Daughter of Tyndareus, Clytemnestra, comeForth from the tent, that thou mayst hear my tale.[Vss. 1532 f.; Way’s translation],
Daughter of Tyndareus, Clytemnestra, comeForth from the tent, that thou mayst hear my tale.[Vss. 1532 f.; Way’s translation],
Daughter of Tyndareus, Clytemnestra, comeForth from the tent, that thou mayst hear my tale.
Daughter of Tyndareus, Clytemnestra, come
Forth from the tent, that thou mayst hear my tale.
[Vss. 1532 f.; Way’s translation],
[Vss. 1532 f.; Way’s translation],
and in Euripides’Children of Heracles, Iolaus calls:
Alcmene, mother of a hero-son,Come forth, give ear to these most welcome words.[Vss. 642 f.; Way’s translation]
Alcmene, mother of a hero-son,Come forth, give ear to these most welcome words.[Vss. 642 f.; Way’s translation]
Alcmene, mother of a hero-son,Come forth, give ear to these most welcome words.
Alcmene, mother of a hero-son,
Come forth, give ear to these most welcome words.
[Vss. 642 f.; Way’s translation]
[Vss. 642 f.; Way’s translation]
To judge by such a dramatic expedient, the front walls of ancient houses must have been pretty thin![317]It is interesting to contrast the uproar which is required in Shakespeare’sOthello(Act I, scene 1) before Brabantio can be brought to his window. Perhaps the most amusing instance of this convention occurs in Plautus’Braggart Captain. In that play a slave had to be deluded into believing that two women of identical appearance lived in adjoining houses. Accordingly he is first sent into one house and then into the other, while directions are shouted to the one woman in question to move back and forth by means of a secret passage so as always to meet him (vss. 523 ff.). This of course presupposes that the walls will be thin enough for the woman to hear through but too thick for the slave to do so!
The publicity thus inevitably attending conversations of the most private nature was rendered still more incongruous by the constant presence of the chorus; but this topic has already been treated onpages 154-57, above.
Whether the fifth-century theater was provided with a drop curtain has often been discussed. I am inclined to think there is no conclusive evidence for the constant and regular use of one. The considerations upon which the argument mainly rests are a priori. That is to say, in several Greek plays the actors must arrange themselves and be in position before the action begins. This is the situation in Euripides’Orestesand Aristophanes’Clouds(seep. 238, above). Did Orestes take to his sick bed in full view of the assembled audience? But he is said (cf. vs. 39) already to have been there for five days! And though the action of theCloudsbegins just before dawn, Strepsiades and his son are supposed to have lain before the house all night. In such matters we must not permit our own prepossessions to mislead us. In mediaeval drama though a character was in view of the audience he could be thought of as, in effect, behind the scenes until his part began. Similarly in oriental theaters today performers are treated as if they could put on the mask ofinvisibility. The only standing concession which I can make to modern feeling consists in granting that the proscenium columns partially screened the actors from the audience while they were taking their places. In my opinion the nearest approach to the use of a curtain occurs in Sophocles’Ajaxand is quite exceptional. That hero committed suicide on the stage, and his body was found in a woodland glen (νάπος, vs. 892) near the seashore. I suppose that one of the side doors in the front of the scene-building[318]was left open to represent the entrance to the glen, and that around and behind it were set panels painted to suggest the woodland coast and the glen (seepp. 235 f., above). Into this opening Ajax collapsed as he fell upon his sword. At vs. 915, Tecmessa “conceals him wholly with this enfolding robe.” Possibly this means that the cloth was fastened about the corpse and across the doorway, thus enabling a mute or a lay figure to be substituted for the corpse and releasing this actor to appear as Teucer in the remainder of the play (seep. 174, above). Whatever the means employed, it is certain that a substitution was effected.
It has often been maintained that the abrupt endings of so many modern plays is due to the fact that we possess a drop curtain which can be brought down upon the action with a bang, and that the quieter endings of, for example, Elizabethan plays arise from their being written for curtainless theaters. I do not entirely disapprove of this suggestion, but wish to point out that the difference originates, at least in part, also in a difference in taste at different times and among different peoples. It is true that the Greeks probably had no drop curtain and that their dramas usually end upon a note of calm. But the same kind of close is normal in other fields of their literature, where the presence or absence of a curtain did not enter into consideration.For example, there is a distinct tendency for modern orators to close speeches with a peroration which is intended to sweep auditors off their feet. Not so in Greek oratory. “Wherever pity, terror, anger, or any passionate feeling is uttered or invited, this tumult is resolved in a final calm; and where such tumult has place in the peroration, it subsides before the last sentences of all.”[319]The same situation obtains likewise in the case of the Greek epic as in Homer’sIliadandOdyssey.