I can tell you for certain: I’m now thoroughly and totally acquainted with all the constellations of the stars. Oh, yes, it’s been a whole year since I’ve been put up here, on the roof of the palace of the race of Atreus… flat on my paws, like a dog, gazing far into the distance. Then, indicating the sky:)įor a whole year now I’ve been asking the gods to release me from this here torment. Watchman (Turns to speak to the audience. When the Watchman speaks, he happily displays his love and loyalty for Agamemnon and his utter disdain for Clytaemestra. On the side facing the audience is engraved the word “ΑΠΟΛΛΩΝ” (APOLLO) In front of the palace is an altar with ivy wrapped all around it.
On the palace walls, on either side of the gate hang a pair of double axes tied crosswise. Intermittently, he utters sounds of pain and discomfort and he rubs and scratches his legs, bum, elbows, neck, etc. He speaks to us but most of the time he has his back to us.īeneath him is the centre gate to the palace and in front of it, are three small altars with ivy growing around them.When he is not talking, he is staring hard into the dark distance.Īt first he is resting on his elbows but then, when he tires of this, changes positions gently and quietly, lest he wakes up the sleeping palace. He is the Watchman and he is lying on a mattress of straw. The night progresses slowly and as Dawn nears we eventually see the man clearly. He is humming so as to stay awake as well as to keep unwanted animals or spirits away. The humming is interspersed with trembling noises of fear. We are surprised by the fact that though we see no one on the stage we hear, somewhere in the depths of darkness, the solitary voice of a man humming nervously to himself – an awkward, tentative tune, full of fear and foreboding. Various attendant soldiers to Agamemnon and Aigisthus Under no circumstances should any of this work be used as part of a collage, which includes the work of other writers or translators. For use by any theatrical, educational or cinematic organisation, however, including a non-commercial one, permission must be sought. This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Translated by George Theodoridis © Copyright 2005, all rights reserved - Bacchicstage ‘Aeschylus’ - "Greek Dramas" (p41, 1900): Internet Archive Book Images
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