_As if roused by the Watchman's shout, enter the Chorus: Twelve Elders of
Argos: in the usual processional order, combining music, chanting and
gesture-dance, to a rhythm conventionally associated with marching. They
enter on the right (as if from the city), and the Processional Chant
takes them gradually round the Orchestra towards the Thymele, or Altar of
Dionysus, in the centre._
_The Chorus_ in their Processional Chant open the general state of
affairs, especially bringing out the doublesidedness of the situation
[which is the key-note of the whole Drama]: the expected triumph over
Troy, which cannot be far distant now, combined with misgivings as to
misfortunes sure to come as nemesis for the dark deeds connected with the
setting out of the expedition. They open thus:
Lo! the tenth year now is passing {40}
Since, of Priam great avengers,
Menelaos, Agamemnon,
Double-throned and double-sceptred,
Power from sovran Zeus deriving--
Mighty pair of the Atreidae--
Raised a fleet of thousand vessels
Of the Argives from our country,
Potent helpers in their warfare,
Shouting cry of Ares fiercely;
E'en as vultures shriek who hover,
Wheeling, whirling o'er their eyrie, {50}
In wild sorrow for their nestlings,
With their oars of stout wings rowing,
Having lost the toil that bound them
To their callow fledglings' couches.
But on high One--or Apollo,
Zeus, or Pan,--the shrill cry hearing,
Cry of birds that are his clients,
Sendeth forth on men transgressing
Erinnys, slow but sure avenger;
So against young Alexandros
Atreus' sons the Great King sendeth,
Zeus, of host and guest protector: {60}
He, for bride with many a lover,
Will to Danai give and Troïans
Many conflicts, men's limbs straining,
When the knee in dust is crouching,
And the spear-shaft in the onset
Of the battle snaps asunder.
But as things are now, so are they,
So, as destined, shall the end be.
Nor by tears nor yet libations
Shall he soothe the wrath unbending {70}
Caused by sacred rites left fireless.
They are going on to soliloquize how they themselves have been shut out
of the glorious expedition, for, in matters of War, old age is but a
return to boyhood; when {82}
_The Chorus-Procession having reached the Thymele, turn towards the
Stage. Meanwhile the great Central Door of the Stage has opened, and a
solemn Procession filed out on the Stage, consisting of the Queen and her
Attendants, bearing torches and incense, and offerings for the Gods; they
have during the Choral Procession silently advanced to the different
Statues along the front of the Palace, made offerings and commenced the
sacrificial riles. When the Chorus turn towards the Stage, the whole
Scene is ablaze with fires and trembling with clouds of incense, rich
unguents perfume the whole Theatre, while a solemn Religious ritual is
being celebrated in dumb show._
_The Chorus_ break off their Processional Chant [_keeping the same
rhythm_] to enquire what is the meaning of these solemn rites, and
whether the Queen can solve their doubt, which wavers between hope and
foreboding:
_The Queen signifying, by a gesture, that the Ritual must not be
interrupted by speech, the Chorus proceed to take their regular position
round the Thymele, and address themselves to their_ {104}