12 . LITERATURE AND DRAMA 



should be interrupted by a passage which is almost humorous ; 

 but if we think of the necessary action accompanying the words 

 we see that the first verses were chanted as the chorus marched 

 in ; that the passage spoken in character was probably delivered 

 with a complete change of demeanour while the crowd was 

 taking up its place round the central altar ; and that when their 

 final solemn station had been reached on or round this thymele, 

 it would be quite appropriate that they should resume the 

 solemn hymn with dignity. It is strange, however, that they 

 should address Clytemnestra and get no response. Another 

 break in the poem is formed by a passage expressing a kind of 

 protest against the conduct of Artemis, to the effect that, if 

 men would simply trust to the supreme god and his divine laws, 

 all would be well. This protest might be so acted on the stage 

 as to be no interruption. A change of melody, even a change 

 of attitude on the part of the chorus, would suffice. The hymn 

 closes by a strophe in which the chorus give their own reflec- 

 tions on the story, which are rather commonplace. A similar 

 return from the past to the present, from the elevated hymn to 

 the customary reflections of respectable people, will be found on 

 examination to precede each dramatic interlude in the play. 

 The name dramatic interlude is given advisedly ; for while the 

 plays of Sophocles are dramas with choral interludes, the 

 ( Agamemnon ' is a lyrical performance with dramatic interludes. 



When the poem was ended and the old men had moralised 

 thereon, Clytemnestra entered, and standing on a raised plat- 

 form, our modern stage, was addressed by the chorus, grouped 

 below in front, where the pit of a modern theatre is. She 

 answers their questions as a modern orator answers questions 

 from the hustings, tells them Troy is taken, and describes how 

 the signal came from Ida by beacons successively fired ; in 

 another speech she draws a picture of the sack of Troy. These 

 speeches serve the dramatic purpose of introducing Clytem- 

 nestra to us with great splendour. 



The first interlude is now over, Clytemnestra retires, and 

 the chorus, after a few words of farewell, ' prepare to address 

 the gods rightly.' They cease to be mere commonplace elders 

 of the city, and with an invocation to Zeus begin the second 

 solemn hymn, which describes the flight of Helen. This poem 



