The Chorus sets the stage: the siege has lasted ten years. Driven by Zeus, or by Fate, the heroes fight. Meanwhile, those left at home have grown old and weaker. But why is Clytemnestra going through the city setting sacrifice fires now?
More scene-setting: As Agamemnon and Menelaus gathered their fleet, the prophet Calchas saw the terrible fate set for them. Artemis would keep their ships in habor, until a terrible sacrifice was made that would unleash the remaining action.
A minor backhanded tribute to Zeus, the greatest, but third (after Ouranos and Cronos), head of gods, and quite silly in his own right.
Calchas announces what needs be done to Agamemnon-- the sacrifice of his daughter, Iphigenia. Agamemnon is agonized over this, but only momentarily. He then does the deed with gusto, expecting honor from his soldiers (who give it). Iphigenia sings and stares down the officers as the fatal blow is struck.
Back to action. Clytemnestra announces the victory at Troy. But how came the news? She explains the courier of flame, the signal fires stretching all the way back to her own palace. She ruminates on the scene in Ilion: weary victors, dragging themselves through a disgraced city. But (slyly) worse is still to come.
Chorus again. Zeus inspired Paris's lust, and his flight back to Ilion. Such a woe this brought on his own people. But such a woe also was felt by the Achaians, with many heroes dead, over Menelaus's wife! Honor is of little consolation. What joy can be felt living on in legend, if they're still dead?
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Holy crap.
A good place to stop, because Agamemnon is about to enter (months, if not years, after this action).
Well, I'm certainly impressed by Aeschylus. The subtext concerning fate, the honor of the gods, the critique of the heroic culture, comes so fast and furious, it's hard to keep up. I read these pages twice just to make sure I was concentrating on it all, but I think I'll be good from here on out.
The biggest change from Homer, so far, is the acknowledgement of the terrible trials of war, and the questioning of whether any honor can be worth that price.
Also of note is the language. This might be an issue of translation. I'm finding Roche to be much more lyric and poetic than Lattimore-- but that might be a reflection of the advancement in poetic style from Homer to Aeschylus. In any case, the play is much more personal and psychologically emotional than the action narrative of Homer. That makes for a much denser reading (in a good way) than before.
Roche also does a good job of evoking what a stage production would look like. I can imagine the two sides of the Chorus wailing over their ten-year struggle, with Clytemnestra watching and plotting in the background.
I really enjoyed the opening scene of the Watcher, too. It's good to get an "everyman's" perspective on this, from a guy who clearly hates his job. Cool.
Love the images of the bonfire signals. Kudos to J.R.R. Tolkein for lifting it, and to Peter Jackson for filming it so well.
One passage that summarizes all tragedy, during the tribute to Zeus and his weakness as a god:
He leads us on the way of wisdom'sPreach it.
Everlasting law that truth
Is only learnt by suffering it.
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