Exeunt HECTOR and RHESUS and Attendants. The Guards, who have been below,
come forward sleepily from the camp fire,
and sit watching by HECTOR'S tent.
CHORUS. Pp. 28-30, 11. 527-564, Stars and Nightingale chorus.]-The beauty of these lines in the Greek is quite magical, but the stage management of the scene is difficult. Apparently Hector (1. 523) bids the Guards come forward from where they are and wait nearer the front for Dolon; obeying this they come up from the orchestra, we may suppose, to the stage. Then watching somewhere near Hector's tent they partly express, in the usual song, the lyrical emotion of the night, partly they chat about Dolon and the order of the watches. The scene is technically very interesting with its rather abrupt introduction of realism into the high convention of tragedy. Meantime the Trojans' time of watch is over and the Lycians, who ought to watch next, have not come. In a modern army it would of course be the duty of the new watch to come and relieve the old; in an ancient barbaric army-characteristically-the old watch had to go and wake the new. You could not, one must suppose, trust them to take their turn otherwise. At the end of the first strophe a Guard suggests that they should rouse the Lycians; at the end of the second the Leader definitely gives the word to do so. The Guards go, and so the stage (and orchestra) is left empty.
This is plain enough; but why were the Guards brought away from their original position-from the orchestra to the stage? Probably to allow the Greek spies to pass on towards the Thracian camp by a different and unoccupied way, not by the way which the Guards had just taken.
The story of the Nightingale is well known: she was Philomêla, or in the older story Procnê, an Athenian princess, wedded to the faithless Thracian king, Têreus. In a fury of vengeance on her husband she slew their only son, Itys or Itylus, and now laments him broken-hearted for ever.
Say, whose is the watch? Who exchanges
With us? The first planets to rise
Are setting; the Pleiades seven
Move low on the margin of heaven,
And the Eagle is risen and ranges
The mid-vault of the skies.
ANOTHER.
No sleeping yet! Up from your couches
And watch on, the sluggards ye are!
The moon-maiden's lamp is yet burning.
THIRD GUARD.
Oh, the morning is near us, the morning!
Even now his fore-runner approaches,
Yon dim-shining star.
DIVERS GUARDS (talking).
Who drew the first night-watch?
ANOTHER.
'Twas one
Koroibos, called the Mygdon's Son.
THE GUARD.
And after?
THE OTHER.
The Mount Taurus men
Had second watch: from them again
The Mysians took it. We came then.
A GUARD.
'Tis surely time. Who will go tell
The fifth watch? 'Tis the Lycians' spell
By now; 'twas thus the portions fell.
This text is part of:
Search the Perseus Catalog for:
Table of Contents:
1 Pp. 28-30, 11. 527-564, Stars and Nightingale chorus.]-The beauty of these lines in the Greek is quite magical, but the stage management of the scene is difficult. Apparently Hector (1. 523) bids the Guards come forward from where they are and wait nearer the front for Dolon; obeying this they come up from the orchestra, we may suppose, to the stage. Then watching somewhere near Hector's tent they partly express, in the usual song, the lyrical emotion of the night, partly they chat about Dolon and the order of the watches. The scene is technically very interesting with its rather abrupt introduction of realism into the high convention of tragedy. Meantime the Trojans' time of watch is over and the Lycians, who ought to watch next, have not come. In a modern army it would of course be the duty of the new watch to come and relieve the old; in an ancient barbaric army-characteristically-the old watch had to go and wake the new. You could not, one must suppose, trust them to take their turn otherwise. At the end of the first strophe a Guard suggests that they should rouse the Lycians; at the end of the second the Leader definitely gives the word to do so. The Guards go, and so the stage (and orchestra) is left empty.
This is plain enough; but why were the Guards brought away from their original position-from the orchestra to the stage? Probably to allow the Greek spies to pass on towards the Thracian camp by a different and unoccupied way, not by the way which the Guards had just taken. The story of the Nightingale is well known: she was Philomêla, or in the older story Procnê, an Athenian princess, wedded to the faithless Thracian king, Têreus. In a fury of vengeance on her husband she slew their only son, Itys or Itylus, and now laments him broken-hearted for ever.
The Rhesus of Euripides. Translated into English rhyming verse with explanatory notes by Gilbert Murray, LL.D., D.Litt, F.B.A., Regius Professor of Greek in the University of Oxford. Euripides. Gilbert Murray. New York. Oxford University Press. 1913.
This text has been proofread to a medium level of accuracy.
This work is licensed under a
Creative Commons Attribution-ShareAlike 3.0 United States License.
An XML version of this text is available for download, with the additional restriction that you offer Perseus any modifications you make. Perseus provides credit for all accepted changes, storing new additions in a versioning system.