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Moreover, between the three pieces of a trilogy, which were acted consecutively, and were intended to constitute a whole, there were saps of time as considerable as those between the three acts of many a Spanish drama.
The Furies are the attendants on justice, and if the sun in the heavens should transgress his path, they would punish him. This is that awful yet sublime doctrine of retribution which is the groundwork of the masterpieces of the ancient Greek tragedies, the inspiration without which the world would never have known the Agamemnon or the immortal trilogy of Sophocles.
In all these years, however, he cherished the plan of producing a trilogy in the Wagnerian manner with a groundwork from Florentine history.
The earlier "Henrietta Temple" and "Venetia," however fervid in feeling and valuable for the delineation of contemporary character, are not so characteristic. Nor are the novels of his last years, "Lothair" and "Endymion," in any way better than those of his younger days. That the political trilogy have still a certain value as studies of the time is beyond argument.
Sybil; or, the Two Nations, the second of the trilogy , was devoted, he tells us, "to the condition of the people," that dismal result of the "Venetian Constitution" and of the "Whig Oligarchy" which he had denounced in Coningsby. Sybil was perhaps the most genuinely serious of all Disraeli's romances; and in many ways it was the most powerful.
Apart altogether from what may be the quality and defects of particular volumes, such as those cited as examples of each part of such a proposed civic trilogy, one as yet nowhere complete, the very conception of such a possible threefold series may be of some service.
Believing that her daughter was dead, Clytemnestra returned to Argos to plot destruction for her husband, forming an illicit union with his foe Aegisthus, nursing her revenge during the ten years of the siege. The Agamemnon, the first play of the trilogy, opens in a romantic setting. It is night. A watchman is on the wall of Argos, stationed there by the Queen.
Such are the outlines of this great story, which will be told more in detail when we come to examine the component parts of the trilogy. Dr. Ludwig Nohl, in his admirable sketch of the Nibelungen poem, as Wagner adapted it, gives us a hint of some of its inner meanings in the following extract: "Temporal power is not the highest destiny of a civilizing people.
When, in the second part of the trilogy, Prometheus was nailed to the rock, the spectators must have thought of the Crucified as the antitype, for the actor playing that part took that posture, extended his arms, and let his head sink on his breast.
When Wotan in pride of being committed it, against two simpletons, how could he have divined that by this pin-point he set inexorable machinery moving which should bring about his confusion, forcing him in its progress to so many injustices more, injustices which his soul would loathe, which would blight his best beloved, which would by far be his greatest punishment!... The Trilogy is moral as a tract.
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