DIVINE INTERVENTION

_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 thee Thy mother's brothers, twin-born sons of Jove Castor, and this my brother Pollux, speak.

Late, having calmed the ocean waves, that swell'd The lab'ring vessel menacing, we came To Argos, where our sister we beheld, Thy mother, slain: with justice vengeance falls On her; in thee unholy is the deed.

Yet Phoebus, Phoebus--but, my king is he; I will be silent: yet, though wise, he gave To thee response not wise; but I must praise Perforce these things. Thou now must do what Fate And 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 a.s.sisting. 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 G.o.ds, 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 G.o.ds mournful to hear. Farewell to Argos: the G.o.ds hurry Orestes away for the Furies are already on his track, and conclude:

To the impious thro' the ethereal tract We no a.s.sistance bring: but those to whom Justice and sanct.i.ty 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 G.o.d to mortals this monition gives.

_Chor._ Oh, be you blest! And those, to whom is given Calmly the course of mortal life to pa.s.s, By no affliction sunk, p.r.o.nounce we blest.

[1] The quotations of Euripides are from Potter's translation.

THE ALCESTIS OF EURIPIDES[1]

MEMORANDUM

_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 G.o.ds for Guests, and the G.o.d 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 subst.i.tute.

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._

PROLOGUE

_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 G.o.ds were wont to appear, but on the threshold of the Central Gate._

APOLLO meditates on his happy a.s.sociations 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 one Was 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._

_Death_ reproaches Apollo with haunting the dwellings of mortals, and with seeking by that Bow of his to defraud the Infernal Powers of their due. _Apollo_ defends 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}

_Apollo_ appeals to self-interest: more sumptuous obsequies await the aged dead.--That, answers _Death_, were to make laws in favor of the rich.--_Apollo_ condescends to ask mercy for his friend as a favor; but favors, _Death_ sneers, 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 house Comes... . . He, in this house A welcome guest to Admetus, will by force Take his wife from thee; and no thanks from me Will be thy due; yet what I now entreat Then 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}

PARODE, OR CHORUS-ENTRY

_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 a.s.sociated 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 household To answer our friendly enquiry-- Is it over, all over but weeping?

Or sees she the light awhile longer, Our Queen, brightest pattern of women The 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 waves Appear, 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 Admetus Give 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 pa.s.s 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 love Nought 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._

CHORAL INTERLUDE I