A poet imbued with the ideas of Aeschylus could never have accepted the view presented in the Odyssey; that the vengeance of Orestes was a simply righteous retribution, by which the troubles of the house were closed. To the mind of Aeschylus the version which Stesichorus had followed would naturally commend itself: Orestes, the slayer of a mother, could be saved from the Erinyes only by divine aid. And the trilogy, the distinctively Aeschylean form of work, was a framework perfectly suited to such a conception. Clytaemnestra's crime is the subject of the Agamemnon; the vengeance of Orestes fills the Choephori; and the judgment upon him is given in the Eumenides.
The Agamemnon is pervaded from first to last by the thought of the hereditary curse upon the house: Clytaemnestra, indeed, identifies herself with this ‘ancient, bitter Alastor’; and the Argive Elders recognise that this dread power, though it does not excuse her, has presumably helped her1. She is the principal agent in the crime. Her dominant motive is not love of her paramour, but hatred of the husband who slew Iphigeneia2. Aegisthus is a dastard, ‘the wolf mated with the lioness’3; at the close he blusters, and threatens the Elders, while the strong woman treats them with a cold scorn. The shadow of the vengeance is cast before. Cassandra predicts the return of the exiled heir; ‘for the gods have sworn a great oath4.’ And the Chorus reply to the menaces of Aegisthus by reminding him that Orestes lives5.
The Choephori begins with a scene at Agamemnon's grave,
Analysis of the Choephori I. Prologue: 1—21. |
The Chorus chant the parodos, and we learn that they have
Parodos: 22—83. |
Electra asks the Chorus what prayer she is to utter in pouring
II. First episode: 84—584. |
In pouring the drink-offerings on the tomb, she finds the lock of hair, and turns in excitement to the Chorus. It resembles her own, and she surmises that it is the hair of Orestes,—not brought by him, of course, but sent. Presently she notices footmarks, which have a resemblance to her own. Orestes now steps forward, and, after a short dialogue, reveals himself. She at first fears an imposture, but is convinced by his appeal to the signs which she had already seen and also to a third,—a piece of work embroidered by her own hand.
She welcomes him as ‘the hope awaited with tears, the heir and the deliverer8’; to her, at once father, mother, sister9, and brother. Orestes responds with a prayer to Zeus for Electra and himself. He then declares the oracle of Apollo, commanding him, under terrible penalties, to avenge his father. ‘Must not such oracles be trusted? In any case, the deed must be done10.’
Kommos: 306—478. |
After the lyric chant, Orestes and Electra continue in iambic verse the same strain of supplication. Then Orestes asks why his mother had sent gifts to the tomb? She dreamed—the Chorus reply—that she gave birth to a serpent, and was suckling it, when it drew blood from her breast. Orestes accepts the omen: the part of the serpent shall be his own.
He announces his plan. Electra is to enter the house. He and Pylades will arrive at the outer gate11, wearing the garb of travellers, and imitating the Phocian accent12. Electra now goes within, while Orestes and Pylades withdraw to prepare for their enterprise.
First stasimon: 585—652. |
Here ends the first of the three main chapters or ‘acts’ into which the drama falls.
III. Second episode: 653—782. |
A short choral ode follows. It is time that deceiving Persua-
Choral song: 719—733. |
An old slave-woman, who had been the nurse of Orestes, then comes forth, having been sent by Clytaemnestra to summon Aegisthus. She mourns for Orestes,—recalling, with quaint pathos, all the trouble that the child had given her.—It seems that the queen has ordered Aegisthus to come with armed attendants13. The Chorus prevail on the nurse not to give this part of the message, but to summon Aegisthus alone. At the same time they give her a hint that Orestes still lives, and that all may yet be well.
In the second stasimon the Chorus invoke Zeus, Apollo and
Second stasimon: 783—837. |
Aegisthus enters. The report that Orestes is dead seems to
IV. Third episode: 838—854. |
A moment of suspense is marked by the short third stasimon.
Third stasimon: 855—868. |
The shriek of the dying Aegisthus is heard within. A slave
V. Fourth episode: 875—934. |