Themis, a study of the social origins of Greek ... - Warburg Institute

The Prologue 359
after the Prologue, with a Threnos 86—250, then an Agon 328--471 (Chryso-
then an Invocation of
themis) and a greater Agon 516—633 (Clytemnestra) :
the dead Agamemnon 634— 659 : this is answered by the arrival of the
Messenger announcing the death of Orestes 660—763, short Agon and Threnos
822—870: then, after Agon which is almost part of the Threnos, 871—1057,
Appearance of Orestes, with Anagnorisis, Peripeteia and final settlement of
the play. On the death, lamentation, and discovery alive of Orestes, see p. 356.
Trachiniae: the same question arises here as in the Ajax. The burning
of Heracles on Mt Oeta was in ancient tradition and art closely associated
with his Apotheosis. Was this burning and apotheosis represented on the
stage ? It definitely is so in Seneca's imitation, Here. Oet. ad fin. In any
case, whether represented or not, I think it must have been suggested to the
minds of all spectators. The sequence is fairly typical: Agon of Hyllus
and Deianira 734—820, Messenger (Exangelos) 870—946, Threnos, interrupted
by the Appearance of Heracles, his Self- Lamentation and Burning— i.e.
Apotheosis.
Pkiloctetes :
this play has a definite Theophany at the end, but otherwise
its sequence is rather far from any type. One might divide it thus : Agon
865—1080, including an Anagnorisis 895—926: Threnos 1081—1217: fiercer
Agon (Odysseus v. Neoptolemus and Philoctetes) 1222—1302; Reconciliation
1308—1408: Theophany 1409—1471.
Prologues.
We have hitherto considered the Forms that come towards .
the end and build up the conclusion of a tragedy. In any true
work of art the end is always specially important and significant.
It is the last act that chiefly determines the character of a play.
It is the end of the verse that best indicates the metre. But
there is one important form which belongs necessarily to the
beginning.
Dieterich is doubtless right in comparing the Prologue of
tragedy with the Prorrhesis of the hierophant before a sacred
Dromenon. What such a prorrhesis was like we can only guess.
There are a few small phrases of ritual preserved :
there
is the
parody of a prorrhesis given by the Hierophant in the Frogs,
354 ff. ; there are a few lines spoken by Iphigenia as priestess
before her tabu procession starts (/. T. 1226 ff.). It certainly
gave orders for Euphemia, or solemn silence : it probably also
said something about the sacred dance which was to follow.
'Make room for a Dance of Mystae! And do you begin the singing
and the all-night dances that are meet for this festival '
(Ar. Frogs,
370 f.). When the nature of the dance was something obviously
dictated by the occasion—e.g. when it was the celebration of
a particular Festival on the proper day—there was no need for
any further explanation. But as soon as anything like tragedy