Showing posts with label Orestes. Show all posts
Showing posts with label Orestes. Show all posts

I really love Aeschylus' Eumenides play, and I also greatly enjoy the fact that it has prayers and parts you can use for prayers in it that one can use for their own household worship. Today, I will post some of the possible prayers in Eumenides. Enjoy!


"First, in this prayer of mine, I give the place of highest honor among the gods to the first prophet, Earth; and after her to Themis, for she was the second to take this oracular seat of her mother, as legend tells. And in the third allotment, with Themis' consent and not by force, another Titan, child of Earth, Phoebe, took her seat here. She gave it as a birthday gift to Phoebus, who has his name from Phoebe. Leaving the lake1 and ridge of Delos, he landed on Pallas' ship-frequented shores, and came to this region and the dwelling places on Parnassus. The children of Hephaistos,2 road-builders taming the wildness of the untamed land, escorted him with mighty reverence. And at his arrival, the people and Delphus, helmsman and lord of this land, made a great celebration for him. Zeus inspired his heart with prophetic skill and established him as the fourth prophet on this throne; but Loxias is the spokesman of Zeus, his father.

These are the gods I place in the beginning of my prayer. And Pallas who stands before the temple3 is honored in my words; and I worship the Nymphs where the Corycian4 rock is hollow, the delight of birds and haunt of gods. Bromius has held the region—I do not forget him—ever since he, as a god, led the Bacchantes in war, and contrived for Pentheus death as of a hunted hare. I call on the streams of Pleistus and the strength of Poseidon, and highest Zeus, the Fulfiller; and then I take my seat as prophetess upon my throne. And may they allow me now to have the best fortune, far better than on my previous entrances. And if there are any from among the Hellenes here, let them enter, in turn, by lot, as is the custom. For I prophesy as the god leads." [Pythia in the temple of Apollon at Delphi - 1]

"Lord Apollo, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured." [Orestes to Apollon - 85]
"So now with a pure mouth I piously invoke Athena, lady of this land, to come to my aid. Without the spear, she will win me and my land and the Argive people as faithful and true allies for all time. But whether in some region of the Libyan land, near the waters of Triton, her native stream, she is in action or at rest, aiding those whom she loves, or whether, like a bold marshal, she is surveying the Phlegraean plain, oh, let her come—as a goddess, she hears even from far away—to be my deliverer from distress!" [Orestes to Athena - 287]

"I will accept a home with Pallas, and I will not dishonor a city which she, with Zeus the omnipotent and Ares, holds as a fortress of the gods, the bright ornament that guards the altars of the gods of Hellas. I pray for the city, with favorable prophecy, that the bright gleam of the sun may cause blessings  that give happiness to life to spring from the earth, in plenty." [Chorus of Eumenides - 916]
"Gracious and favorable to the land, come here, venerable goddesses, with flame-fed torch, rejoicing as you go—cry aloud now in echo to our song! Peace endures for all time between Pallas' citizens and these new dwellers here. Zeus who sees all and Fate have come down to lend aid—cry aloud now in echo to our song!" [Chorus of the processional escort to the Eumenides - 1032]
Representatives from the Center for Hellenic Studies, the Kosmos Society and Out of Chaos Theatre have been presenting scenes from Greek tragedy in our shared time of isolation to explore how the context of the ‘small screen’ changes the way we understand the genre and its performance, how the themes and concerns of ancient tragedy communicate to us today, especially in a time of crisis, and, most importantly, to stay occupied and engaged with one another.  Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen.

The latest is Euripides’ Orestes, a play that revisits Orestes’ fate after he kills his mother Klytemnestra and her lover Aegisthus to avenge the murder of his father, Agamemnon. If the story sounds familiar, well, it is: the Homeric Odyssey presents Orestes as a model for Telemachus repeatedly. Aeschylus makes his story the topic of our only surviving Greek trilogy, ending in Athens with an aetiology for the trial by jury

But, in typical Eurpidean style, this Orestes is surprising and unsettling. If Aeschylus’ Oresteia is optimistic, projecting a belief in the redemptive or at least balancing powers of human institutions, Euripides’ Orestes is the opposite, showing that human institutions fail to distribute justice when needed most and that individuals give in to the worst excesses of human nature.



Cast
Orestes – Richard Neale
Electra – Tabatha Gayle
Chorus – Tim Delap and Evelyn Miller
Pylades – Martin K Lewis
Menelaus – Robert Matney
Apollo – Paul O’Mahony

Scene Selection and dramaturgy: Emma Pauly

Special Guest: Claire Catenaccio

Upcoming Readings(Wednesdays at 3PM EDT, Unless otherwise noted)
Aeschylus, The Persians May 13th
Euripides, Trojan Women, May 20th
Sophocles, Ajax, May 29th
Euripides, Andromache, June 3rd
Sophocles, Oedipus Tyrannos, June 10th
Euripides, Ion, June 17th [10 AM EDT/3PM GMT]
Euripides, Hecuba, June 24th
Aeschylus, Prometheus Bound, July 1st

Videos of Earlier Sessions
Euripides’ Helen, March 25th
https://www.youtube.com/watch?v=ZxxMaLqYPu4 
Sophocles’ Philoktetes, April 1st
https://www.youtube.com/watch?v=QhRZjWyBfow&t=398s
Euripides’ Herakles, April 8th
https://www.youtube.com/watch?v=MKRnBPDQz60&t=4019s
Euripides’ Bacchae, April 15th
https://www.youtube.com/watch?v=ZAt1FDCF2hQ&t=20s
Euripides’ Iphigenia , April 22nd
https://www.youtube.com/watch?v=GMDN5uHI3CE&t=20s
Sophocles, Trachinian Women, April 29th
https://www.youtube.com/watch?v=tZlF8N5BABc&t=14s
Today, I would like to present musical fragment from the first stasimon of Orestes by Euripides. It was found in 1892, among a number of papyri from Hermopolis, Egypt, in the collection of Archduke Rainer Ferdinand of Austria. It was published by papyrologist Karl Wessely. The fragment was somewhat mutilated when found, but contained a passage of the famous play with musical notation, allowing modern composers and artists to perform the passage in a way that is at least close to the way Euripides intended it.


Whether this fragment represents the original music Euripides composed in 408 BC is an open question, as we have no 5th century BC musical inscriptions to compare it to (the papyrus is dated to the 3rd century BC). Nevertheless, Plutarch credit Euripides and Agathon with many of the rythm and modes used in this fragment, and Aristophanes described Euripides' work as musically complex.

The rhythm of the song is Dochmius and the mode Lydian in chromatic genus. To those unfamiliar with musical terms--like me--I'll attempt to clarify this. The time it takes to pronounce a syllable in ancient Greek and Latin poetry and verse is called a 'mora'. The time it takes to pronounce a long mora is roughly the time it takes to pronounce two short ones. The shortest musical metrical unit is called a 'foot'; a Dochmius is a foot of five syllables, first and fourth being short and the second, third, and fifth long.

In Hellenic music theory, there was a Lydian scale which described a set of pitches. The technical Lydian scale--originating in Lydia in Anatolia--was equivalent to C D♭ E F G♭ A B C, and C Chalf sharp Ehalf sharp F Fhalf sharp Ahalf sharp Bhalf sharp C, respectively where "half sharp" signifies raising the pitch by approximately a quarter tone. Personally, I have no clue what that means but as I am not well versed in music theory, I can't offer a better explanation in that.

Moving on to something I do know about; the arrangement of the fragmentary text differs from the traditional editions. The setting in the Orestes is the story of Orestes himself, who slays his mother after he slays his father and is hunted down by the Erinyes until he happens upon the temple of Apollon (who told him to kill his mother), who then tells him to let Athena and the people of Athens decide his fate, which they do, in favor of Orestes. this whole epic is laid out in many plays by many authors. The Orestes focusses on Orestes' guilt for murderig his mother--an event not part of the play--and his sister Elektra's continued struggle to keep Orestes sane and alive as the leading political faction of Argos wants to put Orestes to death.

The fragment is set at the moment Orestes wakes up after his first bout of madness inspired by the vengeful Erinyes. He is still tormented by them, and realizes suddenly that his act will lead to his death, and the death of his sister Elektra as she refuses to leave his side. The ancient text begins with materos haima (mother's blood) and katolophyromai appears after brotois (mortals). One translated version goes as follows, as sung by the chorus:

"What deadly struggle is here at hand, hurrying thee on o'er thy path of woe, a victim on whom some fiend is heaping tribulation, by bringing on thy house thy mother's bloodshed which drives thee raving mad? I weep for thee, for thee I weep. Great prosperity abideth not amongst mankind; but some power divine, shaking it to and fro like the sail of a swift galley, plunges it deep in the waves of grievous affliction, boisterous and deadly as the waves of the sea."

In the fragment, the text is as follows:

"κατολοφύρομαι κατολοφύρομαι ματέρος αἷμα σᾶς, ὅ σ’ ἀναβακχεύει, ὁ μέγας ὄλβος οὐ μόνιμος ἐν βροτοῖς, ἀνὰ δὲ λαῖφος ὥς τις ἀκάτου θοᾶς τινάξας δαίμων κατέκλυσεν δεινῶν πόνων ὡς πόντου
λάβροις ὀλεθρίοισιν ἐν κύμασιν."

"I cry, I cry, your mother's blood that drives you mad, great happiness in mortals never lasting, but like a sail of a swift ship, which a god shook up and plunged it with terrible troubles into the greedy and deadly waves of sea."

This version of the fragment is performed by the modern Greek band Daemonia Nymphe (Δαιμονια Νυμφη), live in Graz Austria Helmut-List-Halle on 20 Mar h, 2008. The music was arranged by Spyros Giasafakis and Evi Stergiou. The session musicians were Maria Stergiou, Eleni Efthymiou, Vaggelis Paschalides, and Thodoris Chytiris, and the ancient Hellenic instruments were reproduced by Nikolaos Brass.

I love listening to this. It gives me chills every time. If this was the style of the whole of the play, it must have been a sight to behold. Not only is it visually gripping and the story intense, but the music adds a whole new layer to it, where you can almost feel Orestes' madness. I hope you can appreciate it as well.
I'm on the road all day today, so I am doing a repost! Aeschylus' Eumenides is one of my favorite plays, because it has prayers and parts of prayers you can use for your own household worship. I filtered them out for your convenience. Enjoy! 

"First, in this prayer of mine, I give the place of highest honor among the gods to the first prophet, Earth; and after her to Themis, for she was the second to take this oracular seat of her mother, as legend tells. And in the third allotment, with Themis' consent and not by force, another Titan, child of Earth, Phoebe, took her seat here. She gave it as a birthday gift to Phoebus, who has his name from Phoebe. Leaving the lake1 and ridge of Delos, he landed on Pallas' ship-frequented shores, and came to this region and the dwelling places on Parnassus. The children of Hephaistos,2 road-builders taming the wildness of the untamed land, escorted him with mighty reverence. And at his arrival, the people and Delphus, helmsman and lord of this land, made a great celebration for him. Zeus inspired his heart with prophetic skill and established him as the fourth prophet on this throne; but Loxias is the spokesman of Zeus, his father.

These are the gods I place in the beginning of my prayer. And Pallas who stands before the temple3 is honored in my words; and I worship the Nymphs where the Corycian4 rock is hollow, the delight of birds and haunt of gods. Bromius has held the region—I do not forget him—ever since he, as a god, led the Bacchantes in war, and contrived for Pentheus death as of a hunted hare. I call on the streams of Pleistus and the strength of Poseidon, and highest Zeus, the Fulfiller; and then I take my seat as prophetess upon my throne. And may they allow me now to have the best fortune, far better than on my previous entrances. And if there are any from among the Hellenes here, let them enter, in turn, by lot, as is the custom. For I prophesy as the god leads." [Pythia in the temple of Apollon at Delphi - 1]

"Lord Apollo, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured." [Orestes to Apollon - 85]
"So now with a pure mouth I piously invoke Athena, lady of this land, to come to my aid. Without the spear, she will win me and my land and the Argive people as faithful and true allies for all time. But whether in some region of the Libyan land, near the waters of Triton, her native stream, she is in action or at rest, aiding those whom she loves, or whether, like a bold marshal, she is surveying the Phlegraean plain, oh, let her come—as a goddess, she hears even from far away—to be my deliverer from distress!" [Orestes to Athena - 287]

"I will accept a home with Pallas, and I will not dishonor a city which she, with Zeus the omnipotent and Ares, holds as a fortress of the gods, the bright ornament that guards the altars of the gods of Hellas. I pray for the city, with favorable prophecy, that the bright gleam of the sun may cause blessings that give happiness to life to spring from the earth, in plenty." [Chorus of Eumenides - 916]
"Gracious and favorable to the land, come here, venerable goddesses, with flame-fed torch, rejoicing as you go—cry aloud now in echo to our song! Peace endures for all time between Pallas' citizens and these new dwellers here. Zeus who sees all and Fate have come down to lend aid—cry aloud now in echo to our song!" [Chorus of the processional escort to the Eumenides - 1032]

Today, I would like to present musical fragment from the first stasimon of Orestes by Euripides. It was found in 1892, among a number of papyri from Hermopolis, Egypt, in the collection of Archduke Rainer Ferdinand of Austria. It was published by papyrologist Karl Wessely. The fragment was somewhat mutilated when found, but contained a passage of the famous play with musical notation, allowing modern composers and artists to perform the passage in a way that is at least close to the way Euripides intended it.


Whether this fragment represents the original music Euripides composed in 408 BC is an open question, as we have no 5th century BC musical inscriptions to compare it to (the papyrus is dated to the 3rd century BC). Nevertheless, Plutarch credit Euripides and Agathon with many of the rythm and modes used in this fragment, and Aristophanes described Euripides' work as musically complex.

The rhythm of the song is Dochmius and the mode Lydian in chromatic genus. To those unfamiliar with musical terms--like me--I'll attempt to clarify this. The time it takes to pronounce a syllable in ancient Greek and Latin poetry and verse is called a 'mora'. The time it takes to pronounce a long mora is roughly the time it takes to pronounce two short ones. The shortest musical metrical unit is called a 'foot'; a Dochmius is a foot of five syllables, first and fourth being short and the second, third, and fifth long.

In Hellenic music theory, there was a Lydian scale which described a set of pitches. The technical Lydian scale--originating in Lydia in Anatolia--was equivalent to C D♭ E F G♭ A B C, and C Chalf sharp Ehalf sharp F Fhalf sharp Ahalf sharp Bhalf sharp C, respectively where "half sharp" signifies raising the pitch by approximately a quarter tone. Personally, I have no clue what that means but as I am not well versed in music theory, I can't offer a better explanation in that.

Moving on to something I do know about; the arrangement of the fragmentary text differs from the traditional editions. The setting in the Orestes is the story of Orestes himself, who slays his mother after he slays his father and is hunted down by the Erinyes until he happens upon the temple of Apollon (who told him to kill his mother), who then tells him to let Athena and the people of Athens decide his fate, which they do, in favor of Orestes. this whole epic is laid out in many plays by many authors. The Orestes focusses on Orestes' guilt for murderig his mother--an event not part of the play--and his sister Elektra's continued struggle to keep Orestes sane and alive as the leading political faction of Argos wants to put Orestes to death.

The fragment is set at the moment Orestes wakes up after his first bout of madness inspired by the vengeful Erinyes. He is still tormented by them, and realizes suddenly that his act will lead to his death, and the death of his sister Elektra as she refuses to leave his side. The ancient text begins with materos haima (mother's blood) and katolophyromai appears after brotois (mortals). One translated version goes as follows, as sung by the chorus:

"What deadly struggle is here at hand, hurrying thee on o'er thy path of woe, a victim on whom some fiend is heaping tribulation, by bringing on thy house thy mother's bloodshed which drives thee raving mad? I weep for thee, for thee I weep. Great prosperity abideth not amongst mankind; but some power divine, shaking it to and fro like the sail of a swift galley, plunges it deep in the waves of grievous affliction, boisterous and deadly as the waves of the sea."

In the fragment, the text is as follows:

"κατολοφύρομαι κατολοφύρομαι ματέρος αἷμα σᾶς, ὅ σ’ ἀναβακχεύει, ὁ μέγας ὄλβος οὐ μόνιμος ἐν βροτοῖς, ἀνὰ δὲ λαῖφος ὥς τις ἀκάτου θοᾶς τινάξας δαίμων κατέκλυσεν δεινῶν πόνων ὡς πόντου
λάβροις ὀλεθρίοισιν ἐν κύμασιν."

"I cry, I cry, your mother's blood that drives you mad, great happiness in mortals never lasting, but like a sail of a swift ship, which a god shook up and plunged it with terrible troubles into the greedy and deadly waves of sea."

This version of the fragment is performed by the modern Greek band Daemonia Nymphe (Δαιμονια Νυμφη), live in Graz Austria Helmut-List-Halle on 20 Mar h, 2008. The music was arranged by Spyros Giasafakis and Evi Stergiou. The session musicians were Maria Stergiou, Eleni Efthymiou, Vaggelis Paschalides, and Thodoris Chytiris, and the ancient Hellenic instruments were reproduced by Nikolaos Brass.

I love listening to this. It gives me chills every time. If this was the style of the whole of the play, it must have been a sight to behold. Not only is it visually gripping and the story intense, but the music adds a whole new layer to it, where you can almost feel Orestes' madness. I hope you can appreciate it as well.
Ah, one more 'Q' post, and then I'll be without them for another year. That's a good thought! On that cheery note, I figured out another subject for the 'Q's: quorum votes. The word 'quorum' reminds me of Battlestar Galactica, which has the 'Quorum of Twelve': the governing body of the Twelve Colonies of Kobol, composed of one representative from each colony. The 'Quorum of Twelve' was actually a Christian reference by the creator of the series, but in a universe heavily influenced by the Greek legacy--where the names of the Twelve Colonies and their planets are similar to the names of the constellations in the Greco-Roman zodiac, many people are devout followers of the Theoi, and characters often had nicknames like 'Athena' and 'Apollo'--the quorum is actually fairly reminiscent of ancient Hellas.

Ostraka

A quorum is the minimum number of members of a deliberative assembly necessary to conduct the business of that group. I have written a little about the ancient Athenian quorum before, but before I get to that, let me explain the Athenian government body really quick--or at least the parts relevant to this post. There is a longer summary to be found here, but as that is a Pagan Blog Project post as well, I am just going to assume you have read it. So, short summary:

Back in Classical ancient Athens, if you were adult male Athenian citizens who had completed their military training as ephebes, you were required to partake in the democratic assembly of citizens, called the ekklesia. It consisted of about 25,000 voting citizens. The ekklesia, in turn, was managed by the boule of 500 citizens, taken from the ranks of the ekklesia. The boule, finally, was managed by 50 members of the boule, called the prytaneis. Everyone in the ekklesia voted, but their votes were tallied by the boule-members of their tribe, who related the votes to the prytanis of their tribe, who then tallied and proclaimed the votes. Previous to the Classical age, smaller assemblies would dispense judgment, or the judgment was dispensed by the king.

Perhaps the most well-known example of voting in ancient Athens comes from Aeschylus' Eumenides where Orestes faces divine judgment after slaying his mother in revenge for the death of His father. Athena presides over this judgment, and Apollon speaks for Orestes, but the vote is in the hands of the Athenian people, although Athena has the winning vote in case of a tie.

"O men of Athens, ye who first do judge the law of bloodshed, hear me now ordain. Here to all time for Aegeus' Attic host shall stand this council-court of judges sworn, here the tribunal, set on Ares' Hill where camped of old the tented Amazons, what time in hate of Theseus they assailed Athens, and set against her citadel a counterwork of new sky-pointing towers, and there to Ares held their sacrifice, where now the rock hath name, even Ares' Hill. And hence shall Reverence and her kinsman Fear pass to each free man's heart, by day and night enjoining, Thou shalt do no unjust thing, so long as law stands as it stood of old unmarred by civic change. Look you, the spring is pure; but foul it once with influx vile and muddy clay, and none can drink thereof. Therefore, O citizens, I bid ye bow in awe to this command, Let no man live, uncurbed by law nor curbed by tyranny; nor banish ye the monarchy of Awe beyond the walls; untouched by fear divine, no man doth justice in the world of men. Therefore in purity and holy dread stand and revere; so shall ye have and hold a saving bulwark of the state and land, such as no man hath ever elsewhere known, nor in far Scythia, nor in Pelops' realm. Thus I ordain it now, a council-court pure and unsullied by the lust of gain, sacred and swift to vengeance, wakeful ever to champion men who sleep, the country's guard. Thus have I spoken, thus to mine own clan commended it for ever. Ye who judge, arise, take each his vote, mete out the right, your oath revering. Lo, my word is said."

In the Eumenides, twelve judges then come on stage and cast their vote in one of two urns--one to vote Orestes guilty, the other to vote him not guilty. The results are tallied and Orestes is cleared of blood guilt.

Voting in Classical Athens would have been much the same. Prior to the changes to the political landscape of Athens in the sixth century BC and onwards, made by Solon and Kleisthénês, it appears votes were more often settled by talking or shouting during assemblies. As this was of voting was decidedly personal, those of higher birth or greater power would have been able to sway votes. Solon, especially, worked hard to abolish these influences in decision making. The far more neutral voting system of 'bind' votes, where votes were cast in urn or other holders was considered far preferable.

Votes were tallied in a few different ways: one was to use stones of varying colors, and ascribe one color to 'yes' votes, and the second color to 'no' votes. All lots were case into a single urn, which was cracked open after everyone had voted, and tallied. The second option was the one portrayed in Eumenides: two urns, one type lot. A third option was a particular one; it was only used when deciding who would be ostracized. When a person was ostracized, potsherds (ostraka, ὄστρακα) with names scratched on them were used as lots, and he who received the most votes, was ostracized for ten years.

During an ostracism (ostrakismos, ὀστρακισμός) each member of the ekklesia would choose a politician they wished to have 'ostracized', or exiled for ten years. If any one name received a majority and a total of 6,000 or more votes, that man would have to leave Athens. The picture up top features some excavated ostraka naming prominent politicians still well-known to historians today: at the top, Aristeides, son of Lysimachus on the left, and Themistokles, of the deme Phrearios on the right. At the bottom, Kimon, son of Miltiades on the left, and Perikles, son of Xanthippos on the right. Ostracism was often used preemptivel, as a way of neutralizing someone thought to be a threat to the state or potential tyrant. As such, ostracism had no relation to the processes of justice; there was no charge or defense, and the exile was not in fact a penalty; it was simply a command from the Athenian people that one of their number be gone for ten years.

For a small category of votes a quorum of 6000 men was required, and ostracisms were included in that number. Another was the granting of citizenship to métoikos, if they had done something important for the city of Athens. These decisions were considered too important to leave up to smaller numbers.

The Athenian direct democracy we are now unfamiliar with besides when judging rounds of Top Model or Idols, allowed every (adult male) citizen the exact same vote, and equalized the political landscape. Quorum votes were especially important, as the decision was not only backed up by 6000 men, but they had voted on it together, bringing these men--and the city of Athens--closer.
Morning everyone, unfortunately, I had a pretty bad night, and about three hours of sleep. Nothing major happened; it was just one of those nights. As a consequence, though, I'm already exhausted and the day hasn't even begun, so I'm going to let another speak for me today. New members in Elaion can join the mentoring program, and the 2013 class has just started. To begin, we are reading Aeschylus' Eumenides and dissecting it for lessons. I really love this play, and I also greatly enjoy the fact that it has prayers and parts you can use for prayers in it that one can use for their own household worship. Today, I will post the prayers in Eumenides and go back to bed. I'll get you an actual post tomorrow. Enjoy!

"First, in this prayer of mine, I give the place of highest honor among the gods to the first prophet, Earth; and after her to Themis, for she was the second to take this oracular seat of her mother, as legend tells. And in the third allotment, with Themis' consent and not by force, another Titan, child of Earth, Phoebe, took her seat here. She gave it as a birthday gift to Phoebus, who has his name from Phoebe. Leaving the lake1 and ridge of Delos, he landed on Pallas' ship-frequented shores, and came to this region and the dwelling places on Parnassus. The children of Hephaistos,2 road-builders taming the wildness of the untamed land, escorted him with mighty reverence. And at his arrival, the people and Delphus, helmsman and lord of this land, made a great celebration for him. Zeus inspired his heart with prophetic skill and established him as the fourth prophet on this throne; but Loxias is the spokesman of Zeus, his father.

These are the gods I place in the beginning of my prayer. And Pallas who stands before the temple3 is honored in my words; and I worship the Nymphs where the Corycian4 rock is hollow, the delight of birds and haunt of gods. Bromius has held the region—I do not forget him—ever since he, as a god, led the Bacchantes in war, and contrived for Pentheus death as of a hunted hare. I call on the streams of Pleistus and the strength of Poseidon, and highest Zeus, the Fulfiller; and then I take my seat as prophetess upon my throne. And may they allow me now to have the best fortune, far better than on my previous entrances. And if there are any from among the Hellenes here, let them enter, in turn, by lot, as is the custom. For I prophesy as the god leads." [Pythia in the temple of Apollon at Delphi - 1]

"Lord Apollo, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured." [Orestes to Apollon - 85]
"So now with a pure mouth I piously invoke Athena, lady of this land, to come to my aid. Without the spear, she will win me and my land and the Argive people as faithful and true allies for all time. But whether in some region of the Libyan land, near the waters of Triton, her native stream, she is in action or at rest, aiding those whom she loves, or whether, like a bold marshal, she is surveying the Phlegraean plain, oh, let her come—as a goddess, she hears even from far away—to be my deliverer from distress!" [Orestes to Athena - 287]

"I will accept a home with Pallas, and I will not dishonor a city which she, with Zeus the omnipotent and Ares, holds as a fortress of the gods, the bright ornament that guards the altars of the gods of Hellas. I pray for the city, with favorable prophecy, that the bright gleam of the sun may cause blessings that give happiness to life to spring from the earth, in plenty." [Chorus of Eumenides - 916]
"Gracious and favorable to the land, come here, venerable goddesses, with flame-fed torch, rejoicing as you go—cry aloud now in echo to our song! Peace endures for all time between Pallas' citizens and these new dwellers here. Zeus who sees all and Fate have come down to lend aid—cry aloud now in echo to our song!" [Chorus of the processional escort to the Eumenides - 1032]