The
Chorus, though of course outnumbered, are nothing daunted, as
representing the legitimate authority of the State now Agamemnon is dead,
and therefore sure to be backed by the City; they make as if to ascend
the stage._
Contest in blows between Chorus and Bodyguard of Aegisthus appears
inevitable, but Clytaemnestra throws herself between them, urges that
enough ill has already been done, and after further defiances, forces
Aegisthus away and play abruptly terminates: _the Chorus returning to the
Right into the City, and the Bodyguard into the Palace_.
[1] This is a mere guess: we have no information as to how the evolutions
of a Proem differed from those of a regular Choral Ode.
[2] The Chorus generally speak of themselves in the Singular.
[3] This is simply an English pun substituted for a Greek one: the name
Helen resembles a Greek root which signifies captivity.
SECOND PLAY: MIDDAY:
THE SEPULCHRAL RITES
(_CHOEPHORI_)
PROLOGUE
_The Permanent Scene, as before, represents the Palace of Agamemnon at
Argos.
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