THE ^AGAMEMNON* AND < TRACHINI^> 15 



the chariot to ascend the stage by the central steps. He did 

 not quite like being kept standing so long, and compared the 

 length of Clytemnestra's speech to the length of his own 

 absence. He was averse to exhibit pride by treading on these 

 purple trappings, but was over-persuaded, taking his boots off 

 first, so as not to spoil the robes. No sooner had Agamemnon 

 reached the stage than he was silent, and apparently passed 

 with Clytemnestra into the palace. The chorus, knowing the 

 queen's real character, were awe-struck, not triumphant. Cas- 

 sandra meanwhile stood motionless in her chariot. Agamem- 

 non's attendants, and the slaves, who laid the trappings down, 

 went off while the chorus were singing their prophetic fears, 

 so as to prepare the audience for what was to come. When the 

 stage and orchestra were ready, the queen returned to tell 

 Cassandra she must enter the palace. Observe that she spoke 

 to her at a distance. Cassandra was mute, and Clytemnestra left 

 her with some show of contempt. The chorus expressed pity 

 for the captive, who probably left the chariot and ascended the 

 stage while she cried on Apollo to tell her to what roof she was 

 come. Here begins a scene worthy of the greatest actress the 

 world ever saw. In a dialogue with the chorus Cassandra 

 gives her own story, the fall of Troy, the legend of Thyestes, 

 and a description of the murder of Agamemnon, instantly 

 about to happen. Sometimes she speaks in her own mind, and 

 sometimes possessed by the prophetic frenzy. We have no 

 more long set speeches suitable simply for declamation, but an 

 unparalleled dramatic scene. The words of the prophetess of 

 truth, cursed in the fated unbelief of all who hear her, would 

 rouse the spectators almost to the frenzy of the seer herself. 

 What? Agamemnon is in there. The woman, beautiful, 

 miserable, wise, warns you screams to you tells you the 

 whole story, which will even now be irrevocable fact ; and you, 

 crowd of old wiseacres, stand, and listen, and admire, and ask 

 questions, and all the while the fatal net is closing round the 

 king, and Clytemnestra, unseen within, grasps the fatal axe. 

 Would that Mr. Browning had given us one phrase that Cas- 

 sandra might use ! If ever inspired poet wrote, ^Eschylus was 

 inspired when he wrote this scene. The old Thespian mummery 

 was gone gone for ever. Warm -flesh and bloocL-haispoken 



NIVER6IT? 



