Cassandra too was involved in the fall of Agamemnon: the Trojan maiden beloved of Apollo, who bestowed upon her the gift of prophecy; when she slighted the God's love, Apollo--for no gift of a god can be recalled--left her a prophetess, with the doom that her true forebodings should ever be disbelieved. She, having thus vainly sought to save Troy, with its fall fell into captivity, and to the lot of Agamemnon, with whom she died. The name of Orestes would suggest the proverbial friendship of Qrestes [Transcriber's note: Orestes?] and Pylades, formed in Orestes' trouble and never broken. TRILOGY OF THE ORESTEIA FIRST PLAY: IN THE MORNING: _AGAMEMNON_ PROLOGUE _The Permanent Scene is decorated to represent the facade of the Palace of Agamemnon, at Argos; the platform over the Central door appearing as a Watch-tower. At intervals along the front of the Palace, and especially by the three doors, are statues of Gods, amongst them Apollo, Zeus, and Hermes. The time is supposed to be night, verging on morning. Both Orchestra and Stage are vacant: only a Watchman is discovered on the Tower, leaning on his elbow, and gazing into the distance._ The Watchman soliloquizes on his toilsome task of watching all night through for the first sight of the signal which is to tell of the capture of Troy: he has kept his post for years, till the constellations which usher in winter and harvest-time are his familiar companions; he must endure weather and sleeplessness, and when he would sing to keep his spirits up he is checked by thoughts of his absent master's household, in which, he darkly hints, things are "not well." [_He is settling himself into an easier posture, when suddenly he springs to his feet._] The beacon-fire at last! [_He shouts the signal agreed upon, and begins dancing for joy._] Now all will be well; a little while and his hand shall touch the dear hand of his lord; and then--ah! "the weight of an ox rests on his tongue," but if the house had a voice it could tell a tale! [_Exit to bring tidings to the queen._] {39} PARODE, OR CHORUS-ENTRY _As if roused by the Watchman's shout, enter the Chorus: Twelve Elders of Argos: in the usual processional order, combining music, chanting and gesture-dance, to a rhythm conventionally associated with marching. They enter on the right (as if from the city), and the Processional Chant takes them gradually round the Orchestra towards the Thymele, or Altar of Dionysus, in the centre._ _The Chorus_ in their Processional Chant open the general state of affairs, especially bringing out the doublesidedness of the situation [which is the key-note of the whole Drama]: the expected triumph over Troy, which cannot be far distant now, combined with misgivings as to misfortunes sure to come as nemesis for the dark deeds connected with the setting out of the expedition. They open thus: