Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Performance Of The Agamemnon Of Aeschylus At Balliol College, Oxford.
parts , and tbe spirit ivith Avhich they threw themselves into the various situations , contributed in no slight degree to the success of the representation ; while their make-up as old ( and semen-hat "pottering" ) men was excellent . Some of them showed considerable dramatic power , especially the Argive to whom fell the famous description of the sacrifice of Iphegeneia ( vv . 224—246 ) . The " Cborodidaskalos , " Mr . Bradley , must be complimented on the results of
his training . During this ode , Cly temnestra , attended b y two handmainens , appears lighting the sacrificial fire on altars in front of the house . Cl ytemnestra ' s " get up " was admirable , ancl realised the conception of a handsome masculinefeatured woman better , perhaps , than any woman actor could have clone ; while a certain stiffness in ber gesture and manner mi ght fairly be interpreted
as indicating dignity , and ivas ivell suited to her part in later scenes . Mr : Benson will forgive us for saying that the representative of the leading character in such a drama should not have been open to any reproach of imperfect knowledge of bis part , or iva-nt of sufficient attention to its details ; but as we see that he had the general management on his hands , Ave can make alloivances for minor shortcomings . Some conversation between Cl ytemnestra and tbe Chorus is followed by a long lyric passage , in which we were especially struck
by . tbe Eifth Argive s delivery of the beautiful passage describing Helen ' s flight and the grief of Menelaus ( vv . 402—419 ) . Then arrives the Herald from Troy , ivith an account of all the sufferings ancl triumph of the army , and announces the approach of Agamemnon . He is sent back b y Clytemnestra with a someAA'bat strained message of welcome to Agamemnon , and the Chorus sing an ode presaging ill for a success which springs from tbe wrong done by Paris and Helen . Wrong begets wrong , tbey sayancl justice turns from
, impious success . While they are singing , tbe curtain draivs back at one of the side scenes , and discovers Agamemnon standing in his chariot , with Cassandra by his side ; and , after he has exchanged greetings with the Chorus , Clytemnestra conies forward to greet him , describing ber loneliness without him , and joy at his return , and entreating him to pass in over purple carpets . Agamemnon deprecates sneh honours , but yields after a while , ancl bids her
welcome Cassandra , at sight of ivhom Cl ytemnestra scowls , but turns aivay , and , as her lord goes in , utters an ominous prayer to Zeus to accomplish her wishes . The whole of this scene ivas Avell rendered , and Agamemnon ' s dignified manner and fine l'oice gave a good presentment of the victorious chief . Clytemnestra , too , rose to tbe occasion : lier coldness of manner towards Agamemnon , which belies her words , ancl her start and momentary look of displeasure AA'hen introduced to Cassandra , being excellently acted .
All is now ready for the catastrophe , and the Chorus begin to forebode evil . Clytemnestra conies out and bids Cassandra come in : but she sits as in a trance , aucl pays no heed . Afterwards , Avben Cl ytemnestra has gone in , she comes doAvn from the chariot .
At the sight of tbe statue of Apollo she is seized by the prophetic frenzy , and calls upon the god as her destroyer . In a series of visions she sees the past crimes of the house , and , iu ivords which the Chorus cannot interpret speaks of the deed about to be done and of her OAi'n death . In proof of her prophetic poAver she relates the bestowal of the gift by Apollo and the doom by which she wins no credence for her oracles ; in increasing anguish she describes first the children of Thyestes , sitting like shapes seen in dreams , in the court ; and then Clytemnestra ( basilisk or Scylla ); and at last , urged by the Chorus , she utters Agamemnon's name and lainlfortells his death and her own . Tearing the hetic wreath
p y prop from her neck , and declaring the vengeance which will one day come at the hand of Orestes , she prepares to enter the palace . A breath , as if from a tomb , drives her back for a moment ; then , calling- for the last time on the sun , and bewailing the unstable fortune of man , she passes in . ( II . 1028—1290 ) . This ivas , perhaps , the most effective piece of acting in the whole play , and Mr . Lawrence , or whoever had " coached " him , deserves great praise for the
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Performance Of The Agamemnon Of Aeschylus At Balliol College, Oxford.
parts , and tbe spirit ivith Avhich they threw themselves into the various situations , contributed in no slight degree to the success of the representation ; while their make-up as old ( and semen-hat "pottering" ) men was excellent . Some of them showed considerable dramatic power , especially the Argive to whom fell the famous description of the sacrifice of Iphegeneia ( vv . 224—246 ) . The " Cborodidaskalos , " Mr . Bradley , must be complimented on the results of
his training . During this ode , Cly temnestra , attended b y two handmainens , appears lighting the sacrificial fire on altars in front of the house . Cl ytemnestra ' s " get up " was admirable , ancl realised the conception of a handsome masculinefeatured woman better , perhaps , than any woman actor could have clone ; while a certain stiffness in ber gesture and manner mi ght fairly be interpreted
as indicating dignity , and ivas ivell suited to her part in later scenes . Mr : Benson will forgive us for saying that the representative of the leading character in such a drama should not have been open to any reproach of imperfect knowledge of bis part , or iva-nt of sufficient attention to its details ; but as we see that he had the general management on his hands , Ave can make alloivances for minor shortcomings . Some conversation between Cl ytemnestra and tbe Chorus is followed by a long lyric passage , in which we were especially struck
by . tbe Eifth Argive s delivery of the beautiful passage describing Helen ' s flight and the grief of Menelaus ( vv . 402—419 ) . Then arrives the Herald from Troy , ivith an account of all the sufferings ancl triumph of the army , and announces the approach of Agamemnon . He is sent back b y Clytemnestra with a someAA'bat strained message of welcome to Agamemnon , and the Chorus sing an ode presaging ill for a success which springs from tbe wrong done by Paris and Helen . Wrong begets wrong , tbey sayancl justice turns from
, impious success . While they are singing , tbe curtain draivs back at one of the side scenes , and discovers Agamemnon standing in his chariot , with Cassandra by his side ; and , after he has exchanged greetings with the Chorus , Clytemnestra conies forward to greet him , describing ber loneliness without him , and joy at his return , and entreating him to pass in over purple carpets . Agamemnon deprecates sneh honours , but yields after a while , ancl bids her
welcome Cassandra , at sight of ivhom Cl ytemnestra scowls , but turns aivay , and , as her lord goes in , utters an ominous prayer to Zeus to accomplish her wishes . The whole of this scene ivas Avell rendered , and Agamemnon ' s dignified manner and fine l'oice gave a good presentment of the victorious chief . Clytemnestra , too , rose to tbe occasion : lier coldness of manner towards Agamemnon , which belies her words , ancl her start and momentary look of displeasure AA'hen introduced to Cassandra , being excellently acted .
All is now ready for the catastrophe , and the Chorus begin to forebode evil . Clytemnestra conies out and bids Cassandra come in : but she sits as in a trance , aucl pays no heed . Afterwards , Avben Cl ytemnestra has gone in , she comes doAvn from the chariot .
At the sight of tbe statue of Apollo she is seized by the prophetic frenzy , and calls upon the god as her destroyer . In a series of visions she sees the past crimes of the house , and , iu ivords which the Chorus cannot interpret speaks of the deed about to be done and of her OAi'n death . In proof of her prophetic poAver she relates the bestowal of the gift by Apollo and the doom by which she wins no credence for her oracles ; in increasing anguish she describes first the children of Thyestes , sitting like shapes seen in dreams , in the court ; and then Clytemnestra ( basilisk or Scylla ); and at last , urged by the Chorus , she utters Agamemnon's name and lainlfortells his death and her own . Tearing the hetic wreath
p y prop from her neck , and declaring the vengeance which will one day come at the hand of Orestes , she prepares to enter the palace . A breath , as if from a tomb , drives her back for a moment ; then , calling- for the last time on the sun , and bewailing the unstable fortune of man , she passes in . ( II . 1028—1290 ) . This ivas , perhaps , the most effective piece of acting in the whole play , and Mr . Lawrence , or whoever had " coached " him , deserves great praise for the