Suddenly, the hideous Phantom of Death becomes visible, ascending the Steps of the Dead [from below the Orchestra on to the Stage]: his pace never flags, yet he cowers, like all things of darkness, before the Bow of Apollo.
Death reproaches Apollo with haunting the dwellings of mortals, and with seeking by that Bow of his to defraud the Infernal Powers of their due. Apollo defends himself: he is but visiting friends he loves: he has no thought of using force. But would he could persuade Death to choose his victims according to the law of nature, and slay ripe lingering age instead of youth!
Death. Greater my glory when the youthful die! {58}
Apollo appeals to self-interest: more sumptuous obsequies await the aged dead.—That, answers Death, were to make laws in favor of the rich.—Apollo condescends to ask mercy for his friend as a favor; but favors, Death sneers, are not in keeping with his manners; and taunts Apollo with his helplessness to resist fate. The taunt rouses Apollo to a flash of prophecy (which is one of his attributes), giving (as the Greek stage loved to do) a glimpse into the end of the story.
Apollo. Yet, ruthless as thou art, soon wilt thou cease {67}
This contest; such a man to Pherae's house
Comes. . . . . He, in this house
A welcome guest to Admetus, will by force
Take his wife from thee; and no thanks from me
Will be thy due; yet what I now entreat
Then thou wilt yield, and I shall hate thee still.
Apollo moves away and disappears in the distance [by Left Side-door], while Death, hurling defiance after him, waves his fatal sword and crosses the threshold. {81}
PARODE, OR CHORUS-ENTRY
Enter the Orchestra [by the Right Archway, as from the neighborhood] the Chorus: Old Men of Pherae, come to enquire how it is with the Queen on the morning of this appointed day of her death. As usual in such Chorus-Entries their chanting is accompanied with music and gesture-dance to a rhythm traditionally associated with marching. But by a very unusual effect they enter in disordered ranks, moving in two loosely-formed bodies towards the Central Altar. {82}
1st Semichorus. What a silence encloses the Palace!
What a hush in the house of Admetus!
2nd Semichorus. Not a soul is at hand of the household
To answer our friendly enquiry—
Is it over, all over but weeping?
Or sees she the light awhile longer,
Our Queen, brightest pattern of women
The wide world through,
Most devoted of wives, our Alcestis?
Arriving at the Altar they fall for a time into compact order, and exchange their marching rhythm for the elaborate Choral ritual, the evolutions taking them to the Right of the Orchestra. {89}