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Lectures on Dramatic Art and Literature by August Wilhelm Schlegel
page 104 of 644 (16%)
especially by the prophecies of Cassandra.

I pass over the subsequent piece of the _Choephorae_ for the present;
I shall speak of it when I come to institute a comparison between the
manner in which the three poets have handled the same subject.

The fable of the _Eumenides_ is, as I have already said, the justification
of Orestes, and his absolution from blood-guiltiness: it is a trial, but a
trial where the accusers and the defenders and the presiding judges are
gods. And the manner in which the subject is treated corresponds with its
majesty and importance. The scene itself brought before the eyes of the
Greeks all the highest objects of veneration that they acknowledged.

It opens in front of the celebrated temple at Delphi, which occupies the
background; the aged Pythia enters in sacerdotal pomp, addresses her
prayers to all the gods who at any time presided, or still preside, over
the oracle, harangues the assembled people (represented by the actual
audience), and goes into the temple to seat herself on the tripod. She
returns full of consternation, and describes what she has seen in the
temple: a man, stained with blood, supplicating protection, surrounded by
sleeping women with snaky hair; she then makes her exit by the same
entrance as she came in by. Apollo now appears with Orestes, who is in a
traveller's garb, and carries a sword and olive-branch in his hands. He
promises him his farther protection, enjoins him to flee to Athens, and
commends him to the care of the present but invisible Mercury, to whose
safeguard travellers, and especially those who were under the necessity of
journeying by stealth, were usually consigned.

Orestes goes off at the side which was supposed to lead to foreign lands;
Apollo re-enters his temple, which remains open, and the Furies are seen
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