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] 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.
IX. Of the seven plays left to us, “The Trachiniae” is usually considered the least imbued with the genius of Sophocles; and Schlegel has even ventured on the conjecture, singularly destitute of even plausible testimony, that Sophocles himself may not be the author. The plot is soon told. The play is opened by Deianira, the wife of Hercules, who indulges in melancholy reflections on the misfortunes of her youth, and the continual absence of her husband, of whom no tidings have been heard for months. She soon learns from her son, Hyllus, that Hercules is said to be leading an expedition into Euboea; and our interest is immediately excited by Deianira’s reply, which informs us that oracles had foretold that this was to be the crisis [368] in the life of Hercules—that he was now to enjoy rest from his labours, either in a peaceful home or in the grave; and she sends Hyllus to join his father, share his enterprise and fate. The chorus touchingly paint the anxious love of Deianira in the following lines:
“Thou, whom the starry-spangled Night did lull
Into the sleep from which—her journey done
Her parting steps awake thee—beautiful
Fountain of flame, oh Sun!
Say, on what seagirt strand, or inland shore
(For earth is bared before thy solemn gaze),
In orient Asia, or where milder rays
Tremble on western waters, wandereth he
Whom bright Alcmena bore?
Ah! as some bird within a lonely nest
The desolate wife puts sleep away with tears;
And ever ills to be
Haunting the absence with dim hosts of fears,
Fond fancy shapes from air dark prophets of the breast.”
In her answer to the virgin chorus, Deianira weaves a beautiful picture of maiden youth as a contrast to the cares and anxieties of wedded life:
“Youth pastures in a valley of its own;
The scorching sun, the rains and winds of Heaven,
Mar not the calm—yet virgin of all care;
But ever with sweet joys it buildeth up
The airy halls of life.”
Deianira afterward receives fresh news of Hercules. She gives way to her joy. Lichas, the herald, enters, and confides to her charge some maidens whom the hero had captured. Deianira is struck with compassion for their lot, and with admiration of the noble bearing of one of them, Iole. She is about to busy herself in preparation for their comfort, when she learns that Iole is her rival—the beloved mistress of Hercules. The jealousy evinced by Deianira is beautifully soft and womanly [369]. Even in uttering a reproach on Hercules, she says she cannot feel anger with him, yet how can she dwell in the same house with a younger and fairer rival;
“She in whose years the flower that fades in mine
Opens the leaves of beauty.”