Note Book of an English Opium-Eater by Thomas De Quincey
page 133 of 245 (54%)
page 133 of 245 (54%)
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recognition of identity) takes place within the compass of a single line
or two; as, for instance, in the Oedipus Tyrannus, at the moment when Oedipus by a final question of his own, extorts his first fatal discovery, viz. that he had been himself unconsciously the murderer of Laius?' True, he has no reason as yet to suspect that Laius was his own father; which discovery, when made further on, will draw with it another still more dreadful, viz. that by this parricide he had opened his road to a throne, and to a marriage with his father's widow, who was also his own natural mother. He does not yet know the worst: and to have killed an arrogant prince, would not in those days have seemed a very deep offence: but then he believes that the pestilence had been sent as a secret vengeance for this assassination, which is thus invested with a mysterious character of horror. Just at this point, Jocasta, his mother and his wife, says, [8] on witnessing the sudden revulsion of feeling in his face, 'I shudder, oh king, when looking on thy countenance.' Now, in what way could this passing spasm of horror be reconciled with the unchanging expression in the marble-looking mask? This, and similar cases to this, must surely be felt to argue a defect in the scenic apparatus. But I say, no: first, Because the general indistinctiveness from distance is a benefit that applies equally to the fugitive changes of the features and to their permanent expression. You need not regret the loss through _absence_, of an appearance that would equally, though present, have been lost through _distance_. Secondly, The Greek actor had always the resource, under such difficulties, of averting his face a resource sanctioned in similar cases by the greatest of the Greek painters. Thirdly, The voluminous draperies of the scenic dresses, and generally of the Greek costume, made it an easy thing to muffle the features altogether by a gesture most natural to sudden horror. Fourthly, We must consider that there were no stage lights: but, on the contrary that the general light of day was specially mitigated for that particular part of the |
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