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Updated: June 5, 2025
Clovis, as adapter and stage-manager, insisted, as far as he was able, on the charioteer being quite the most prominent character in the play, and his panther-skin tunic caused almost as much trouble and discussion as Clytemnestra's spasmodic succession of lovers, who broke down on probation with alarming uniformity.
Clytemnestra's dreams furnish the most striking token of the relation which the two poets bear to each other: both are equally appropriate, significant, and ominous; that of Aeschylus is grander, but appalling to the senses; that of Sophocles, in its very tearfulness, majestically beautiful.
Orestes goes off at the side which was supposed to lead to foreign lands; Apollo re-enters his temple, which remains open, and the Furies are seen in the interior, sleeping on the benches. Clytemnestra's ghost now ascends by the charonic stairs, and, passing through the orchestra, appears on the stage.
Clytemnestra's speech to the Chorus, just before Agamemnon's return, is a perfect marvel in that way. But the tremendous movement, the August impersonal atmosphere as ".... gorgeous Tragedy In sceptered pall comes sweeping by."
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