"Alas for mortals!--what their power and pride?
A little shadow sweeps it from the earth!
And if they suffer--why, the fatal hour
Comes o'er the record like a moistened sponge,
And blots it out; _methinks this latter lot
Affects me deepest--Well! 'tis pitiful!"_ [27]

Scarcely has the prophetess withdrawn than we hear behind the scene
the groans of the murdered king, the palace behind is opened, and
Clytemnestra is standing, stern and lofty, by the dead body of her
lord. The critics have dwelt too much on the character of
Clytemnestra--it is that of Cassandra which is the masterpiece of the
tragedy.

XI. The story, which is spread throughout three plays (forming a
complete trilogy), continues in the opening of the Choephori, with
Orestes mourning over his father's tomb. If Clytemnestra has
furnished would-be critics with a comparison with Lady Macbeth, for no
other reason than that one murdered her husband, and the other
persuaded her husband to murder somebody else, so Orestes may with
more justice be called the Hamlet of the Greeks; but though the
character itself of Orestes is not so complex and profound as that of
Hamlet, nor the play so full of philosophical beauties as the modern
tragedy, yet it has passages equally pathetic, and more sternly and
terribly sublime. The vague horror which in the commencement of the
play prepares us for the catastrophe by the dream of Clytemnestra--how
a serpent lay in swaddling-clothes like an infant, and she placed it
in her breast, and it drew blood; the brief and solemn answer of
Orestes--