day esteem thine own; all elseFortune's.
The Steward receives his lecture with a bad grace: he knows all that—but there is a time for all things. His manner raises Hercules' suspicions that Admetus has been keeping something back:
Herc.Is it some sorrow which he told not me? {866}Stew.Go thou with joy: ours are our lord's afflictions.Herc.These are not words that speak a foreign loss.Stew.If such, thy revelry had not displeased me.
The secret is not long kept against the questioning of Hercules. When the truth comes out Hercules drops the goblet: he might have known all from so grief-worn a face! All the lightness of the reveller disappears, and the godlike bearing returns to Hercules' figure as he catches the full dignity of his friend's hospitable feat: he is fired to essay a rival deed of nobility.
Now, my firm heart, and thou, my daring soul, {894}Show what a son the daughter of Electryon,Alcmena of Tirynthia, bore to Jove!This lady, new in death, behoves me save,And, to Admetus rendering grateful service,Restore his lost Alcestis to his house.This sable-vested tyrant of the deadMine eye shall watch, not without hope to find himDrinking th' oblations nigh the tomb. If onceSeen from my secret stand I rush upon him,These arms shall grasp him till his panting sidesLabour for breath; and who shall force him from meTill he gives back this woman? {906}
If he fails to find Death elsewhere he will descend to the dark world of spirits itself, rather than fail in making a fit return to his friend:
Whose hospitable heart {913}Receiv'd me in his house, nor made excuseThough pierc'd with such a grief; this he conceal'dThrough generous thought, and reverence to his friend.Who in Thessalia bears a warmer loveTo strangers? Who, through all the realms of Greece?It never shall be said this noble manReceived in me a base and worthless wretch!
Exit [through the Stage Right Side-door] in the direction of the tomb.
Stage and Orchestra vacant for a while.
Return of the Funeral Procession, headed by the Chorus who remain in the Orchestra; the rest file up the steps onto the stage, Admetus last. The Episode is technically a 'Dirge' between Admetus, whose speeches fall into the rhythm of a Funeral March, and the Chorus, who speak in Strophes and Antistrophes of more elaborate lyric rhythm, often interrupted by the wails of Admetus.
Admetus reaching the top of the Steps from the Orchestra stands face to face with the splendid facade of his Palace. Hateful entrance, hateful aspect of a widowed home! How find rest there, in the heavy woes to which he is now doomed? It is with the dead that rest is found: his heart is in their dark houses, where he has placed a loved hostage torn from him by fate! {931}
Chorus[in Strophe]. Nevertheless he must go forward; he must hide him in the deepest recesses of his Palace with his grief, the helpless groans that yet will nothing aid her whom he will never see more! {938}
Admetuscries that that is the deepest wound of all! Would he had never wedded! To mourn single is pain endurable; to see children wasting with disease, to see death invading the nuptial bed—that is the pang unbearable! {950}
Chorus[in Antistrophe]. Fate is resistless: shall sorrow then have no bounds? Other men have known what it is to lose a wife: and in one or other of innumerable forms misery has found out every son of mortality. {956}
Admetusbegins to speak of the life-long mourning for the lost—but the thought is too much for him; why did they hold him back when he would have cast himself into the gaping tomb, and gone the last journey with his love? {963}
The Chorus[in Strophe] think of one they knew who lost a son in the flower of his age, an only son and well worthy of tears: yet he bore his lonely burden like a man, and—courage! his hair is white and he is nearing the end. {969}
Admetus moves a few steps forward and the Procession, advances towards the portal: but the contrast catches his thought between this and another procession towards the same threshold, when, amidst blazing torches of Pelian pine and bridal dances, he led his new wife by the hand, and shouts wished their union happy. Now wails for shouts, black for glistening raiment, and before him the solitary chamber! {983}
Chorus[in Antistrophe]. Trouble has come upon their master all at once, in the midst of prosperity, and on one unschooled in misfortune. But if the wife is gone the love is left. Many have had Admetus's loss: but his gain let him remember: a rescued life. {988}
As if this jarred upon his mind,Admetusturns round and addresses the Chorus, his whole tone changed [the dirge measures giving place to blank verse].
Adm.My friends, I deem the fortune of my wifeHappier than mine, though otherwise it seems. {990}For nevermore shall sorrow touch her breast,And she with glory rests from various ills.But I, who ought not live, my destined hourO'erpassing, shall drag on a mournful life,Late taught what sorrow is. How shall I bearTo enter here? To whom shall I addressMy speech? Whose greeting renders my returnDelightful? Which way shall I turn? WithinIn lonely sorrow shall I waste away,As, widowed of my wife, I see my couch, {1000}The seats deserted where she sat, the roomsWanting her elegance. Around my kneesMy children hang, and weep their mother lost:The household servants for their mistress sigh.This is the scene of misery in my home:Abroad the nuptials of Thessalia's youthAnd the bright circles of assembled damesWill but augment my grief: how shall I bearTo see the lov'd companions of my wife!And if one hates me, he will say: Behold {1010}The man who basely lives, who dared not die,But giving, through the meanness of his soul,His wife, avoided death—yet would be deem'dA man: he hates his parents, yet himselfHad not the spirit to die. These ill reportsCleave to me: why then wish for longer life,On evil tongues thus fallen, and evil days!
Admetus sinks down on the threshold and buries his face in his robe. The Chorus gather up the feeling of the situation in a full Choral Ode, celebrating the natural topics of consolation; the stern laws of Necessity, the fair memory of the dead.
Strophe I
My venturous foot delights {1018}To tread the Muses' arduous heights;Their hallow'd haunts I love t' explore,And listen to their lore:Yet never could my searching mindAught, like Necessity, resistless find.No herb of sovereign pow'r to save,Whose virtues Orpheus joy'd to trace,And wrote them in the rolls of Thrace;Nor all that Phoebus gave,Instructing the Asclepian train,When various ills the human frame assail,To heal the wound, to soothe the pain,'Gainst Her stern force avail.
Antistrophe I
Of all the Pow'rs Divine {1032}Alone none dares t' approach Her shrine;To Her no hallow'd image stands,No altar She commands.In vain the victim's blood would flow,She never deigns to hear the suppliant's vow.Never to me mayst Thou appear,Dread Goddess, with severer mienThan oft in life's past tranquil sceneThou hast been known to wear.By Thee Jove works his stern behest:Thy force subdues e'en Scythia's stubborn steel;Nor ever does Thy rugged breastThe touch of pity feel.
Strophe II
And now, with ruin pleas'd, {1046}On thee, O King, her hands have seiz'd,And bound thee in her iron chain:Yet her fell force sustain.For from the gloomy realms of nightNo tears recall the dead to life's sweet light.No virtue, though to heav'n allied,Saves from the inevitable doom:Heroes and sons of gods have died,And sunk into the tomb.Dear, whilst our eyes her presence blest,Dear, in the gloomy mansions of the dead:Most generous she, the noblest, best,Who graced thy nuptial bed.
Antistrophe II
Thy wife's sepulchral mound {1060}Deem not as common, worthless groundThat swells their breathless bodies o'erWho die, and no are more.No, be it honor'd as a shrine;Raised high, and hallow'd to some Pow'r Divine:The traveller, as he passes by,Shall thither bend his devious way,With reverence gaze, and with a sigh,Smite on his breast, and say:"She died of old to save her lord;Now blest among the blest; Hail, Pow'r revered,To us thy wonted grace afford!"Such vows shall be preferred.