Sepulchral Paean of short Strophe and Antistrophe: for these libations' sake may the curse be averted—yet who strong enough to come as Averter: while Electra is pouring the libations on the tomb. {157}
Electra returns to Stage, her whole manner changed: as if the prayer had already begun to be fulfilled, she has found the mysterious locks which, she bit by bit lets out, must be those of Orestes—the Chorus, like sailors in a storm, can only invoke the gods: if the day has come, from a small seed a mighty trunk may grow—Electra then discovers foot-prints [as if leading from the Side Stage-door to the Orchestra-staircase] of two travellers; one foot-print agrees with her brother's: {203}
Orestes and Pylades come forward: recognition and joy, Electra hardly believing. She addresses him by four-fold name: as father dear,
The love I owe my mother turns to thee,
My sister's too that ruthlessly was slain,
And thou wast ever faithful brother found.
Orestes compares his family to an eagle's brood orphaned by the spoiler. Electra catching at the omen of eagle, dear bird of Zeus who will avenge his own—Chorus are afraid that their noisy joy may be overheard and ruin all—Orestes has no fear of ruin after the strong oracles of Apollo that bade him come under terrible penalties if he disobeyed: {261}
Leprous sores that creep
All o'er the flesh, and as with cruel jaws
Eat out its ancient nature, and white hairs
On that foul ill to supervene: and still
He spake of other onsets of the Erinnyes,
As brought to issue from a father's blood;
For the dark weapon of the Gods below
Winged by our kindred that lie low in death,
And beg for vengeance, yea, and madness too,
And vague, dim fears at night disturb and haunt me,
Seeing full clearly, though I move my brow
In the thick darkness . . . . and that then my frame
Thus tortured should be driven from the city
With brass-knobbed scourge: and that for such as I
It was not given to share the wine-cup's taste,
Nor votive stream in pure libation poured;
And that my father's wrath invisible
Would drive me from all altars, and that none
Should take me in or lodge with me: at last,
That loathed of all and friendless I should die,
A wretched mummy, all my strength consumed.
Must I not trust such oracles as these? {297}
The Chorus, breaking into lyrics, feel that Justice has at last taken their side: then follows an elaborate
KOMMOS, OR LYRIC CONCERTO
by Orestes, Electra and Chorus, in highly intricate and interwoven Strophes and Antistrophes, with funereal gesture. The jaws of flame do not reduce the corpse to senselessness; they can hear below this our Rite and will send answer—what a fate was Agamemnon's, not that of the warrior who dies leaving high fame at home and laying strong and sure his children's paths in life, but to be struck down by his own kin! But there is a sense of Vengeance being at hand, Erinnys and the Curses of the slain; they make the heart quiver: the Dirge crescendoes till it breaks into the 'Arian rhythm,' a foreign funeral rhythm with violent gestures (proper to the Chorus as Asiatics); and so as a climax breaks up into two semi-choruses: one sings of woe, the other of vengeance, and then the formal Dirge terminates and the Blank Verse recommences. {469}
In a composed frame (and in Blank Verse) Orestes and Electra repeat the distinct prayer for Vengeance and the death of Aegisthus and then address themselves to the means. Orestes enquires as to the meaning of the Sepulchral rites, and the dream is narrated, which he interprets as good omen.