Agamemnon by Aeschylus (the Full Text) Essay Example

Agamemnon by Aeschylus (the Full Text) Essay Example Agamemnon by Aeschylus (the Full Text) Essay Agamemnon by Aeschylus (the Full Text) Essay Essay Topic: Black Dog of Fate Enders Game In Love and Trouble Stories of Black Women Mark Twain The Glass Castle The Handmaids Tale The Haunting Of Hill House Uncle Toms Children Watchmen AGAMEMNON CHARACTERS IN THE PLAY AGAMEMNON, son of Atreus and King of Argos and Mycenae; Commander-in-Chief of the Greek armies in the War against Troy. CLYTEMNESTRA, daughter of Tyndareus, sister of Helen; wife to Agamemnon. AIGISTHOS, son of Thyestes, cousin and blood-enemy to Agamemnon lover to Clytemnestra. CASSANDRA, daughter of Priam, King of Troy, a prophetess; now slave to Agamemnon. A WATCHMAN. A HERALD. CHORUS of Argive Elders, faithful to AGAMEMNON. CHARACTERS MENTIONED IN THE PLAY MENELAUS, brother to Agamemnon, husband of Helen, and King of Sparta. The two sons of Atreus are called the Atreidae. HELEN, _most beautiful of women; daughter of Tyndareus, wife to MENELAUS; beloved and carried off by Paris. _ PARIS, son of Priam, King of Troy, lover of Helen. Also called ALEXANDER. PRIAM, the aged King of Troy. The Greeks are also referred to as Achaians, Argives, Danaans; Troy is also called Ilion. The play was produced in the archonship if Philocles (458 B. C. ). The first prize was won by Aeschylus with the Agamemnon, Libation-Bearers, Eumenides, and the Satyr Play Proteus. THE AGAMEMNON The Scene represents a space in front of the Palace of Agamemnon in Argos, with an Altar of Zeus in the centre and many other altars at the sides. On a high terrace of the roof stands a WATCHMAN. It is night. WATCHMAN. This waste of year-long vigil I have prayed God for some respite, watching elbow-stayed, As sleuthhounds watch, above the Atreidaes hall, Till well I know yon midnight festival Of swarming stars, and them that lonely go, Bearers to man of summer and of snow, Great lords and shining, throned in heavenly fire. And still I await the sign, the beacon pyre That bears Troys capture on a voice of flame Shouting oerseas. So surely to her aim Cleaveth a womans heart, man-passioned! And when I turn me to my bed- my bed Dew-drenched and dark and stumbling, to which near Cometh no dream nor sleep, but alway Fear Breathes round it, warning, lest an eye once fain To close may close too well to wake again; Think I perchance to sing or troll a tune For medicine against sleep, the music soon Changes to sighing for the tale untold Of this house, not well mastered as of old. Howbeit, may God yet send us rest, and light The flame of good news flashed across the night. [He is silent, watching. Suddenly at a distance in the night there is a glimmer of fire, increasing presently to a blaze. Ha! 0 kindler of the dark, O daylight birth Of dawn and dancing upon Argive earth For this great end! All hail! - What ho, within! What ho! Bear word to Agamemnons queen To rise, like dawn, and lift in answer strong To this glad lamp her womens triumph-song, If verily, verily, Ilions citadel Is fallen, as yon beacons flaming tell. And I myself will tread the dance before All others; for my masters dice I score Good, and mine own to-night three sixes plain. [Lights begin to show in the Palace. Oh, good or ill, my hand shall clasp again My dear lords hand, returning! Beyond that I speak not. A great ox hath laid his weight Across my tongue. But these stone walls know well, If stones had speech, what tale were theirs to tell. For me, to him that knoweth I can yet Speak; if another questions I forget. [Exit into the Palace. The womens Ololuge or triumph-cry, is heard within and then repeated again and again further off in the City. Handmaids and Attendants come from the Palace, bearing torches, with which they kindle incense on the altars. Among them comes CLYTEMNESTRA, who throws herself on her knees at the central Altar in an agony of prayer. Presently from the further side of the open space appear the CHORUS of ELDERS and move gradually into position in front of the Palace. The day begins to dawn. CHORUS. Ten years since Ilions righteous foes, The Atreidae strong, Menelaus and eke Agamemnon arose, Two thrones, two sceptres, yoked of God; And a thousand galleys of Argos trod The seas for the righting of wrong; And wrath of battle about them cried, As vultures cry, Whose nest is plundered, and up they fly In anguish lonely, eddying wide, Great wings like oars in the waste of sky, Their task gone from them, no more to keep Watch oer the vulture babes asleep. But One there is who heareth on high Some Pan or Zeus, some lost Apollo- That keen bird-throated suffering cry Of the stranger wronged in Gods own sky; And sendeth down, for the law transgressed, The Wrath of the Feet that follow. So Zeus the Watcher of Friend and Friend, Zeus who Prevaileth, in after quest For One Beloved by Many Men On Paris sent the Atreidae twain; Yea, sent him dances before the end For his bridal cheer, Wrestlings heavy and limbs forespent For Greek and Trojan, the knee earth-bent, The bloody dust and the broken spear. He knoweth, that which is here is here, And that which Shall Be followeth near; He seeketh God with a great desire, He heaps his gifts, he essays his pyre With torch below and with oil above, With tears, but never the wrath shall move Of the Altar cold that rejects his fire. We saw the Avengers go that day, And they left us here; for our flesh is old And serveth not; and these staves uphold A strength like the strength of a child at play. For the sap that springs in the young mans hand And the valour of age, they have left the land. And the passing old, while the dead leaf blows And the old staff gropeth his three-foot way, Weak as a babe and alone he goes, A dream left wandering in the day. Coming near the Central Altar they see CLYTEMNESTRA, who is still rapt in prayer. But thou, O daughter of Tyndareus, Queen Clytemnestra, what need? What news? What tale or tiding hath stirred thy mood To send forth word upon all our ways For incensed worship? Of every god That guards the city, the deep, the high, Gods of the mart, gods of the sky, The altars blaze. One here, one there, To the skyey night the firebrands flare, Drunk with the soft and guileless spell Of balm of kings from the inmost cell. Tell, O Queen, and reject us not, All that can or that may be told, And healer be to this aching thought, Which one time hovereth, evil-cold, And then from the fires thou kindlest Will Hope be kindled, and hungry Care Fall back for a little while, nor tear The heart that beateth below my breast. [CLYTEMNESTRA rises silently, as though unconscious of their presence, and goes into the House. The CHORUS take position and begin their first Stasimon, or Standingsong, CHORUS. (The sign seen on the way; Eagles tearing a hare with young. ) It is ours to tell of the Sign of the War-way given, To men more strong, (For a life that is kin unto ours yet breathes from heaven A spell, a Strength of Song:) How the twin-throned Might of Achaia, one Crown divided Above all Greeks that are, With avenging hand and spear upon Troy was guided By the Bird of War. Twas a King among birds to each of the Kings of the Sea, One Eagle black, one black but of fire-white tail, By the House, on the Spear-hand, in station that all might see; And they tore a hare, and the life in her womb that grew, Yea, the life unlived and the races unrun they slew. Sorrow, sing sorrow: but good prevail, prevail! (How Calchas read the sign; his Vision of the Future. ) And the War-seer wise, as he looked on the Atreid Yoke Twain-tempered, knew Those fierce hare-renders the lords of his host; and spoke, Reading the omen true. At the last, the last, this Hunt hunteth Ilion down, Yea, and before the wall Violent division the fulness of land and town Shall waste withal; If only Gods eye gloom not against our gates, And the great War-curb of Troy, fore-smitten, fail. For Pity lives, and those winged Hounds she hates, Which tore in the Tremblers body the unborn beast. And Artemis abhorreth the eagles feast. Sorrow, sing sorrow: but good prevail, prevail! (He prays to Artemis to grant the fulfilment of the Sign, but, as his vision increases, he is afraid and calls on Paian, the Healer, to hold her back. ) Thou beautiful One, thou tender lover Of the dewy breath of the Lions child; Thou the delight, through den and cover, Of the young life at the breast of the wild, Yet, oh, fulfill, fulfill The sign of the Eagles Kill! Be the vision accepted, albeit horrible†¦. But I-e, I-e! Stay her, O Paian, stay! For lo, upon other evil her heart she setteth, Long wastes of wind, held ship and un ventured sea, On, on, till another Shedding of Blood be wrought: They kill but feast not; they pray not; the law is broken; Strife in the flesh, and the bride she obeyeth not, And beyond, beyond, there abideth in wrath reawoken- It plotteth, it haunteth the house, yea, it never forgetteth- Wrath for a child to be. So Calchas, reading the wayside eagles sign, Spake to the Kings, blessings and words of bale; And like his song be thine, Sorrow, sing sorrow: but good prevail, prevail! (Such religion belongs to old and barbarous gods, and brings no peace. I turn to Zeus, who has shown man how to Learn by Suffering. ) Zeus! Zeus, whateer He be, If this name He love to hear This He shall be called of me. Searching earth and sea and air Refuge nowhere can I find Save Him only, if my mind Will cast off before it die The burden of this vanity. One there was who reigned of old, Big with wrath to brave and blast, Lo, his name is no more told! And who followed met at last His Third-thrower, and is gone. Only they whose hearts have known Zeus, the Conqueror and the Friend, They shall win their visions end; Zeus the Guide, who made man turn Thought-ward, Zeus, who did ordain Man by Suffering shall Learn. So the heart of him, again Aching with remembered pain, Bleeds and sleepeth not, until Wisdom comes against his will. Tis the gift of One by strife Lifted to the throne of life. (AGAMEMNON accepted the sign. Then came long delay, and storm while the fleet lay at Aulis. ) So that day the Elder Lord, Marshal of the Achaian ships, Strove not with the prophets word, Bowed him to his fates eclipse, When with empty jars and lips Parched and seas impassable Fate on that Greek army fell, Fronting Chalcis as it lay, By Aulis in the swirling bay. (Till at last Calchas answered that Artemis was wroth and demanded the death of AGAMEMNONS daughter. The Kings doubt and grief. ) And winds, winds blew from Strymon River, Unharboured, starving, winds of waste endeavour, Man-blinding, pitiless to cord and bulwark, And the waste of days was made long, more long, Till the flower of Argos was aghast and withered; Then through the storm rose the War-seers song, And told of medicine that should tame the tempest, But bow the Princes to a direr wrong. Then Artemis he whispered, he named the name; And the brother Kings they shook in the hearts of them, And smote on the earth their staves, and the tears came. But the King, the elder, hath found voice and spoken: A heavy doom, sure, if Gods will were broken; But to slay mine own child, who my house delighteth, Is that not heavy? That her blood should flow On her fathers hand, hard beside an altar? My path is sorrow wheresoeer I go. Shall Agamemnon fail his ships and people, And the hosts of Hellas melt as melts the snow? They cry, they thirst, for a death that shall break the spell, For a Virgins blood: tis a rite of old, men tell. And they burn with longing. - O God may the end be well! (But ambition drove him, till he consented to the sin of slaying his daughter, Iphigenia, as a sacrifice. ) To the yoke of Must-Be he bowed him slowly, And a strange wind within his bosom tossed, A wind of dark thought, unclean, unholy; And he rose up, daring to the uttermost. For men are boldened by a Blindness, straying Toward base desire, which brings grief hereafter, Yea, and itself is grief; So this man hardened to his own childs slaying, As help to avenge him for a womans laughter And bring his ships relief! Her Father, Father, her sad cry that lingered, Her virgin hearts breath they held all as naught, Those bronze-clad witnesses and battle-hungered; And there they prayed, and when the prayer was wrought He charged the young men to uplift and bind her, As ye lift a wild kid, high above the altar, Fierce-huddling forward, fallen, clinging sore To the robe that wrapt her; yea, he bids them hinder The sweet mouths utterance, the cries that falter, - His curse for evermore! - With violence and a curbs voiceless wrath. Her stole of saffron then to the ground she threw, And her eye with an arrow of pity found its path To each mans heart that slew: A face in a picture, striving amazedly; The little maid who danced at her fathers board, The innocent voice mans love came never nigh, Who joined to his her little paean-cry When the third cup was poured†¦. What came thereafter I saw not neither tell. But the craft of Calchas failed not. - Tis written, He Who Suffereth Shall Learn; the law holdeth well. And that which is to be, Ye will know at last; why weep before the hour? For come it shall, as out of darkness dawn. Only may good from all this evil flower; So prays this Heart of Argos, this frail tower Guarding the land alone. [As they cease, CLYTEMNESTRA comes from the Palace with Attendants. She has finished her prayer and sacrifice, and is now wrought up to face the meeting with her husband. The Leader approaches her. LEADER. Before thy state, O Queen, I bow mine eyes. Tis written, when the mans throne empty lies, The woman shall be honoured. - Hast thou heard Some tiding sure? Or is it Hope, hath stirred To fire these altars? Dearly though we seek To learn, tis thine to speak or not to speak. CLYTEMNESTRA. Glad-voiced, the old saw telleth, comes this morn, The Star-child of a dancing midnight born, And beareth to thine ear a word of joy Beyond all hope: the Greek hath taken Troy. LEADER. How? Thy word flies past me, being incredible. CLYTEMNESTRA. Ilion is ours. No riddling tale I tell. LEADER. Such joy comes knocking at the gate of tears. CLYTEMNESTRA. Aye, tis a faithful heart that eye declares. LEADER. What warrant hast thou? Is there proof of this? CLYTEMNESTRA. There is; unless a God hath lied there is. LEADER. Some dream-shape came to thee in speaking guise? CLYTEMNESTRA. Who deemeth me a dupe of drowsing eyes? LEADER. Some word within that hovereth without wings? CLYTEMNESTRA. Am I a child to hearken to such things? LEADER. Troy fallen? - But how long? When fell she, say? CLYTEMNESTRA. The very night that mothered this new day. LEADER. And who of heralds with such fury came? CLYTEMNESTRA. A Fire-god, from Mount Ida scattering flame. Whence starting, beacon after beacon burst In flaming message hitherward. Ida first Told Hermes Lemnian Rock, whose answering sign Was caught by towering Athos, the divine, With pines immense- yea, fishes of the night Swam skyward, drunken with that leaping light, Which swelled like some strange sun, till dim and far Makistos watchmen marked a glimmering star; They, nowise loath nor idly slumber-won, Spring up to hurl the fiery message on, And a far light beyond the Euripus tells That word hath reached Messapions sentinels. They beaconed back, then onward with a high Heap of dead heather flaming to the sky. And onward still, not failing nor aswoon, Across the Asopus like a beaming moon The great word leapt, and on Kithairons height Uproused a new relay of racing light. His watchers knew the wandering flame, nor hid Their welcome, burning higher than was bid. Out over Lake Gorgopis then it floats, To Aigiplanctos, waking the wild goats, Crying for Fire, more Fire! And fire was reared, Stintless and high, a stormy streaming beard, That waved in flame beyond the promontory Rock-ridged, that watches the Saronian sea, Kindling the night: then one short swoop to catch The Spiders Crag, our citys tower of watch; Whence hither to the Atreidaes roof it came, A light true-fathered of Idaean flame. Torch-bearer after torch-bearer, behold The tale thereof in stations manifold, Each one by each made perfect ere it passed, And Victory in the first as in the last. These be my proofs and tokens that my lord From Troy hath spoke to me a burning word. LEADER. Woman, speak on. Hereafter shall my prayer Be raised to God; now let me only hear, Again and full, the marvel and the joy. CLYTEMNESTRA. Now, even now, the Achaian holdeth Troy! Methinks there is a crying in her streets That makes no concord. When sweet unguent meets With vinegar in one phial, I warrant none Shall lay those wranglers lovingly at one. So conquerors and conquered shalt thou hear, Two sundered tones, two lives of joy or fear. Here women in the dust about their slain, Husbands or brethren, and by dead old men Pale children who shall never more be free, For all they loved on earth cry desolately. And hard beside them war-stained Greeks, whom stark Battle and then long searching through the dark Hath gathered, ravenous, in the dawn, to feast At last on all the plenty Troy possessed, No portion in that feast nor ordinance, But each man clutching at the prize of chance. Aye, there at last under good roofs they lie Of men spear-quelled, no frosts beneath the sky, No watches more, no bitter moony dew†¦. How blessed they will sleep the whole night through! Oh, if these days they keep them free from sin Toward Ilions conquered shrines and Them within Who watch unconquered, maybe not again The smiter shall be smit, the taker taen. May God but grant there fall not on that host The greed of gold that maddeneth and the lust To spoil inviolate things! But half the race Is run which windeth back to home and peace. Yea, though of God they pass unchallenged, Methinks the wound of all those desolate dead Might waken, groping for its will†¦. Ye hear A womans word, belike a womans fear. May good but conquer in the last incline Of the balance! Of all prayers that prayer is mine. LEADER. O Woman, like a man faithful and wise Thou speakest. I accept thy testimonies And turn to God with praising, for a gain Is won this day that pays for all our pain. CLYTEMNESTRA returns to the Palace. The CHORUS take up their position for the Second Stasimon. AN ELDER. 0 Zeus, All-ruler, and Night the Aid, Gainer of glories, and hast thou thrown Over the towers of Ilion Thy net close-laid, That none so nimble and none so tall Shall escape withal The snare of the slaver that claspeth all? ANOTHER. And Zeus the Watcher of Friend and Fri end I also praise, who hath wrought this end. Long since on Paris his shaft he drew, And hath aimed true, Not too soon falling nor yet too far, The fire of the avenging star. CHORUS. (This is Gods judgement upon Troy. May it not be too fierce! Gold cannot save one who spurneth Justice. ) The stroke of Zeus hath found them! Clear this day The tale, and plain to trace. He judged, and Troy hath fallen. - And have men said That God not deigns to mark mans hardihead, Trampling to earth the grace Of holy and delicate things? - Sin lies that way. For visibly Pride doth breed its own return On prideful men, who, when their houses swell With happy wealth, breathe ever wrath and blood. Yet not too fierce let the due vengeance burn; Only as deemeth well One wise of mood. Never shall state nor gold Shelter his heart from aching Whoso the Altar of Justice old Spurneth to Night unwaking. (The Sinner suffers in his longing till at last Temptation overcomes him; as longing for Helen overcame Paris. ) The tempting of misery forceth him, the dread Child of fore-scheming Woe! And help is vain; the fell desire within Is veiled not, but shineth bright like Sin: And as false gold will show Black where the touchstone trieth, so doth fade His honour in Gods ordeal. Like a child, Forgetting all, he hath chased his winged bird, And planted amid his people a sharp thorn. And no God hears his prayer, or, have they heard, The man so base-beguiled They cast to scorn. Paris to Argos came; Love of a woman led him; So Gods altar he brought to shame, Robbing the hand that fed him. (Helens flight; the visions seen by the Kings seers; the phantom of Helen and the Kings grief. ) She hath left among her people a noise of shield and sword, A tramp of men armed where the long ships are moored; She hath taen in her goings Desolation as a dower; She hath stept, stept quickly, through the great gated Tower, And the thing that could not be, it hath been! And the Seers they saw visions, and they spoke of strange ill: A Palace, a Palace; and a great King thereof: A bed, a bed empty, that was once pressed in love: And thou, thou, what art thou? Let us be, thou so still, Beyond wrath, beyond beseeching, to the lips reft of thee! For she whom he desireth is beyond the deep sea, And a ghost in his castle shall be queen. Images in sweet guise Carven shall move him never, Where is Love amid empty eyes? Gone, gone for ever! (His dreams and his suffering; but the War that he made caused greater and wider suffering. ) But a shape that is a dream, mid the phantoms of the night, Cometh near, full of tears, bringing vain vain delight: For in vain when, desiring, he can feel the joys breath - Nevermore! Nevermore! - from his arms it vanisheth, On wings down the pathways of sleep. In the mid castle hall, on the hearthstone of the Kings, These griefs there be, and griefs passing these, But in each mans dwelling of the host that sailed the seas, A sad woman waits; she has thoughts of many things, And patience in her heart lieth deep. Knoweth she them she sent, Knoweth she? Lo, returning, Comes in stead of the man that went Armour and dust of burning. (The return of the funeral urns; the murmurs of the People. ) And the gold-changer, Ares, who changeth quick for dead, Who poiseth his scale in the striving of the spears, Back from Troy sendeth dust, heavy dust, wet with tears, Sendeth ashes with mens names in his urns neatly spread. And they weep over the men, and they praise them one by one, How this was a wise fighter, and this nobly-slain- Fighting to win back anothers wife! Till a murmur is begun, And there steals an angry pain Against Kings too forward in the strife. There by Ilions gate Many a soldier sleepeth, Young men beautiful; fast in hate Troy her conqueror keepeth. (For the Shedder of Blood is in great peril, and not unmarked by God. May I never be a Sacker of Cities! ) But the rumour of the People, it is heavy, it is chill; And tho no curse be spoken, like a curse doth it brood; And my heart waits some tiding which the dark holdeth still, For of God not unmarked is the shedder of much blood. And who conquers beyond right †¦ Lo, the life of man decays; There be Watchers dim his light in the wasting of the years; He falls, he is forgotten, and hope dies. There is peril in the praise Over-praised that he hears; For the thunder it is hurled from Gods eyes. Glory that breedeth strife, Pride of the Sacker of Cities; Yea, and the conquered captives life, Spare me, O God of Pities! DIVERS ELDERS. - The fire of good tidings it hath sped the city through, But who knows if a god mocketh? Or who knows if all be true? Twere the fashion of a child, Or a brain dream-beguiled, To be kindled by the first Torchs message as it burst, And thereafter, as it dies, to die too. - Tis like a womans sceptre, to ordain Welcome to joy before the end is plain! - Too lightly opened are a womans ears; Her fence downtrod by many trespassers, And quickly crossed; but quickly lost The b urden of a womans hopes or fears. [Here a break occurs in the action, like the descent of the curtain in a modern theatre. A space of some days is assumed to have passed and we find the Elders again assembled. LEADER. Soon surely shall we read the message right; Were fire and beacon-call and lamps of light True speakers, or but happy lights, that seem And are not, like sweet voices in a dream. I see a Herald yonder by the shore, Shadowed with olive sprays. And from his sore Rent raiment cries a witness from afar, Dry Dust, born brother to the Mire of war, That mute he comes not, neither through the smoke Of mountain forests shall his tale be spoke; But either shouting for a joyful day, Or else†¦. But other thoughts I cast away. As good hath dawned, may good shine on, we pray! - And whoso for this City prayeth aught Else, let him reap the harvest of his thought! [Enter the HERALD, running. His garments are torn and war-stained. He falls upon his knees and kisses the Earth, and salutes each Altar in turn. HERALD. Land of my fathers! Argos! Am I here †¦ Home, home at this tenth shining of the year, And all Hopes anchors broken save this one! For scarcely dared I dream, here in mine own Argos at last to fold me to my rest†¦. But now- All Hail, O Earth! O Sunlight blest! And Zeus Most High! [Checking himself as he sees the altar of Apollo. And thou, O Pythian Lord; No more on us be thy swift arrows poured! Beside Scamander well we learned how true Thy hate is. Oh, as thou art Healer too, Heal us! As thou art Saviour of the Lost, Save also us, Apollo, being so tossed With tempest! †¦ All ye Daemons of the Pale! And Hermes! Hermes, mine own guardian, hail! Herald beloved, to whom all heralds bow†¦. Ye Blessed Dead that sent us, receive now In love your children whom the spear hath spared. O House of Kings, O roof-tree thrice-endeared, O solemn thrones! O gods that face the sun! Now, now, if ever in the days foregone, After these many years, with eyes that burn, Give hail and glory to your Kings return! For Agamemnon cometh! A great light Cometh to men and gods out of the night. Grand greeting give him- aye, it need be grand- Who, Gods avenging mattock in his hand, Hath wrecked Troys towers and digged her soil beneath, Till her gods houses, they are things of death; Her altars waste, and blasted every seed Whence life might rise! So perfect is his deed, So dire the yoke on Ilion he hath cast, The first Atreides, King of Kings at last, And happy among men! To whom we give Honour most high above all things that live. For Paris nor his guilty land can score The deed they wrought above the pain they bore. Spoiler and thief, he heard Gods judgement pass; Whereby he lost his plunder, and like grass Mowed down his fathers house and all his land; And Troy pays twofold for the sin she planned. LEADER. Be glad, thou Herald of the Greek from Troy! HERALD. So glad, I am ready, if God will, to die! LEADER. Did love of this land work thee such distress? HERALD. The tears stand in mine eyes for happiness. LEADER. Sweet sorrow was it, then, that on you fell. HERALD. How sweet? I cannot read thy parable. LEADER. To pine again for them that loved you true. HERALD. Did ye then pine for us, as we for you? LEADER. The whole lands heart was dark, and groaned for thee. HERALD. Dark? For what cause? Why should such darkness be? LEADER. Silence in wrong is our best medicine here. HERALD. Your kings were gone. What others need you fear? LEADER. Tis past! Like thee now, I could gladly die. HERALD. Even so! Tis past, and all is victory. And, for our life in those long years, there were Doubtless some grievous days, and some were fair. Who but a god goes woundless all his way? †¦. Oh, could I tell the sick toil of the day, The evil nights, scant decks ill-blanketed; The rage and cursing when our daily bread Came not! And then on land twas worse than all. Our quarters close beneath the enemys wall; And rain- and from the ground the river dew- Wet, always wet! Into our clothes it grew, Plague-like, and bred foul beasts in every hair. Would I could tell how ghastly midwinter Stole down from Ida till the birds dropped dead! Or the still heat, when on his noonday bed The breathless blue sea sank without a wave! †¦. Why think of it? They are past and in the grave, All those long troubles. For I think the slain Care little if they sleep or rise again; And we, the living, wherefore should we ache With counting all our lost ones, till we wake The old malignant fortunes? If Good-bye Comes from their side, Why, let them go, say I. Surely for us, who live, good doth prevail Unchallenged, with no wavering of the scale; Wherefore we vaunt unto these shining skies, As wide oer sea and land our glory flies: By men of Argolis who conquered Troy, These spoils, a memory and an ancient joy, Are nailed in the gods houses throughout Greece. Which whoso readeth shall with praise increase Our land, our kings, and Gods grace manifold Which made these marvels be. - My tale is told. LEADER. Indeed thou conquerest me. Men say, the light In old mens eyes yet serves to learn aright. But Clytemnestra and the House should hear These tidings first, though I their health may share. [During the last words CLYTEMNESTRA has entered from the Palace. CLYTEMNESTRA. Long since I lifted up my voice in joy, When the first messenger from flaming Troy Spake through the dark of sack and overthrow. And mockers chid me: Because beacons show On the hills, must Troy be fallen? Quickly born Are womens hopes! Aye, many did me scorn; Yet gave I sacrifice; and by my word Through all the city our womans cry was heard, Lifted in blessing round the seats of God, And slumbrous incense oer the altars glowed In fragrance. And for thee, what need to tell Thy further tale? My lord himself shall well Instruct me. Yet, to give my lord and king All reverent greeting at his homecoming- What dearer dawn on womans eyes can flame Than this, which casteth wide her gate to acclaim The husband whom God leadeth safe from war? - Go, bear my lord this prayer: That fast and far He haste him to this town which loves his name; And in his castle may he find the same Wife that he left, a watchdog of the hall, True to one voice and fierce to others all; A body and soul unchanged, no seal of his Broke in the waiting years. - No thought of ease Nor joy from other men hath touched my soul, Nor shall touch, until bronze be dyed like wool. A boast so faithful and so plain, I wot, Spoke by a royal Queen doth shame her not. Exit CLYTEMNESTRA. LEADER. Let thine ear mark her message. Tis of fair Seeming, and craves a clear interpreter†¦. But, Herald, I would ask thee; tell me true Of Menelaus. Shall he come with you, Our lands beloved crown, untouched of ill? HERALD. I know not how to speak false words of weal For friends to reap thereof a harvest true. LEADER. Canst speak of truth with comfort joined? Those two Once parted, tis a gulf not lightly crossed. HERALD. Your king is vanished from the Achaian host, He and his ship! Such comfort have I brought. LEADER. Sailed he alone from Troy? Or was he caught By storms in the midst of you, and swept away? HERALD. Thou hast hit the truth; good marksman, as men say! And long to suffer is but brief to tell. LEADER. How ran the sailors talk? Did there prevail One rumour, showing him alive or dead? HERALD. None knoweth, none hath tiding, save the head Of Helios, ward and watcher of the world. LEADER. Then tell us of the storm. How, when God hurled His anger, did it rise? How did it die? HERALD. It likes me not, a day of presage high With dolorous tongue to stain. Those twain, I vow, Stand best apart. When one with shuddering brow, From armies lost, back beareth to his home Word that the terror of her prayers is come; One wound in her great heart, and many a fate For many a home of men cast out to sate The two-fold scourge that worketh Ares lust, Spear crossed with spear, dust wed with bloody dust; Who walketh laden with such weight of wrong, Why, let him, if he will, uplift the song That is Hells triumph. But to come as I Am now come, laden with deliverance high, Home to a land of peace and laughing eyes, And mar all with that fury of the skies Which made our Greeks curse God- how should this be? Two enemies most ancient, Fire and Sea, A sudden friendship swore, and proved their plight By war on us poor sailors through that night Of misery, when the horror of the wave Towered over us, and winds from Strymon drave Hull against hull, till good ships, by the horn Of the mad whirlwind gored and overborne, One here, one there, mid rain and blinding spray, Like sheep by a devil herded, passed away. And when the blessed Sun upraised his head, We saw the Aegean waste a-foam with dead, Dead men, dead ships, and spars disasterful. Howbeit for us, our one unwounded hull Out of that wrath was stolen or begged free By some good spirit- sure no man was he! - Who guided clear our helm; and on till now Hath Saviour Fortune throned her on the prow. No surge to mar our mooring, and no floor Of rock to tear us when we made for shore. Till, fled from that sea-hell, with the clear sun Above us and all trust in fortune gone, We drove like sheep about our brain the thoughts Of that lost army, broken and scourged with knouts Of evil. And, methinks, if there is breath In them, they talk of us as gone to death- How else? - and so say we of them! For thee, Since Menelaus thy first care must be, If by some word of Zeus, who wills not yet To leave the old house for ever desolate, Some ray of sunlight on a far-off sea Lights him, yet green and living †¦ we may see His ship some day in the harbour! Twas the word Of truth ye asked me for, and truth ye have heard! [Exit HERALD. The CHORUS take position for the Third Stasimon. CHORUS. (Surely there was mystic meaning in the name HELENA, meaning which was fulfilled when she fled to Troy. ) Who was He who found for thee That name, truthful utterly- Was it One beyond our vision Moving sure in pre-decision Of mans doom his mystic lips? - Calling thee, the Battle-wed, Thee, the Strife-encompassed, HELEN? Yea, in fates derision, Hell in cities, Hell in ships, Hell in hearts of men they knew her, When the dim and delicate fold Of her curtains backward rolled, And to sea, to sea, she threw her In the West Winds giant hold; And with spear and sword behind her Came the hunters in a flood, Down the oarblades viewless trail Tracking, till in Simois vale Through the leaves they crept to find her, A Wrath, a seed of blood. (The Trojans welcomed her with triumph and praised Alexander till at last their song changed and they saw another meaning in Alexanders name also. ) So the Name to Ilion came On Gods thought-fulfilling flame, She a vengeance and a token Of the unfaith to bread broken, Of the hearth of God betrayed, Against them whose voices swelled Glorying in the prize they held And the Spoilers vaunt outspoken And the song his brethren made Mid the bridal torches burning; Till, behold, the ancient City Of King Priam turned, and turning Took a new song for her learning, A song changed and full of pity, With the cry of a lost nation; And she changed the bridegrooms name: Called him Paris Ghastly-wed; For her sons were with the dead, And her life one lamentation, Mid blood and burning flame. (Like a lions whelp reared as a pet and turning afterwards to a great beast of prey,) Lo, once there was a herdsman reared In his own house, so stories tell, A lions whelp, a milk-fed thing And soft in lifes first opening Among the sucklings of the herd; The happy children loved him well, And old men smiled, and oft, they say, In mens arms, like a babe, he lay, Bright-eyed, and toward the hand that teased him Eagerly fawning for food or play. Then on a day outflashed the sudden Rage of the lion brood of yore; He paid his debt to them that fed With wrack of herds and carnage red, Yea, wrought him a great feast unbidden, Till all the house-ways ran with gore; A sight the thralls fled weeping from, A great red slayer, beard a-foam, High-priest of some blood-cursed altar God had uplifted against that home. (So was it with Helen in Troy. ) And how shall I call the thing that came At the first hour to Ilion city? Call it a dream of peace untold, A secret joy in a mist of gold, A womans eye that was soft, like flame, A flower which ate a mans heart with pity. But she swerved aside and wrought to her kiss a bitter ending, And a wrath was on her harbouring, a wrath upon her friending, When to Priam and his sons she fled quickly oer the deep, With the god to whom she sinned for her watcher on the wind, A death-bride, whom brides long shall weep. (Men say that Good Fortune wakes the envy of God; not so; Good Fortune may be innocent, and then there is no vengeance. A grey word liveth, from the morn Of old time among mortals spoken, That mans Wealth waxen full shall fall Not childless, but get sons withal; And ever of great bliss is born A tear unstanched and a heart broken. But I hold my thought alone and by others unbeguiled; Tis the deed that is unholy shall have issue, child on child, Sin on sin, like his begetters; and th ey shall be as they were. But the man who walketh straight, and the house thereof, tho Fate Exalt him, the children shall be fair. (It is Sin, it is Pride and Ruthlessness, that beget children like themselves till Justice is fulfilled upon them. ) But Old Sin loves, when comes the hour again, To bring forth New, Which laugheth lusty amid the tears of men; Yea, and Unruth, his comrade, wherewith none May plead nor strive, which dareth on and on, Knowing not fear nor any holy thing; Two fires of darkness in a house, born true, Like to their ancient spring. But Justice shineth in a house low-wrought With smoke-stained wall, And honoureth him who filleth his own lot; But the unclean hand upon the golden stair With eyes averse she flieth, seeking where Things innocent are; and, recking not the power Of wealth by man misgloried, guideth all To her own destined hour. Here amid a great procession enter AGAMEMNON on a Chariot. Behind him on another Chariot is CASSANDRA. The CHORUS approach and make obeisance. Some of AGAMEMNONS men have on their shields a White Horse, some a Lion. Their arms are rich and partly barbaric. LEADER. All hail, O King! Hail, Atreus Son! Sacker of Cities! Ilions bane! With what high word shall I greet thee ag ain, How give thee worship, and neither outrun The point of pleasure, nor stint too soon? For many will cling. To fair seeming The faster because they have sinned erewhile; And a man may sigh with never a sting Of grief in his heart, and a man may smile With eyes unlit and a lip that strains. But the wise Shepherd knoweth his sheep, And his eyes pierce deep The faith like water that fawns and feigns. But I hide nothing, O King. That day When in quest of Helen our battle array Hurled forth, thy name upon my hearts scroll Was deep in letters of discord writ; And the ship of thy soul, Ill-helmed and blindly steered was it, Pursuing ever, through men that die, One wild heart that was fain to fly. But on this new day, From the deep of my thought and in love, I say Sweet is a grief well ended; And in times flow Thou wilt learn and know The true from the false, Of them that were left to guard the walls Of thine empty Hall unfriended. [During the above CLYTEMNESTRA has appeared on the Palace steps, with a train of Attendants, to receive her Husband. AGAMEMNON. To Argos and the gods of Argolis All hail, who share with me the glory of this Home-coming and the vengeance I did wreak On Priams City! Yea, though none should speak, The great gods heard our cause, and in one mood Uprising, in the urn of bitter blood, That men should shriek and die and towers should burn, Cast their great vote; while over Mercys urn Hope waved her empty hands and nothing fell. Even now in smoke that City tells her tale; The wrack-wind liveth, and where Ilion died The reek of the old fatness of her pride From hot and writhing ashes rolls afar. For which let thanks, wide as our glories are, Be uplifted; seeing the Beast of Argos hath Round Ilions towers piled high his fence of wrath And, for one woman ravished, wrecked by force A City. Lo, the leap of the wild Horse in darkness when the Pleiades were dead; A mailed multitude, a Lion unfed, Which leapt the tower and lapt the blood of Kings! Lo, to the Gods I make these thanksgivings. But for thy words: I marked them, and I mind Their meaning, and my voice shall be behind Thine. For not many men, the proverb saith, Can love a friend whom fortune prospereth Unenvying; and about the envious brain Cold poison clings, and doubles all the pain Life brings him. His own woundings he must nurse, And feels anothers gladness like a curse. Well can I speak. I know the mirrored glass Called friendship, and the shadow shapes that pass And feign them a Kings friends. I have known but one- Odysseus, him we trapped against his own Will! - who once harnessed bore his yoke right well †¦ Be he alive or dead of whom I tell The tale. And for the rest, touching our state And gods, we will assemble in debate A concourse of all Argos, taking sure Counsel, that what is well now may endure Well, and if aught needs healing medicine, still By cutting and by fire, with all good will, I will essay to avert the after-wrack Such sickness breeds. Aye, Heaven hath led me back; And on this hearth where still my fire doth burn I will go pay to heaven my due return, Which guides me here, which saved me far away. O Victory, now mine own, be mine alway! [CLYTEMNESTRA, at the head of her retinue, steps forward. She controls her suspense with difficulty but gradually gains courage as she proceeds. CLYTEMNESTRA. Ye Elders, Council of the Argive name Here present, I will no more hold it shame To lay my passion bare before mens eyes. There comes a time to a woman when fear dies For ever. None hath taught me. None could tell, Save me, the weight of years intolerable I lived while this man lay at Ilion. That any woman thus should sit alone In a half-empty house, with no man near, Makes her half-blind with dread! And in her ear Alway some voice of wrath; now messengers Of evil; now not so; then others worse, Crying calamity against mine and me. Oh, had he half the wounds that variously Came rumoured home, his flesh must be a net, All holes from heel to crown! And if he met As many deaths as I met tales thereon, Is he some monstrous thing, some Geryon Three-souled, that will not die, till oer his head, Three robes of earth be piled, to hold him dead? Aye, many a time my heart broke, and the noose Of death had got me; but they cut me loose. It was those voices alway in mine ear. For that, too, young Orestes is not here Beside me, as were meet, seeing he above All else doth hold the surety of our love; Let not thy heart be troubled. It fell thus: Our loving spear-friend took him, Strophius The Phocian, who forewarned me of annoy Two-fronted, thine own peril under Troy, And ours here, if the rebel multitude Should cast the Council down. It is mens mood Alway, to spurn the fallen. So spake he, And sure no guile was in him. But for me, The old stormy rivers of my grief are dead Now at the spring; not one tear left unshed. Mine eyes are sick with vigil, endlessly Weeping the beacon-piles that watched for thee For ever answerless. And did I dream, A gnats thin whirr would start me, like a scream Of battle, and show me thee by terrors swept, Crowding, too many for the time I slept. From all which stress delivered and free-souled, I greet my lord: O watchdog of the fold, O forestay sure that fails not in the squall, O strong-based pillar of a towering hall; O single son to a father age-ridden; O land unhoped for seen by shipwrecked men; Sunshine more beautiful when storms are fled; Spring of quick water in a desert dead †¦. How sweet to be set free from any chain! These be my words to greet him home again. No god shall grudge them. Surely I and thou Have suffered in time past enough! And now Dismount, O head with love and glory crowned, From this high car; yet plant not on bare ground Thy foot, great King, the foot that trampled Troy. Ho, bondmaids, up! Forget not your employ, A floor of crimson broideries to spread For the Kings path. Let all the ground be red Where those feet pass; and Justice, dark of yore, Home light him to the hearth he looks not for! What followeth next, our sleepless care shall see Ordered as Gods good pleasure may decree. [The attendants spread tapestries of crimson and gold from the Chariot to the Door of the Palace. AGAMEMNON does not move. AGAMEMNON. Daughter of Leda, watcher of my fold, In sooth thy welcome, grave and amply told, Fitteth mine absent years. Though it had been Seemlier, methinks, some other, not my Queen, Had spoke these honours. For the rest, I say, Seek not to make me soft in womans way; Cry not thy praise to me wide-mouthed, nor fling Thy body down, as to some barbarous king. Nor yet with broidered hangings strew my path, To awake the unseen ire. Tis God that hath Such worship; and for mortal man to press Rude feet upon this broidered loveliness †¦ I vow there is danger in it. Let my road Be honoured, surely; but as man, not god. Rugs for the feet and yonder broidered pall †¦ The names ring diverse! †¦ Aye, and not to fall Suddenly blind is of all gifts the best God giveth, for I reckon no man blest Ere to the utmost goal his race be run. So be it; and if, as this day I have done, I shall do always, then I fear no ill. CLYTEMNESTRA. Tell me but this, nowise against thy will †¦ AGAMEMNON. My will, be sure, shall falter not nor fade. CLYTEMNESTRA. Was this a vow in some great peril made? AGAMEMNON. Enough! I have spoke my purpose, fixed and plain. CLYTEMNESTRA. Were Priam the conqueror †¦ Think, would he refrain? AGAMEMNON. Oh, stores of broideries would be trampled then! CLYTEMNESTRA. Lord, care not for the cavillings of men! AGAMEMNON. The murmur of a people hath strange weight. CLYTEMNESTRA. Who feareth envy, feareth to be great. AGAMEMNON. Tis graceless when a woman strives to lead. CLYTEMNESTRA. When a great conqueror yields, tis grace indeed, AGAMEMNON. So in this war thou must my conqueror be? CLYTEMNESTRA. Yield! With good will to yield is victory! AGAMEMNON. Well, if I needs must †¦ Be it as thou hast said! Quick! Loose me these bound slaves on which I tread, And while I walk yon wonders of the sea God grant no eye of wrath be cast on me From far! [The Attendants untie his shoes. For even now it likes me not To waste mine house, thus marring underfoot The pride thereof, and wondrous broideries Bought in far seas with silver. But of these Enough. - And mark, I charge thee, this princess Of Ilion; tend her with all gentleness. Gods eye doth see, and loveth from afar, The merciful conqueror. For no slave of war Is slave by his own will. She is the prize And chosen flower of Ilions treasuries, Set by the soldiers gift to follow me. Now therefore, seeing I am constrained by thee And do thy will, I walk in conquerors guise Beneath my Gate, trampling sea-crimson dyes. [As he dismounts and sets foot on the Tapestries CLYTEMNESTRAS women utter again their Cry of Triumph. The people bow or kneel as he passes. CLYTEMNESTRA. There is the sea- its caverns who shall drain? - Breeding of many a purple-fish the stain Surpassing silver, ever fresh renewed, For robes of kings. And we, by right indued, Possess our fill thereof. Thy house, O King, Knoweth no stint, nor lack of anything. What trampling of rich raiment, had the cry So sounded in the domes of prophesy, Would I have vowed these years, as price to pay For this dear life in peril far away! Where the root is, the leafage cometh soon To clothe an house, and spread its leafy boon Against the burning star; and, thou being come, Thou, on the midmost hearthstone of thy home, Oh, warmth in winter leapeth to thy sign. And when Gods summer melteth into wine The green grape, on that house shall coolness fall Where the true man, the master, walks his hall. Zeus, Zeus! True Master, let my prayers be true! And, oh, forget not that thou art willed to do! [She follows AGAMEMNON into the Palace. The retinues of both King and Queen go in after them. CASSANDRA remains. CHORUS. What is this that evermore, [Strophe 1. A cold terror at the door Of this bosom presage-haunted, Pale as death hovereth? While a song unhired, unwanted, By some inward prophet chanted, Speaks the secret at its core; And to cast it from my blood Like a dream not understood No sweet-spoken Courage now Sitteth at my hearts dear prow. Yet I know that manifold Days, like sand, have waxen old Since the day those shoreward-thrown Cables flapped and line on line Standing forth for Ilion The long galleys took the brine [Antistrophe 1. And in harbour- mine own eye Hath beheld- again they lie; Yet that lyreless music hidden Whispers still words of ill, Tis the Soul of me unbidden, Like some Fury sorrow-ridden, Weeping over things that die. Neither waketh in my sense Ever Hopes dear confidence; For this flesh that groans within, And these bones that know of Sin, This tossed heart upon the spate Of a whirpool that is Fate, Surely these lie not. Yet deep Beneath hope my prayer doth run, All will die like dreams, and creep To the unthought of and undone. Strophe 2. - Surely of great Weal at the end of all Comes not Content; so near doth Fever crawl, Close neighbour, pressing hard the narrow wall. - Woe to him who fears not fate! Tis the ship that forward straight Sweepeth, strikes the reef below; He who fears and lightens weight, Casting forth, in measured throw, From the wealth his hand hath got †¦ His whole sh ip shall founder not, With abundance overfraught, Nor deep seas above him flow. - Lo, when famine stalketh near, One good gift of Zeus again From the furrows of one year Endeth quick the starving pain; [Antistrophe 2. - But once the blood of death is fallen, black And oozing at a slain mans feet, alack! By spell or singing who shall charm it back? - One there was of old who showed Man the path from death to day; But Zeus, lifting up his rod, Spared not, when he charged him stay. - Save that every doom of God Hath by other dooms its way Crossed, that none may rule alone, In one speech-outstripping groan Forth had all this passion flown, Which now murmuring hides away, Full of pain, and hoping not Ever one clear thread to unknot From the tangle of my soul, From a heart of burning coal. [Suddenly CLYTEMNESTRA appears standing in the Doorway. CLYTEMNESTRA. Thou likewise, come within! I speak thy name, Cassandra; [CASSANDRA trembles, but continues to stare in front of her, as though not hearing CLYTEMNESTRA. seeing the Gods- why chafe at them? - Have placed thee here, to share within these walls Our lustral waters, mid a crowd of thralls Who stand obedient round the altar-stone Of our Possession. Therefore come thou down, And be not over-proud. The tale is told How once Alcmenas son himself, being sold, Was patient, though he liked not the slaves mess. And more, if Fate must bring thee to this stress, Praise God thou art come to a House of high report And wealth from long ago. The baser sort, Who have reaped some sudden harvest unforeseen, Are ever cruel to their slaves, and mean In the measure. We shall give whateer is due. [CASSANDRA is silent. LEADER. To thee she speaks, and waits †¦ clear words and true! Oh, doom is all around thee like a net; Yield, if thou canst†¦. Belike thou canst not yet. CLYTEMNESTRA. Methinks, unless this wandering maid is one Voiced like a swallow-bird, with tongue unknown And barbarous, she can read my plain intent. I use but words, and ask for her consent. LEADER. Ah, come! Tis best, as the world lies to-day. Leave this high-throned chariot, and obey! CLYTEMNESTRA. How long must I stand dallying at the Gate? Even now the beasts to Hestia consecrate Wait by the midmost fire, since there is wrought This high fulfilment for which no man thought. Wherefore, if tis thy pleasure to obey Aught of my will, prithee, no more delay! If, dead to sense, thou wilt not understand†¦ Thou show her, not with speech but with brute hand! [To the Leader of the CHORUS. LEADER. The strange maid needs a rare interpreter. She is trembling like a wild beast in a snare. CLYTEMNESTRA. Fore God, she is mad, and heareth but her own Folly! A slave, her city all oerthrown, She needs must chafe her bridle, till this fret Be foamed away in blood and bitter sweat. I waste no more speech, thus to be defied. [She goes back inside the Palace. LEADER. I pity thee so sore, no wrath nor pride Is in me. - Come, dismount! Bend to the stroke Fate lays on thee, and learn to feel thy yoke. [He lays his hand softly on CASSANDRAS shoulder. CASSANDRA (moaning to herself). Otototoi †¦ Dreams. Dreams. Apollo. O Apollo! SECOND ELDER. Why sobst thou for Apollo? It is writ, He loves not grief nor lendeth ear to it. CASSANDRA. Otototoi †¦ Dreams. Dreams. Apollo. O Apollo! LEADER. Still to that god she makes her sobbing cry Who hath no place where men are sad, or die. CASSANDRA. Apollo, Apollo! Light of the Ways of Men! Mine enemy! Hast lighted me to darkness yet again? SECOND ELDER. How? Will she prophesy about her own Sorrows? That power abides when all is gone! CASSANDRA. Apollo, Apollo! Light of all that is! Mine enemy! Where hast thou led me? †¦ Ha! What house is this? LEADER. The Atreidaes castle. If thou knowest not, I Am here to help thee, and help faithfully. CASSANDRA (whispering). Nay, nay. This is the house that God hateth. There be many things that know its secret; sore And evil things; murders and strangling death. Tis here they slaughter men†¦A splashing floor. SECOND ELDER. Keen-sensed the strange maid seemeth, like a hound For blood. - And what she seeks can sure be found! CASSANDRA. The witnesses †¦ I follow where they lead. The crying †¦ of little children †¦ near the gate: Crying for wounds that bleed: And the smell of the baked meats their father ate. SECOND ELDER (recognizing her vision, and repelled). Word of thy mystic power had reached our ear Long since. Howbeit we need no prophets here. CASSANDRA. Ah, ah! What would they? A new dreadful thing. A great great sin plots in the house this day; Too strong for the faithful, beyond medicining †¦ And help stands far away. LEADER. This warning I can read not, though I knew That other tale. It rings the city through. CASSANDRA. O Woman, thou! The lord who lay with thee! Wilt lave with water, and then †¦ How speak the end? It comes so quick. A hand †¦ another hand †¦ That reach, reach gropingly†¦. LEADER. I see not yet. These riddles, pierced with blind Gleams of foreboding, but bemuse my mind. CASSANDRA. Ah, ah! What is it? There; it is coming clear. A net †¦ some net of Hell. Nay, she that lies with him †¦ is she the snare? And half of his blood upon it. It holds well†¦. O Crowd of ravening Voices, be glad, yea, shout And cry for the stoning, cry for the casting out! SECOND ELDER. What Fury Voices callst thou to be hot Against this castle? Such words like me not. And deep within my breast I felt that sick And saffron drop, which creepeth to the heart To die as the last rays of life depart. Misfortune comes so quick. CASSANDRA. Ah, look! Look! Keep his mate from the Wild Bull! A tangle of raiment, see; A black horn, and a blow, and he falleth, full In the marble amid the water. I counsel ye. I speak plain †¦ Blood in the bath and treachery! LEADER. No great interpreter of oracles Am I; but this, I think, some mischief spells. What spring of good hath seercraft ever made Up from the dark to flow? Tis but a weaving of words, a craft of woe, To make mankind afraid. CASSANDRA. Poor woman! Poor dead woman! †¦ Yea, it is I, Poured out like water among them. Weep for me†¦. Ah! What is this place? Why must I come with thee†¦. To die, only to die? LEADER. Thou art borne on the breath of God, thou spirit wild, For thine own weird to wail, Like to that winged voice, that heart so sore Which, crying alway, hungereth to cry more, Itylus, Itylus, till it sing her child Back to the nightingale. CASSANDRA. Oh, happy Singing Bird, so sweet, so clear! Soft wings for her God made, And an easy passing, without pain or tear †¦ For me twill be torn flesh and rending blade. SECOND ELDER. Whence is it sprung, whence wafted on Gods breath, This anguish reasonless? This throbbing of terror shaped to melody, Moaning of evil blent with music high? Who hath marked out for thee that mystic path Through thy woes wilderness? CASSANDRA. Alas for the kiss, the kiss of Paris, his peoples bane! Alas for Scamander Water, the water my fathers drank! Long, long ago, I played about thy bank, And was cherished and grew strong; Now by a River of Wailing, by shores of Pain, Soon shall I make my song. LEADER. How sayst thou? All too clear, This ill word thou hast laid upon thy mouth! A babe could read thee plain. It stabs within me like a serpents tooth, The bitter thrilling music of her pain: I marvel as I hear. CASSANDRA. Alas for the toil, the toil of a City, worn unto death! Alas for my fathers worship before the citadel, The flocks that bled and the tumult of their breath! But no help from them came To save Troy Towers from falling as they fell! †¦ And I on the earth shall writhe, my heart aflame. SECOND ELDER. Dark upon dark, new ominous words of ill! Sure there hath swept on thee some Evil Thing, Crushing, which makes thee bleed And in the torment of thy vision sing These plaining death-fraught oracles †¦ Yet still, still, Their end I cannot read! CASSANDRA. [By an effort she regains mastery of herself, and speaks directly to the Leader. Fore God, mine oracle shall no more hide With veils his visage, like a new-wed bride! A shining wind out of this dark shall blow, Piercing the dawn, growing as great waves grow, To burst in the heart of sunrise †¦ stronger far Than this poor pain of mine. I will not mar With mists my wisdom. Be near me as I go, Tracking the evil things of long ago, And bear me witness. For this roof, there clings Music about it, like a choir which sings One-voiced, but not well-sounding, for not good The words are. Drunken, drunken, and with blood, To make them dare the more, a revelling rout Is in the rooms, which no man shall cast out, Of sister Furies. And they weave to song, Haunting the House, its first blind deed of wrong, Spurning in turn that Kings bed desecrate, Defiled, which paid a brothers sin with hate†¦. Hath it missed or struck, mine arrow? Am I a poor Dreamer, that begs and babbles at the door? Give first thine oath in witness, that I know Of this great dome the sins wrought long ago. ELDER. And how should oath of mine, though bravely sworn, Appease thee? Yet I marvel that one born Far over seas, of alien speech, should fall So apt, as though she had lived here and seen all. CASSANDRA. The Seer Apollo made me too to see. ELDER (in a low voice). Was the Gods heart pierced with desire for thee? CASSANDRA. Time was, I held it shame hereof to speak. ELDER. Ah, shame is for the mighty, not the weak. CASSANDRA. We wrestled, and his breath to me was sweet. ELDER. Ye came to the getting of children, as is meet? CASSANDRA. I swore to Loxias, and I swore a lie. ELDER. Already thine the gift of prophecy? CASSANDRA. Already I showed my people all their path. ELDER. And Loxias did not smite thee in his wrath? CASSANDRA. After that sin †¦ no man believed me more. ELDER. Nay, then, to us thy wisdom seemeth sure. CASSANDRA. Oh, oh! Agony, agony! Again the awful pains of prophecy Are on me, maddening as they fall†¦. Ye see them there †¦ beating against the wall? So young †¦ like shapes that gather in a dream †¦ Slain by a hand they loved. Children they seem, Murdered †¦ and in their hands they bear baked meat: I think it is themselves. Yea, flesh; I see it; And inward parts†¦. Oh, what a horrible load To carry! And their father drank their blood. From these, I warn ye, vengeance broodeth still, A lions rage, which goes not forth to kill But lurketh in his lair, watching the high Hall of my war-gone master †¦ Master? Aye; Mine, mine! The yoke is nailed about my neck†¦. Oh, lord of ships and trampler on the wreck Of Ilion, knows he not this she-wolfs tongue, Which licks and fawns, and laughs with ear up-sprung, To bite in the end like secret death? - And can The woman? Slay a strong and armed man? †¦ What fanged reptile like to her doth creep? Some serpent amphisbene, some Skylla, deep Housed in the rock, where sailors shriek and die, Mother of Hell blood-raging, which doth cry On her own flesh war, war without alloy †¦ God! And she shouted in his face her joy, Like men in battle when the foe doth break. And feigns thanksgiving for his safetys sake! What if no man believe me? Tis all one. The thing which must be shall be; aye, and soon Thou too shalt sorrow for these things, and here Standing confess me all too true a seer. LEADER. The Thyestean feast of children slain I understood, and tremble. Aye, my brain Reels at these visions, beyond guesswork true. But after, though I heard, I had lost the clue. CASSANDRA. Man, thou shalt look on Agamemnon dead. LEADER. Peace, Mouth of Evil! Be those words unsaid! CASSANDRA. No god of peace hath watch upon that hour. LEADER. If it must come. Forefend it, Heavenly Power! CASSANDRA. They do not think of prayer; they think of death. LEADER. They? Say, what man this foul deed compasseth? CASSANDRA. Alas, thou art indeed fallen far astray! LEADER. How could such deed be done? I see no way. CASSANDRA. Yet know I not the Greek tongue all too well? LEADER. Greek are the Delphic dooms, but hard to spell. CASSANDRA. Ah! Ah! There! What a strange fire! It moves †¦ It comes at me. O Wolf Apollo, mercy! O agony! †¦ Why lies she with a wolf, this lioness lone, Two-handed, when the royal lion is gone? God, she will kill me! Like to them that brew Poison, I see her mingle for me too A separate vial in her wrath, and swear, Whetting her blade for him, that I must share His death †¦ because, because he hath dragged me here! Oh, why these mockers at my throat? This gear Of wreathed bands, this staff of prophecy? I mean to kill you first, before I die. Begone! [She tears off her prophetic habiliments; and presently throws them on the ground, and stamps on them. Down to perdition! †¦ Lie ye so? So I requite you! Now make rich in woe Some other Bird of Evil, me no more! [Coming to herself. Ah, see! It is Apollos self, hath tore His crown from me! Who watched me long ago In this same prophets robe, by friend, by foe, All with one voice, all blinded, mocked to scorn: A thing of dreams, a beggar-maid outworn, Poor, starving and reviled, I endured all; And now the Seer, who called me till my call Was perfect, leads me to this last dismay†¦. Tis not the altar-stone where men did slay My father; tis a block, a block with gore Yet hot, that waits me, of one slain before. Yet not of God unheeded shall we lie. There cometh after, one who lifteth high The downfallen; a branch where blossometh A sires avenging and a mothers death. Exiled and wandering, from this land outcast, One day He shall return, and set the last Crown on these sins that have his house downtrod. For, lo, there is a great oath sworn of God, His fathers upturned face shall guide him home. Why should I grieve? Why pity these mens doom? I who have seen the City of Ilion Pass as she passed; and they who cast her down Have thus their end, as God gives judgement sure†¦. I go to drink my cup. I will endure To die. O Gates, Death-Gates, all hail to you! Only, pray God the blow be stricken true! Pray God, unagonized, with blood that flows Quick unto friendly death, these eyes may close! LEADER. O full of sorrows, full of wisdom great, Woman, thy speech is a long anguish; yet, Knowing thy doom, why walkst thou with clear eyes, Like some god-blinded beast, to sacrifice? CASSANDRA. There is no escape, friends; only vain delay. LEADER. Is not the later still the sweeter day? CASSANDRA. The day is come. Small profit now to fly. LEADER. Through all thy griefs, Woman, thy heart is high. CASSANDRA. Alas! None that is happy hears that praise. LEADER. Are not the brave dead blest in after days? CASSANDRA. O Father! O my brethren brave, I come! [She moves towards the House, but recoils shuddering. LEADER. What frights thee? What is that thou startest from? CASSANDRA. Ah, faugh! Faugh! LEADER. What turns thee in that blind Horror? Unless some loathing of the mind †¦ CASSANDRA. Death drifting from the doors, and blood like rain! LEADER. Tis but the dumb beasts at the altar slain. CASSANDRA. And vapours from a charnel-house †¦ See there! LEADER. Tis Tyrian incense clouding in the air. CASSANDRA (recovering herself again). So be it! - I will go, in yonder room To weep mine own and Agamemnons doom. May death be all! Strangers, I am no bird That pipeth trembling at a thicket stirred By the empty wind. Bear witness on that day When woman for this womans life shall pay, And man for man ill-mated low shall lie: I ask this boon, as being about to die. LEADER. Alas, I pity thee thy mystic fate! CASSAN

What is Line Editing 4 Ways It Can TRANSFORM Your Book

What is Line Editing 4 Ways It Can TRANSFORM Your Book What is Line Editing, and What Can It Do For Your Book? (With Examples!) Whether you're dashing off a note to a colleague or listing your bike for sale on Craigslist, your writing could always use a second pair of eyes. But what is line editing specifically? A tool for occasions when the language itself really matters, it's not something you need every time you sit down to finish a work email. But a book - that's another story.For an author, a line edit can be the secret sauce that takes a manuscript from good to great - turning a solid story into a bestseller-in-waiting that's impossible to put down. This post takes a look at how exactly it can transform your book project. Find out what line editing involves right here. What is line editing?Line editing is the act of examining a piece of writing on the level of craft - making sure the language is creative and concise, while the content is consistent and compelling.Also known as stylistic editing, it fine tunes your manuscript's, well, style, making sure it's written in a way that complements what you're trying to say.Your goal as an author is to make sure you’re carrying off the premise behind your book as well as possible. Have you ever been disappointed by a book you were excited to read, because it fumbled a cool concept with a so-so execution? If so, you've read something that could have benefited from this type of editing.Did you know the definition of â€Å"line editing† changes depending on the country? This posts covers its US definition. But in Canada it refers to a type of editing between developmental and copy editing, and in the UK it's basically interchangeable with "proofreading".Because of this regional variability, we' ve chosen not to use "line editing" in our editing service definitions. But never fear- if you'd like someone to edit your book for style, look no further than a Reedsy copy editor! They'll take care of  both creative and mechanical issues in one pass. 4 things line editors will do for your bookHear the words "line editing," and you might picture sharp-eyed readers wielding pens, filling pages with red marks as they go through. And you’d be right: This type of editor really does approach manuscripts in this fine-grained way. Instead of working in broad strokes - say, by rejigging the relationships between chapters and arcs or playing with the overall worldbuilding in a book - they operate, like their name suggests, on the level of lines.Overall, line editors examine manuscripts for word choice, economy of language, and consistency of content while making sure they evoke the appropriate reader response. You won't have to worry about the process making your book soulless or generic - the point isn't to turn out robotically "good" style that reads like everybody else; it's to help you sound like the best version of your writerly self.Let's take a closer look at what this looks like in practice. Say you've just finished writi ng an 18th-century paranormal romance called State of Blood. The action-packed story seems destined for the big screen, and the star-crossed lovers feel so vivid we hear them talking to us when we dream. The grammar is flawless, and spell check has been working overtime. However, the prose could use some... finessing. So you hand your manuscript over to a line editor. Here are four of the main ways they’ll review your book.1. Polish the prose 💎The editor will ensure you're using strong, precise word choice - and no clichà ©s."As star-crossed lovers, Clothilde and Janus felt like the whole world was against them. It felt bad. Thinking about her fellow vampires' negative response to the Janus' meaty fragrance in her underground chamber, Clothilde couldn't help but weep tears of freshly consumed blood.""Star-crossed lovers" and "the whole world was against them" might accurately describe the state of your characters' relationships, but these are clichà ©s you’l l likely want to avoid.   Try to use stronger, more specific language that brings their situation to life. Instead of telling us how they feel, can you show us in detail?"bad" - weak word choice, too generalIs "fragrance" in "meaty fragrance" really what you want here? Why not "scent"? If the response is negative, do the vampires find it repugnant? Then try "odor." Maybe they don't like the smell because it's distractingly appetizing and makes them want to drink Janus’ blood. If that’s the case, make sure that comes across clearly.2. Trim the fat 🔠ªThe editor will ensure the syntax is clean and that there are no wasted words."Janus was on his way to a meeting of the wizard's council when he saw the broadsheets being passed out on the street that clearly had something to do with the embezzlement case Clothilde was investigating, even if he couldn't see the lettering very clearly. Clothilde's investigation of the embezzlement was not going well. His trip to the council meeting was also now going to be similarly derailed."The first sentence is really long and unwieldy. To make it easier for readers to navigate, try breaking it up and condensing the language. Maybe something like: "On his way to a meeting of the wizard's council, Janus saw broadsheets being passed out on the street. He couldn't make out the lettering, but they clearly had something to do with Clothilde’s embezzlement case."Unnecessary repetition. You don't need to write about "Clothilde's investigation of the embezzlement case" right after talking about "the embezzlement case Clothilde was investigating." (Repetition does have a place in your prose, however! To learn more, check out our guide to repetition.)In the last sentence, you don't need "also" and "similarly".3. Fill in the holes 🕠³The editor will look for plot and character consistency. "Clothilde gagged at the smell of blood. Janus regarded her, now clearly in pain, with mild disinterest."Isn't Clothilde a vampire? Her gagging at the smell of blood seems to be inconsistent with that.Why is Janus responding to her pain with "mild disinterest"? Aren't they supposed to be deeply in love?4. Mood and tone 🎠­The editor will ensure your writing is not  making readers laugh when you want to make them cry. "'Clothilde!' Janus screeched, as her eyes dimmed and dulled. The stake stuck out of her shapely chest at an angle that made it look like a light switch in the off position. The embezzler giggled. Janus glared at him indignantly and pulled the stake out with a squelching sound."This is meant to be the book's tragic climax, but the tone is off, making it come across as unintentionally funny. Try retooling your diction to convey the gravity of the moment. Take an especially hard look at things like "screeched," "giggled," "glared at him indignantly," and "squelching sound," which read a bit slapstick and make the stakes feel low.Is her death scene really an appropriate time to comment on Clothilde's "shapely" chest?The light switch simile is out of place because of the novel's historical setting - as an 18th century wizard, Janus wouldn't know what a light switch is!Why hire a professional line editor?Maybe your manuscript isn't in as rough a shape as State of Blood. But you still wan t some help tightening it up and making sure there aren't any gaffes that slipped past your notice. Do you have to shell out for a professional editor, or is this something you can DIY? How to Edit a Book: a 3-Step Guide to a Bestselling Novel Read post Do:âÅ"ӕ ¸  Set your manuscript aside for a couple of days- at least- before you go over it. Let your own language, likely as familiar to you as your heartbeat by now, to become new to you again. Only then should you approach it as an editor.âÅ"ӕ ¸  Read everything out loud to yourself. Do your sentences flow well? Does their order make sense? Does the dialogue sound natural coming out of a human (or vampiric) mouth? If you find yourself gasping for breath before the end of a sentence, consider slicing it up. If you stumble over a certain word, rework or cut it.âÅ"ӕ ¸  Do a style audit for your own, personal clichà ©s. Of course you want to avoid actual clichà ©s - expressions like â€Å"in the nick of time† and â€Å"raining cats and dogs† can make any piece of writing feel boilerplate. But writers should pay attention to their own stylistic quirks as well. These idiosyncrasies are a good thing, up to a certain point: they are the hallmarks of per sonal style. Just make sure you're not overusing them to the extent of irritating your readers. Do you use more em dashes more than full stops? Are your characters addressing each other by name so much your dialogue feels stilted? Do they constantly "chortle" instead of laugh or "declaim" their words instead of saying them? Maybe you have a good reason for making these choices. But maybe it’s time to consider making some changes.Don't:⠝Å' Become a thesaurus junkie. When it comes to precise and varied word choice, a writer's favorite reference tome can be extraordinarily useful. But signs of egregious thesaurus use are obvious and damning - transforming blue eyes into "ultramarine orbs" and bad feelings into "substandard affections." The resulting, tortured constructions read more freshman composition than Pulitzer Prize.⠝Å' Insult your reader. In editing your manuscript for clarity, you may be tempted to make some insertions in order to, well, clarify your prose. But d on’t go too far and end up unnecessarily spelling things out. Your readers are smart. They should be guided through the text by a similarly discerning author - not stuck with interpretive training wheels.⠝Å' Avoid asking for any help, ever. You've decided not to hire a professional, but that doesn't mean you're doomed to edit alone like a hermit in a tiny cell. Consider seeking out beta readers, sensitivity readers if necessary, or even running your writing questions by a friend, on- or off-line. Learn everything you need to know about line editing your own book here! Now that you’ve learned about this crucial type of editing, you can use that knowledge to turn out a book as polished as your ideas deserved! Whether you end up scouring the marketplace for professional assistance or engaging your inner editor, your manuscript will thank you for it.Have you ever worked with a line editor? Leave your experiences or questions in the comments below!

Cultural Dynamics Essay Example | Topics and Well Written Essays - 500 words

Cultural Dynamics - Essay Example Mary Jo Hatch helps us reflect upon culture and gender dynamics and how we personally might reflect on those issues. Schien, on the other hand felt that culture was defined on three layers which were the surface which is where artifacts are, underneath the surface of artifacts where values a, and at the core, our basic assumptions. A assumption according to Schien (1985) is a belief that is taken for granted about reality. Values are those principles, philosophies, goals, and standards that are considered important in our society and artifacts are those things that are visible, tangible and audible. The American flag would be an example of an artifact. When compared side by side, both theories appear very much the same. Stein sees cultural dynamics as a learning process and Mary Jo Hatch see it as a change process that describes how an organization defines the things that are important about it and how those things change. Both theories are really a blend of the things that occur in an organization. Mary Jo Hatch notes the importance of the same issues such as values, artifacts, symbols, and assumptions as does Schein. It is the philosophy of how those things are important that is somewhat different. Ms Hatch tells us that what we value in our organizations is developed from what we assume to be true. Values are carried through the organization through the strategic plan and employee evaluations.

Volcanoes and Earthquakes Research Paper Example | Topics and Well Written Essays - 1000 words

Volcanoes and Earthquakes - Research Paper Example Earthquakes have caused widespread damage to human life over the years. There have been earthquakes that have wiped away generations, cities; only to be found later by geologists and historians. With the advanced technology, it has become easier to measure the magnitude and the origin of the earthquake with immense accuracy. Predicting earthquakes is still a mystery and they always catch the human race by surprise.Earthquakes are caused by the shifting of tectonic plates that are present under the Earth’s surface. The ground we consider rock solid, is made up of plates that constantly keep shifting, occasionally shifting rapidly, causing earthquakes in that region. This movement of plate’s releases stress along the geologic faults. These fault lines are considered the boundaries between two plates. It is along these fault lines that earthquakes occur. Interestingly, Earthquakes can also be caused by human activity such as mine blasts and nuclear testing. The epicenter b eing the exact point on the earth’s surface, under which at the hypocenter is present; hypocenter being the exact point where the movement took place (Caroll, 1997). The thought of volcanoes, brings a mountain with erupting lava in our minds. Volcanoes are almost always associated with fascinating destruction of nature and their blinding rage of destroying everything that comes in their way. However, geologically, a volcano is any opening on the planet’s surface, from which the molten lava can make its way to the surface. From fissure vents to submarine volcanoes; all openings in the earth crust the spew out lava are termed as volcanoes. There is classification based on the kind and composition of lava that comes out of the fissures or openings (Sengupta, 2007). Volcanoes are also classified on the basis of their activity; they are active, dormant or extinct. Active volcanoes erupt regularly with many eruptions scripted in the human history; these eruptions may be mont hs apart, years apart or centuries apart. Dormant volcanoes are the ones who have been quiet (no eruptions) for a long period of time, with no written records of their activity until the day the activity starts again. Extinct volcanoes, as the name implies, are the volcanoes that were active some time but have no activity happening as there is no lava supply (Carol, 1997). Volcanoes and Earthquakes: Relationship? The relationship between the volcanoes and earthquakes is pretty significant. On the face of it, there might not be enough evidence, however, when one studies closely it is evident that one of these surely can trigger the other (Rafferty, 2010). Earthquakes generally occur at tectonic plates and most of the eruptions occur in these volcanic regions only. The movement is caused by

Educator In Community Essay Example for Free

Educator In Community Essay Initial assessment should focus on learning styles and knowledge level of students. This can be accomplished by asking the expectation of students, activities that they want to participate in and through an assessment of existing skills and competencies. The nurse educator must then mediate the course objectives with the result of these tests: assessment of the class must be bridges with the target outcomes for students (Priest, 2004). Instructional strategies should include literature, practical demonstrations and activities as well investigative or research activities. Reading materials should be supported by activities that will allow the students to experience what they have read. Further reinforcement should be done through participation in discussions and research activities. Processing by students of the strategies and assessment by the teachers performance can then be used to determine shat activities or strategies is most effective for the class (Gay et al, 2006). Testing of students should assess their understanding of the significance of each element in the educational program. Evaluation of which teaching strategy, literature, practical or research based activities, should be done as a means of initial assessment and to gauge what strategy will be used in the program. Similar settings for health education should be assess individually, either anonymously or through personal or written by students, as well as a group to promote collaboration among participants and the nurse education. Nurse educators in community and staff education settings have to be sensitive regarding their audience and at the same time must not discriminative regarding the level of learning requires of their students (Blair, 2004; Priest, 2004). This entails effective assessment tools to gauge topic knowledge and the learning style of students (Gay et al, 2006). Nurse educators must expect that strategies must respond to the characteristics of their audience rather than the reverse and that. This will entail constantly redeveloping teaching methods to allow communities to work collaboratively with nurse educators in promoting long-term and sustainable health programs.

Birds Die Too :: essays research papers

Birds Die Too   Ã‚  Ã‚  Ã‚  Ã‚  In Kate Chopins â€Å"Story of the Hour†, several elements contribute to the overall meaning of the story itself.   Ã‚  Ã‚  Ã‚  Ã‚  Her death is foreshadowed in the beginning when it mentions that she was â€Å"afflicted with heart trouble†. Because of this, when her sister told her that her husband had died, it was done so delicately. After Mrs. Mallard is told, is where the story really begins to set a tone of elegiac settings, and how she is expressing herself is in direct contrast to weather, i.e. ‘the storm of grief†. When Mrs. Mallard goes to her room and sits down to rest, she begins to notice how lovely the weather is outside, and here the tone takes a sudden change from elegiac to soothing and peaceful. She notices the trees that are â€Å"aquiver with new spring life† and the â€Å"delicious breath of rain†. Not only are these segments directly related to her change of emotion, but they are also foreshadowing the Birjoy she will feel momentarily. She begins to realize she is â€Å"free† from whatever responsibilities she held to her husband, an d is consumed with â€Å"monstrous joy† that she will be living â€Å"for herself†. Other symbols besides the weather, is also the bird she first notices when she first retires to her room to be alone with her grief. The birds are happy, singing, and carefree of any limitations. Also the door when her sister, Louise, begs her to open the door. She is also symbolically opening the door to her new life, the one she will live in total liberation with the restraints of her husband. She begins to also look at life with new eyes, seeing it in a different light, no longer seeing as a life of repression. She loved him, but not as much as she suddenly loves herself. This is a reaction that should be expected from her, however, it is not widely popular (due to when this story was written). She had been married expecting to live her life playing the perfect little wife, and had actually almost managed to convince herself that she enjoyed it. However, when she realizes her freedom, she is ecstatic, as any sane person would be. And even though her husband was obviously a good, kind man whom she â€Å"never looked upon with anything but love† she was still not living for herself, and no one can be truly happy if they aren’t happy with themselves first.

Film Analysis: “Elizabeth: the Golden Age” Essay

Queen Elizabeth I was one of the most memorable, most discussed and most written about monarch not only in England, but in Western history (Dobson and Watson 2; Rozett 103). She was the only monarch that historians attributed an entire era of English history after. The film â€Å"Elizabeth: the Golden Age† is an example of the Queen’s popularity in literature. Although much of the film had accurately depicted the life of the Queen as to the reason why the Elizabethan period of England was synonymous to the period of peace and prosperity, there were a number of discrepancies between the information shown in the film against data retrieved from historical records. This paper would be presenting these discrepancies as well as an insight on Queen Elizabeth I’s view towards marriage and psychological profile. The film â€Å"Elizabeth: the Golden Age† was set in the year 1565, when Spain was considered as the most powerful Empire in Western history and was under the rule of King Philip II. In order to achieve his goal to spread the Catholic faith across Europe, Philip II began what he considered as a holy war. This war had allowed him to conquer all the European countries, except for England which was still under the rule of a Protestant Queen, Elizabeth I. Although not directly stated, the film implied that it was in the year 1585 that Philip II decided it was time to purify England from the clutches of the devil ruled by a whore (â€Å"Elizabeth: the Golden Age†). The film depicted King Philip II clearly as someone who extremely despised Queen Elizabeth I in her entirety. However, Campion and Holleran stated that when Queen Elizabeth I ascended the throne in 1558, King Philip II in fact proposed marriage to the Queen. Although she politely declined is marriage proposal, she accepted the advice and protection that King Philip II offered to her (2). Meanwhile, in a meeting with her political advisers, Queen Elizabeth I was warned that her country was now divided by religion. Half of the country was now practicing the Catholic faith with the other half practicing the Protestant faith. They recommended to the Queen that measures must be taken against the English Catholics. This was because her advisers saw the English followers of the Catholic faith as a threat to Elizabeth I’s reign because of two reasons. The first was that since they were practicing the Catholic, this meant that they had allied themselves with both the Pope and the kingdom of Spain, who has been considered in the film as England’s greatest enemy. The second was that the Catholics no longer recognized Elizabeth I as their ruler. Rather, their loyalty had shifted to Mary Stuart, the Queen’s cousin and whom they regarded as the rightful Queen-in-waiting. Queen Elizabeth I responded to her advisers that she would not punish her people because of their religious beliefs and assured them that she had been told that the people still revered her as their Queen (â€Å"Elizabeth: the Golden Age†). The division in England, brought about by religious beliefs, had been a problem that did not occur during Queen Elizabeth I’s reign. Instead, this division was an issue that the Queen inherited from her predecessors, Mary Tudor and her father, Henry VIII. According to historical records, Henry VIII rejected the papal authority in 1534 and assumed the title of Supreme Head of the National Church. With the ascension of Mary Tudor to the throne in 1553, she sought to reconcile the English Church with the Church of Rome. Initially, Elizabeth I was considered to be moderate when it came to religious affairs since she was more concerned in keeping her throne, maintaining the peace and the promotion of the prosperity of England. Furthermore, Elizabeth I herself accepted three different religions during her lifetime: Anglo-Catholic, Catholic, and Protestant. This was why she did not see the English Catholics as a threat and refrained herself from imposing severe punishments. She did, however, encouraged religious uniformity by setting an example. She had also pressured her subjects to abandon their resistance to the established Church of England (Campion and Holleran 11-14; Cole 2; Taylor-Smither 63). Sir Francis Walsingham revealed to Queen Elizabeth I in the film that an assassination plot called the â€Å"Enterprise of England† was discovered masterminded by the Spanish monarchy. The plot included two armies were situated along the coasts of Sussex and Norfolk. They were waiting for the order to assist Mary Stuart to assassinate Elizabeth I and to put Mary Stuart on the throne of England. When she learned about the assassination attempt, Queen Elizabeth I confronted the ambassadors of Philip II to England. This caused the ambassadors to end their office in disgrace and to view her as the center of an international Protestant conspiracy inciting a rebellion both in the Netherlands and in France (Doran â€Å"Elizabeth I and Foreign Policy, 1558-1603† 8; â€Å"Elizabeth: the Golden Age†). Upon the discovery of the assassination plot, Mary Stuart had given the order to execute the assassination plot on the Queen. While she was in church, one of the supporters of the Enterprise of England managed to get through the guards at the front of the church and tried to kill the Queen with the use of a pistol. However, the pistol used was unarmed, and the Queen survived the assassination attempt. The assassin and the other members of the Enterprise of England were captured, imprisoned and tortured. Later, Sir Walsingham then confronted Mary Stuart with regards to the assassination attempt on the Queen and her involvement to the plot. She was then presented the orders she had given out to the members of the Enterprise of England to proceed with the assassination of the Queen. Mary Stuart was tried for treason and was executed by beheading. It was only after the execution of Mary Stuart that Sir Walsingham realized the true intention of Spain. Through the execution of Mary Stuart who was both a Catholic and an ally of Spain, England provided Philip II a reason to wage war against England (â€Å"Elizabeth: the Golden Age†). Although this served as the climax of the entire film, it also contained the most of the discrepancies on historical documents and records except for Mary Stuart’s involvement in the assassination attempt on the life of Queen Elizabeth I. This did not come as a surprise since there have been numerous documents and literary works where the events of the life of Queen Elizabeth I were re-arranged. An example of this was the biography made by Sir Walter Scott entitled Kenilworth where he changed the events so that Amy Robsart, the first wife of Robert Dudley which occurred in 1560 would coincide with the entertainment spectacle at Kenilworth which occurred in 1575 (Rozett 104). Mary Stuart, who was also known in history as Mary, Queen of Scots, became the Queen of Scotland after her birth in 1542. She married the Dauphin of France and became the Queen of France when he ascended the throne in 1559. Her reign as Queen of France was only short-lived, since her husband died a year later his ascent to the throne. She then returned to Scotland to assume her place as the Queen of Scots upon the death of her mother. Her succeeding marriages were met with such scandal. Of these marriages, the most scandalous was her marriage to the Earl of Bothwell, who had been considered as the alleged murderer of her second husband. Her marriage to the Earl of Bothwell resulted to a national uprising where she was defeated in 1567. She was then forced to sign a document on the threat of death to abdicate her throne and title of the Queen of Scotland. She tried to regain her title by raising another army which was also defeated. She then sought protection on her life in England and her cousin, Elizabeth I. Outraged by the actions done by the Scottish lords against her cousin, Elizabeth I protected her cousin and detained her as a prisoner (Campion and Holleran 2-3; Perry 145-46). Since the death of Mary Tudor and Elizabeth I’s ascension to the English throne, Mary Stuart had expressed publicly her legitimate claim to the English throne since her mother was the eldest sister of Henry VIII, Elizabeth I’s father. Even though she was a prisoner in England, she remained to be a threat to Elizabeth I. When reports were brought to Queen Elizabeth I’s attention that her cousin was involved in assassination plots against her, Parliament moved for Mary Stuart’s execution. Initially, Elizabeth I did not consider this option since there was no evidence that proved the allegations against Mary Stuart. That all changed upon when Sir Francis Walsingham discovered the assassination plot against the Queen called the Babington plot. To gather evidence regarding the involvement of Mary Stuart on the plot, he ordered Mary Stuart to be moved to a house where she could be more closely monitored and appointed a new jailer who was less sympathetic to Mary Stuart. Soon, Mary Stuart began to receive news from Europe which were smuggled to her through waterproof packages inserted in the bungholes of beer kegs. Unknown to Mary Stuart, Sir Walsingham had already intercepted these messages and had managed to decode them before Mary Stuart and her confidantes received them. It was here that Sir Walsingham discovered that the plotters of the assassination of the Queen were headed by a rich and idealistic Catholic squire named Anthony Babington and that there were sixty thousand Spanish and English soldiers ready to rescue Mary upon receiving her approval. She approved the assassination and her rescue in writing. Sir Walsingham presented to Elizabeth I the directions and approval written by Mary Stuart in her own handwriting as evidence and proof of the allegations made against Mary Stuart. After protecting Mary Stuart for nineteen years, Elizabeth I was compelled by law to transfer Mary to Fortheringhay Castle where she was tried and was found guilty on the crime of treason. She was executed by beheading in 1587. The betrayal brought by Mary Stuart to attempt to assassinate her, Elizabeth I’s outlook towards Catholics began to change and saw them as traitors and a threat to her life. This resulted in her implementing sterner laws against Catholics were enforced with penalties ranging from fines to imprisonment, torture and death (Campion and Holleran 11-14; Taylor-Smither 63; Thomas 147-48). King Philip II launched his Spanish Armada against England a year after the execution of Mary Stuart. This decision was not influenced by the execution of Mary Stuart. Rather, it was a result of the declining relationship between the two countries. Between the years of 1565 and 1566, many members of the Spanish nobles had demanded Philip II to forego the Spanish Inquisition because they viewed his measures against Protestantism as an attempt to extend Spanish control over the ecclesiastical affairs as a drive to undermine traditional privileges of Spain. This Inquisition was temporarily placed on hold due to the constant threats of the Turks to Spain. The moment the Turks signed a series of treaties with Spain, it gave King Philip II the opportunity to once again pursue his goal to expand Spanish rule over Europe (Doran â€Å"Elizabeth I and Foreign Policy, 1558-1603† 6-10). The relationship between Spain and England had begun to deteriorate as a result of a number of events that had occurred between King Philip II’s courtship to Queen Elizabeth I and the war between Spain and England. Among these events were the voyages of Francis Drake around the world which were secretly supported by Elizabeth I. On top of the products from the New World, Drake also looted the Spanish galleons he came across of which the Queen accepted a portion of when he returned from his journeys in 1580 (Doran â€Å"Elizabeth I and Foreign Policy, 1558-1603† 9). The Spanish Armada greatly outnumbered the English army because the population of England was significantly lower than that of Spain which resulted in fewer able men to be enlisted in the army. Also, the military technology of the English army was far behind than any other European countries and it was impossible for Queen Elizabeth I to maintain an army financially because during the four decades of her reign, most of the financial resources were allotted to the maintenance of the blend of politics, socializing and ceremonies that the Queen accomplished through travels around the kingdom (Cole 1; Doran â€Å"Elizabeth I and Foreign Policy, 1558-1603† 7; Frye 100; Thomas 160). As the Spanish Armada drew near, Elizabeth I gathered her small army and encouraged them with a short oration which is now known as the â€Å"Oration at Tilbury Camp. † This short speech was considered by most writers and historians accepted as one of the best speeches composed by a monarch in England’s history. The most striking line in the speech which was mentioned in the film, although reworded, was â€Å"I [†¦] come to lay down for my god, and for my [kingdom], and for my people, [my] honor and my blood in the dust [†¦] I know I have the body [†¦] of a weak and [feeble] woman, [but] I have the [heart] and [stomach] of a [king], and a [king] of England too [†¦]† (â€Å"Elizabeth: the Golden Age†; Frye 98; Green 424-26). Perhaps what made Queen Elizabeth I such an enigma for many historians and writers was her decision to remain unmarried, which is why she has been referred to in history as â€Å"the Virgin Queen. † Her decision to remain unmarried stretched down to her ladies-in-waiting and her courtiers such that, in order for them to be married, they must first seek the approval of the Queen. Those who married in secret would have to face the fury of the Queen and might even have to face imprisonment. Such was the case in the movie when she lashed out against Bess, her favorite lady-in-waiting and Walter Raleigh when she discovered they had not only married without her consent, but were expecting a child. Although there are no documentation discovered regarding the encounter between Queen Elizabeth I, Walter Raleigh and Bess, there are numerous accounts on the outbursts of anger the Queen exemplified upon the discovery of the secret marriages of the members of her court. The most documented was the incident between Queen Elizabeth I and one of her ladies-in-waiting named Mary Shelton. When Elizabeth I discovered Mary Shelton’s marriage to James Scudamore, she exploded and demanded why Mary Shelton or James Scudamore did not seek her approval before they got married. One eyewitness stated that Mary Shelton was hit profusely by the angered Queen and was attacked by the Queen with a candlestick which caused Mary Shelton’s finger to be broken (Doran â€Å"Monarchy and Matrimony† 5-6; â€Å"Elizabeth: the Golden Age†; Hammer 80-81). Historical records provided two reasons on why Queen Elizabeth I decided to remain unmarried throughout her reign. One is that it was her own decision in order to be able to concentrate all her attention to the affairs of the kingdom. This was evident in the speech that she had made at Parliament in 1559 when the members of Parliament presented her a petition to marry. She responded to this petition by stating that she was already married to her husband, the Kingdom of England. This being the case, she did not see any reason why she should still marry a man. Another reason historical records presented in connection to her choosing to remaining unmarried were her cousin, Mary Stuart and the circumstances surrounding her cousin’s marriage. As mentioned earlier, Mary Stuart’s marriage to her third husband led to a civil uprising in Scotland. After being defeated in the civil uprising, the Scottish lords forced Mary Stuart to abdicate the throne of Scotland and her title as Queen of Scotland. Queen Elizabeth I saw her cousin’s marriage as the primary cause of her cousin’s downfall and feared that should she marry, the same events might happen to her (Doran â€Å"Monarchy and Matrimony† 2; King 30-33; Taylor-Smither 61). Psychologists have also presented studies to explain Queen Elizabeth I’s decision to remain unmarried. Based on their findings, psychologists concluded that Queen Elizabeth I was a damaged human being, based on Sigmund Freud’s theory of personality. This damage occurred during her childhood when she witnessed not only her father, King Henry VIII, accusing her mother, Anne Boylen, of the crime of adultery, but also she witnessed her mother’s execution by beheading after she was tried and found guilty of the crime. This childhood memory affected Queen Elizabeth I’s personality such that she began to embody the traits of males. It also caused her to identify with males in terms of being dominant and exemplifying traits of fearlessness and being aggressive. Because of these personality traits that Queen Elizabeth I adopted and portrayed, it would make it impossible for her to become a wife and a mother because the personality traits that a wife and a mother during this period included being submissive to her husband and to the needs of her children. Psychologists have also noted her uncontrollable and sudden bursts of rage and mood swings. An example of this was seen in the film when she found out that her favorite lady-in-waiting, Bess, not only married Walter Raleigh, but also is expecting a child. This was also evident in historical records when she attacked her lady-in-waiting named Mary Shelton and James Scumadore upon learning that they married without first seeking her approval for their union. These events led modern-day psychologists to conclude that Queen Elizabeth I was suffering from clinical hysteria. This hysteria was brought about by the unconscious anxieties that she was experiencing as a result of her witnessing her mother’s trial and execution as well as by feelings of jealousy. This jealously was exemplified in the film when Queen Elizabeth I confided to Bess that she was envious of Bess because although she was a Queen, there were many things that her lady-in-waiting may enjoy which she, as a Queen, can never experience (Doran â€Å"Monarchy and Matrimony† 5-6; â€Å"Elizabeth: the Golden Age†; Hammer 81). In general, the depiction of the life of Queen Elizabeth I in the film â€Å"Elizabeth: the Golden Age† was acceptable, if not accurate. It showed the two sides of the Queen. On one hand, she was a fearless leader devoted to her country and her duties as Queen that she would rather sacrifice personal joys such as being married in order to concentrate on her obligations to her kingdom. She also proved that, in period where women are considered as inferior to men, a woman did not need a man by her side in order to rule a country. Her experiences during her childhood allowed her to develop important characteristics that a leader during this period must possess – dominance, ruthlessness, aggression and fearlessness. On the other hand, the film also depicted the Queen as an emotionally weak human being. The same childhood experiences that helped her develop her admirable qualities also caused her to become clinically hysterical based on the findings of modern-day psychologists. Her condition caused her to exemplify sudden emotional outbursts of rage which affected the lives of those who served her court with her outbursts at times causing harm to those who have remained loyal to her. However, the re-arrangement done in the film with regards on the timeline and reasons for events to occur may have provided confusing information for the viewers of the film since these events have been re-arranged just as Sir Walter Scott had done centuries before in order to correlate the events presented in the film to each other even if historical records showed otherwise. It can only be assumed that the re-arrangement and changes on the relationship of the events that occurred during the timeline presented in the film may have been done in order for the film to become more exciting to view and to highlight more on the positive qualities of the Queen which made her the most popular monarch of Western history. Works Cited Campion, Edmund and James V. Holleran. A Jesuit Challenge: Edmund Campion’s Debates at the Tower of London in 1581. New York: Fordham University Press, 1999. (4) Cole, Mary Hill. The Portable Queen: Elizabeth I and the Politics of Ceremony. Amherst, MA: University of Massachusetts Press, 1999. (2) Dobson, Michael and Nicola J. Watson. England’s Elizabeth: an Afterlife in Fame and Fantasy. Oxford, UK: Oxford University Press, 2003. (1) Doran, Susan. Elizabeth I and Foreign Policy, 1558-1603. New York: Routledge, 2000. (4) Doran, Susan. Monarchy and Matrimony: the Courtships of Elizabeth I. New York: Taylor & Francis Routledge, 1996. (3) Elizabeth: the Golden Age. Dir. Shekar Kapur. Perf. Cate Blanchett, Geoffry Rush, Abbie Cornish, and Samantha Morton. 2007. DVD. Universal Studios, 2008. (7) Frye, Susan. â€Å"The Myth of Elizabeth at Tilbury. † Sixteenth Century Journal. 23. 1 (1992): 95- 114. (2) Green, Janet M. â€Å"’I Myself’: Queen Elizabeth I’s Oration at Tilbury Camp. † Sixteenth Century Journal. 28. 2 (1997): 421-45. (1) Hammer, Paul E. J. â€Å"Sex and the Virgin Queen: Aristocratic Concupiscence and the Court of Elizabeth I. † Sixteenth Century Journal. 31. 1 (2000): 77-97. (2) King, John N. â€Å"Queen Elizabeth I: Representations of the Virgin Queen. † Renaissance Quarterly. 43. 1 (1990): 30-74. (1) Perry, Maria. The Word of a Prince: A Life of Elizabeth I from Contemporary Documents. Rochester, NY: Boydell and Brewer Ltd. , 1990. (1) Rozett, Martha Tuck. Constructing a World: Shakespeare England and the New Historical Fiction. Albany, NY: University of New York Press, 2003. (2) Taylor-Smither, Larissa J. â€Å"Elizabeth I: A Psychological Profile. † Sixteenth Century Journal. 15. 1 (1984): 47-72. (3) Thomas, Jane Rush. Behind the Mask: the Life of Queen Elizabeth I. New York: Houghton- Mifflin Trade and Reference, 1998. (2)