Athens: Its Rise and Fall, Complete

In the midst of this description, by a fine stroke of art, Euridice, the mother of Haemon, abruptly and silently quits the stage 361 (#x28_x_28_i176). When next we hear of her, she has destroyed herself, with her last breath cursing her husband as the murderer of her child. The end of the play leaves Creon the surviver. He himself does not perish, for he himself has never excited our sympathies 362 (#x28_x_28_i179). He is punished through his son and wife—they dead, our interest ceases in him, and to add his death to theirs and to that of Antigone would be bathos.

VIII. In the tragedy of “Electra,” the character of the heroine stands out in the boldest contrast to the creation of the Antigone; both are endowed with surpassing majesty and strength of nature—they are loftier than the daughters of men, their very loveliness is of an age when gods were no distant ancestors of kings—when, as in the early sculptors of Pallas, or even of Aphrodite, something of the severe and stern was deemed necessary to the realization of the divine; and the beautiful had not lost the colossal proportions of the sublime. But the strength and heroism of Antigone is derived from love—love, sober, serene, august—but still love. Electra, on the contrary, is supported and exalted above her sex by the might of her hatred. Her father, “the king of men,” foully murdered in his palace —herself compelled to consort with his assassins—to receive from their hands both charity and insult—the adulterous murderer on her father’s throne, and lord of her father’s marriage bed 363 (#x28_x_28_i182)—her brother a wanderer and an outcast. Such are the thoughts unceasingly before her!—her heart and soul have for years fed upon the bitterness of a resentment, at once impotent and intense, and nature itself has turned to gall. She sees not in Clytemnestra a mother, but the murderess of a father. The doubt and the compunction of the modern Hamlet are unknown to her more masculine spirit. She lives on but in the hope of her brother’s return and of revenge. The play opens with the appearance of Orestes, Pylades, and an old attendant—arrived at break of day at the habitation of the Pelopidae—“reeking with blood” —the seats of Agamemnon. Orestes, who had been saved in childhood by his sister from the designs of Clytemnestra and Aegisthus, has now returned in manhood. It is agreed that, in order to lull all suspicion in the royal adulterers, a false account of the death of Orestes by an accident in the Pythian Games shall be given to Clytemnestra; and Orestes and Pylades themselves are afterward to be introduced in the character of Phocians, bearing the ashes of the supposed dead. Meanwhile the two friends repair to the sepulchre of Agamemnon to offer libations, etc. Electra then appears, indulges her indignant lamentations at her lot, and consoles herself with the hope of her brother’s speedy return.

She is joined by her sister Chrysothemis, who is bearing sepulchral offerings to the tomb of Agamemnon; and in this interview Sophocles, with extraordinary skill and deep knowledge of human nature, contrives to excite our admiration and sympathy for the vehement Electra by contrasting her with the weak and selfish Chrysothemis. Her very bitterness against her mother is made to assume the guise of a solemn duty to her father. Her unfeminine qualities rise into courage and magnanimity—she glories in the unkindness and persecution she meets with from Clytemnestra and Aegisthus—they are proofs of her reverence to the dead. Woman as she is, she is yet the daughter of a king—she cannot submit to a usurper—“she will not, add cowardice to misery.” Chrysothemis informs Electra that on the return of Aegisthus it is resolved to consign her to a vault “where she may chant her woes unheard.” Electra learns the meditated sentence undismayed—she will not moderate her unwelcome wo—“she will not be a traitoress to those she loves.” But a dream has appalled Clytemnestra—Agamemnon has appeared to her as in life. In the vision he seemed to her to fix his sceptre on the soil, whence it sprouted up into a tree that overshadowed the whole land. Disquieted and conscience-stricken, she now sends Chrysothemis with libations to appease the manes of the dead. Electra adjures Chrysothemis not to render such expiations to scatter them to the winds or on the dust—to let them not approach the resting-place of the murdered king. Chrysothemis promises to obey the injunction, and departs. A violent and powerful scene between Clytemnestra and Electra ensues, when the attendant enters (as was agreed on) to announce the death of Orestes. In this recital he portrays the ceremony of the Pythian races in lines justly celebrated, and which, as an animated and faithful picture of an exhibition so renowned, the reader may be pleased to see, even in a feeble and cold translation. Orestes had obtained five victories in the first day—in the second he starts with nine competitors in the chariot-race—an Achaean, a Spartan, two Libyans—he himself with Thessalian steeds—a sixth from Aetolia, a Magnesian, an Enian, an Athenian, and a Boeotian complete the number.

“They took their stand where the appointed judges
Had cast their lots, and ranged the rival cars;
Rang out the brazen trump!  Away they bound,
Cheer the hot steeds and shake the slackened reins
As with a body the large space is filled
With the huge clangour of the rattling cars:
High whirl aloft the dust-clouds; blent together
Each presses each—and the lash rings—and loud
Snort the wild steeds, and from their fiery breath,
Along their manes and down the circling wheels,
Scatter the flaking foam.  Orestes still,
Ay, as he swept around the perilous pillar
Last in the course, wheel’d in the rushing axle,
The left rein curbed—that on the dexter hand
Flung loose.  So on erect the chariots rolled!
Sudden the Aenian’s fierce and headlong steeds
Broke from the bit—and, as the seventh time now
The course was circled, on the Libyan car
Dash’d their wild fronts: then order changed to ruin:
Car crashed on car—the wide Crissaean plain
Was, sealike, strewn with wrecks: the Athenian saw,
Slackened his speed, and, wheeling round the marge,
Unscathed and skilful, in the midmost space,
Left the wild tumult of that tossing storm.
Behind, Orestes, hitherto the last,
Had yet kept back his coursers for the close;
Now one sole rival left—on, on he flew,
And the sharp sound of the impelling scourge
Rang in the keen ears of the flying steeds.
He nears—he reaches—they are side by side
Now one—the other—by a length the victor.
The courses all are past—the wheels erect
All safe—when as the hurrying coursers round
The fatal pillar dash’d, the wretched boy
Slackened the left rein; on the column’s edge
Crash’d the frail axle—headlong from the car,
Caught and all meshed within the reins he fell;
And masterless, the mad steeds raged along!

Loud from that mighty multitude arose
A shriek—a shout!  But yesterday such deeds
To-day such doom!  Now whirled upon the earth,
Now his limbs dash’d aloft, they dragged him—those
Wild horses—till all gory from the wheels
Released—and no man, not his nearest friends,
Could in that mangled corpse have traced Orestes.
They laid the body on the funeral pyre,
And while we speak, the Phocian strangers bear,
In a small, brazen, melancholy urn,
That handful of cold ashes to which all
The grandeur of the beautiful hath shrunk.
Hither they bear him—in his father’s land
To find that heritage—a tomb!”

It is much to be regretted that this passage, so fine in the original, is liable to one great objection—it has no interest as connected with the play, because the audience know that Orestes is not dead; and though the description of the race retains its animation, the report of the catastrophe loses the terror of reality, and appears but a highly-coloured and elaborate falsehood.

The reader will conceive the lamentations of Electra and the fearful joy of Clytemnestra at a narrative by which the one appears to lose a brother and a friend—the other a son and an avenging foe.

Chrysothemis joyfully returns to announce, that by the tomb of Agamemnon she discovers a lock of hair; libations yet moisten the summit of the mound, and flowers of every hue are scattered over the grave. “These,” she thinks, “are signs that Orestes is returned.” Electra, informing her of the fatal news, proposes that they, women as they are, shall attempt the terrible revenge which their brother can no longer execute. When Chrysothemis recoils and refuses, Electra still nurses the fell design. The poet has more than once, and now again with judgment, made us sensible of the mature years of Electra 364 (#x28_x_28_i185); she is no passionate, wavering, and inexperienced girl, but the eldest born of the house; the guardian of the childhood of its male heir; unwedded and unloving, no soft matron cares, no tender maiden affections, have unbent the nerves of her stern, fiery, and concentrated soul. Year after year has rolled on to sharpen her hatred—to disgust her with the present—to root her to one bloody memory of the past—to sour and freeze up the gentle thoughts of womanhood—to unsex

“And fill her from the crown to the toe, topful
Of direst cruelty—make thick her blood
Stop up the access and passage to remorse,” 365 (#x28_x_28_i191)

and fit her for one crowning deed, for which alone the daughter of the king of men lives on.

At length the pretended Phocians enter, bearing the supposed ashes of Orestes; the chief of the train addresses himself to Electra, and this is the most dramatic and touching scene in the whole tragedy. When the urn containing, as she believes, the dust of her brother, is placed in the hands of Electra, we can well overleap time and space, and see before us the great actor who brought the relics of his own son upon the stage, and shed no mimic sorrows 366 (#x28_x_28_i194)—we can well picture the emotions that circle round the vast audience—pity itself being mingled with the consciousness to which the audience alone are admitted, that lamentation will soon be replaced by joy, and that the living Orestes is before his sister. It is by a most subtle and delicate art that Sophocles permits this struggle between present pain and anticipated pleasure, and carries on the passion of the spectators to wait breathlessly the moment when Orestes shall be discovered. We now perceive why the poet at once, in the opening of the play, announced to us the existence and return of Orestes—why he disdained the vulgar source of interest, the gross suspense we should have felt, if we had shared the ignorance of Electra, and not been admitted to the secret we impatiently long to be communicated to her. In this scene, our superiority to Electra, in the knowledge we possess, refines and softens our compassion, blending it with hope. And most beautifully here does Sophocles remove far from us the thought of the hard hatred that hitherto animates the mourner—the strong, proud spirit is melted away—the woman and the sister alone appear. He whom she had loved more dearly than a mother—whom she had nursed, and saved, and prayed for, is “a nothing” in her hands; and the last rites it had not been hers to pay. He had been

“By strangers honoured and by strangers mourned.”

All things had vanished with him—“vanished in a day”—“vanished as by a hurricane”—she is left with her foes alone. “Admit me” (she cries), “to thy refuge—make room for me in thy home.”

In these lamentations, the cold, classic drama seems to warm into actual life. Art, exquisite because invisible, unites us at once with imperishable nature—we are no longer delighted with Poetry—we are weeping with Truth.

At length Orestes reveals himself, and now the plot draws to its catastrophe. Clytemnestra is alone in her house, preparing a caldron for the burial; Electra and the chorus are on the stage; the son—the avenger, is within; suddenly the cries of Clytemnestra are heard. Again—again! Orestes re-enters a parricide! 367 (#x28_x_28_i197) He retires as Aegisthus is seen approaching; and the adulterous usurper is now presented to us for the first and last time—the crowning victim of the sacrifice. He comes flushed with joy and triumph. He has heard that the dreaded Orestes is no more. Electra entertains him a few moments with words darkly and exultingly ambiguous. He orders the doors to be thrown open, that all Argos and Mycenae may see the remains of his sole rival for the throne. The scene opens. On the threshold (where, with the Greeks, the corpse of the dead was usually set out to view) lies a body covered with a veil or pall. Orestes (the supposed Phocian) stands beside.

“Aegisthus.  Great Jove!  a grateful spectacle!—if thus
May it be said unsinning; yet if she,
The awful Nemesis, be nigh and hear,
I do recall the sentence!  Raise the pall.
The dead was kindred to me, and shall know
A kinsman’s sorrow.
Orestes.           Lift thyself the pall;
Not mine, but thine, the office to survey
That which lies mute beneath, and to salute,
Lovingly sad, the dead one.
Aegisthus.                 Be it so—
It is well said.  Go thou and call the queen:
Is she within?
Orestes.      Look not around for her—
She is beside thee!”

Aegisthus lifts the pall, and beholds the body of Clytemnestra! He knows his fate at once. He knows that Orestes is before him. He attempts to speak. The fierce Electra cuts him short, and Orestes, with stern solemnity, conducts him from the stage to the spot on which Aegisthus had slain Agamemnon, so that the murderer might die by the son’s hand in the place where the father fell. Thus artistically is the catastrophe not lessened in effect, but heightened, by removing the deed of death from the scene—the poetical justice, in the calm and premeditated selection of the place of slaughter, elevates what on the modern stage would be but a spectacle of physical horror into the deeper terror and sublimer gloom of a moral awe; and vindictive murder, losing its aspect, is idealized and hallowed into religious sacrifice.