(A broad statement is presented here - though every line needs discussion –
however more will be found in my article on War – and in my book The Creation
of the World – the article and blurb on this website - while I complete my
translation of the Eumenides) -
The supreme work of art of the Western civilization – translated hundreds of
times – in dozens of languages – yet the savants have almost completely failed
to understand the Trilogy in its meaning structure staging – the background is
the Temple of Demeter and the Eleusinian Religion – the Linen Thread (Aga 121) –
tied below the Knee – declaring the Initiation in Peace (seen in War as the
English Garter) - the Priests – as associated with the Akhaians – also - as in
Ur-Kesh - Brahmans as Sun-Priests of Salvation - Aiskhylos as Child of the
Akhaian Hierophant of Dharam – when Aristotle says that Tragedy should have
universality – the Universe is the State – and everything – all references
10 elsewhere - is presented here - on the stage - universality as including all
the major castes of the State - here two of Peace – Titanic (dominant culture of
India – as represented by the shopkeepers) and Semitic (primarily wholesalers -
travelling merchants – and now found as Christianity) – as Dharam Kam - two of
War – Akhaian and Aryan – Dharam Kam - and two Demi-gods - again Akhaian Aryan –
Dharam Kam – all welded together - forming a complex whole as the unified State
– the six rituals – represented by the six judges at the performance of the
tragedy – evidently organized in conformity – as then a phrase uttered – as the
Arrow of Odysseus through the Axe-handles - going through applying to all six
Rites with different interpretations as required – a technique used in the
20 Oresteia – the words – the order precise – then applying to all three Plays –
and even to every scene – with all the Names taken for their status and meaning –
as Priam `Supreme’ applies equally to Agamemnon – and thus Klytemnestra can
declare of Aigisthos `this is Agamemnon’ (Aga 1404) - as Akhaian taking over the
Aryan Rite – as with the quinquennial rite of Eleusis – Five the Cosmic Number of
War as a quorum - giving the Five Spartans with Kadmos – and for the Sikh Khalsa
the Five with the Guru Gobindsingh - the Akhaian and Aryan Hierophants taking it
in turn – while Homer has the Decade – Ten as the Cosmic Number of the State – as
today with the Jews – and Number of the Chorus in the First Play – ambiguously
Men and Women – also giving the Number of Peaks conveying the Message from Ida –
30 showing a Line missing with a Tenth Peak – thus the Chorus begins `This the Tenth
Year’ – declaring the changeover – as Destruction of the Aryan Hierophant as
Agamemnon – and establishment of the Akhaian Hierophant as Aigisthos – presented
as the Lord of Time – as combining Swaddling-bands as a Child – long grey Beard
as Elder – and Young Adult as with Marriage with Klytemnestra - the Second Play
then – as after Five Years – presenting the Destruction of the Akhaian – as
completed with the Third Play and re-establishment of the Aryan – as represented
by Orestes – appearing with a Bow – as regularly the Hindu Aryan Demi-god Ram –
slung over his Left Shoulder – declaring the Lord of Salvation – with the Chorus
Winged - with Flame-Masks – now Dark – as ambiguously Spear-Arrows – and after
40 the Battle Orestes appears with the stigmata -
The primary background of the Tragedy – and indeed of all Greek literature – as
even the Warrior cultures of the Middle East as Hittite and Mitanni – is the
ritual structure – presented as Cosmic Man – Aryan Head – Akhaian Shoulder (as
the Homeric Pyre of Patroklos – ‘ippeus `Horseman’ declaring the Akhaian -
Memnon as Aryan) – also Belly and Knee – Daktylic Feet – giving the Sandals of
Hermes (winged for the Aryanized Rite) – Semitic Thighs – as covered with a
Goatskin - as Pan – and Hands (as of Kheiron) representing originally the
Hephaistean Fire – and then the Pyre - thus Daktyls `Fingers’ as Flames - then
50 the Bloody Liver for the Pyre outside – Heart for the inmost chamber – as of
the Eternal Glow – as also associated with ritual animal symbols – primarily
Aryan Eagle – Akhaian Bull Lion Horse – and Aryanized the Vulture – Semitic
Sheep as People - Goat Guard – Akhaianized as Horse-Kentaur – Dog of Destruction
– as the Erinnyes – thus combining Symbols Skylla is presented with Dogs on her
Thighs - again there is a Ritual City – Walled – North for Divine Resurrection –
as the entrance of Aigisthos Orestes Pylades – the Stage for Gods – as Ilion –
South for People - set lower as the Chorus – as `Troy’ – as towards the end of
each play the Chorus rise on to the Stage they have the status of Gods – the
word thus made ambiguous – Entrance East as Birth – Exit West as to Death – with
60 the Dark River of Death – as Styx – circling round – the Akhaian - `Lykian’ - as
Guard set `Roundly’ as with the Wall - and `Away’ - between Wall and River –
sloping down – presenting in turn Titanic Earth-Burial of Ge – in White – as
Titanic colour of Death – as of the Hindus – then the Three Pyres of Dharam Kam
Arth – the Body – oiled and wrapped in White cloth – carried on a Plank and laid
on the Pyre – the Spirit then – as sitting at the foot of the Plank - rowed
across the Styx by Kharon – to the Precincts on the other side - `Afar’ - the
oars presenting a Cross - for Salvation – declared with the Crones of Love as
the Eumenides - and finally at the bottom the Semitic Earth-Burial - with the
Moon-God as Lord of Death – as without Salvation – giving the Black of the
70 Semitic Chorus -
The Triple Principle – Dharam Kam Arth – Law Radiance and Material Cosmic Symbol
- as the fundamental principle of Culture - established from the Beginning –
with the origin and development of human culture itself – found everywhere in
Sanskrit literature – and even in Der Mitannibrief - pervades the Trilogy – as
found at all levels - the three Plays in turn - the sets of three speeches – as
by Herald Kassandra – sequence of Lines (as checks for missing lines) – and
sequence of words (always there - occasionally `organised’) - even the three
Entrances in the Play – Herald Agamemnon Aigisthos – as Semitic Aryan Akhaian -
all expressing the Triple Principle – Dharam Kam Arth – the Trilogy constructed
80 presenting the sequence of dominant Cultures – as given in the Homeric King-list
- in reverse – each Destroyed – the previous Culture then arising – and in turn
Destroyed – culminating in Annihilation – the new State then arising as Creation
ex nihilo – thus first Agamemnon – then Aigisthos-Thyestes – Armed Klytemnestra
for Atreus as Aryan as Kam (and so wearing skirts – like the Romans) – Orestes
with his Shield as Akhaian – the Chorus with the Blood of Aigisthos as Goat –
become Bay and going wild – Semitic as Hermes – and Helios as Titanic Sun-God
Kronos – then the Annihilation - presented at the opening of Eumenides – thus with
the Divine Child as Akhilles and Herakles as Arth – presenting in turn Agamemnon
as Kam – Thyestes Dharam –as a triad of Arth – then Aryan Atreus as Kam – and then
90 Akhaian Arth – Semitic Kam - and Kronos as Titanic Dharam as triad of Dharam -
The Trilogy presents in turn Dharam in Corruption – Kam in Perversion – Arth in
Perfection – in principle the same Play in the different forms – and constructed
by the Line – though presented as normal for the benefit of those `not learned’
(Aga 39) – the translation is by the Line – going through the Trilogy applying to
the different Plays and scenes – and for the correct meaning even the word-order
is preserved - each word independent – a Brahmanic technique (stated explicitly by
Maimonides for the study of the Torah - written by the Brahman-Judges of Israel) -
thus `appearing at the Entrance from the Spear-Hand’ (Aga 116-7)- viewed from the
back of the Stage as North - Chorus and audience representing the People in the
100 South – first the Pair enter from the East - as from Troy – Golden Ares - Sword
erect in his Left hand declaring Victory – as also presented with the Golden Apple
in his Right Hand - with Kassandra in a Spear-Mask on his Left – Bowed low in
Destruction – as a Slave - then from the West and Agamemnon’s Tomb – as Risen from
Death – thus as a perversion - Orestes - Sword erect in his Right hand – Elektra
in Spear-Mask standing on his Right – as ready for Battle – finally Orestes Rising
again from the West and Death – now in Peace – Athena – Spear in her Left Hand as
Winged Victory from the East – declaring the Resurrection (as the Magdalen in the
Christian Myth) – again `Ladies as now for themselves set the Fire of Life’ (Aga
1033-34) – as Dead ones getting Life – Blood identified as Fire – the Chorus –
110 Crones dealing with the Dead – a Dishonoured role – `of Spitting Down’ (Kh 632-3)
- the original Black Dogs of Death as Dharam – thus able to take the masculine –
as ambiguously Semitic Goat-Guards – as a Herd – now in White Goatskins of
(Eleusinian) Initiation – as dropped with the Murder – and Rising onto the Stage -
Drinking the Blood of Agamemnon as Divine - now however in Destruction – thus Dark
with Red Heads (as the Minotaur) – declaring Pyre of Dharam – Yelping (Aga 1672) –
and crawling to their Death – thus then appearing Dark round the Tomb of Agamemnon
– and with the Blood-Sacrifice as the Pyre of Kam – drinking the Blood of a Goat -
as Aigisthos in his Goatskin – a hostile God – they Rise – now lower-half Bay (see
Mycenaean Grave-Circle `B’ as of Pelops – with Electrum – Gold mixed with some
120 Silver) – as Satyr and Kentaur - as wading in the Blood - going mad with unbridled
Lust – finally drinking the Blood of the Risen Dionysos-Orestes – of the Living God
– now transformed into Wine – and eating the Flesh as Bread (cf Aga 1668) - the
Christian Mass – and dressed All-Red – declaring the Pyre of Arth - taking their
Ritual role as Eumenides – thus presenting in turn the Pyres and Resurrections of
Dharam Kam Arth – as part of their Dance around the Pyre Bowing towards the Body as
declaring Resurrection with Divine status - the Resurrections presented again with
Cross (wielded by Aigisthos – Aga 1652) and Thyrsos as Sword and Spear of Hereafter
{Kh 589-90) - and Crown – as the Olympic Crown of Olive Leaves – the Semitic Guards
– and Eleusinian Initiates - wearing Goatskins of Salvation – beside the Christian
130 Lamb – declaring Salvation of the Citizens -
The Trilogy is constructed on the basis of a Seed – a simple framework - developed
organically – elements added at every level – and applied through speeches scenes
Plays – to the Trilogy as a whole – for a tight construction – cemented with
ambiguities – thus the Senior of Peace is Aigisthos – as Dharam – as however also
applied to Agamemnon as High King – now acting in Peace - and again to Orestes-
Dionysos - Aiskhylos – as Child of the Eleusinian Hierophant of Dharam – Akhaian –
and himself a Priest of Eleusis – based all his Plays on the Eleusinian Rite – as
giving Salvation – presented as Swiftness – as the Foot-race of the Daktyls – as
outstripping Death - the Agamemnon presenting the High Ritual of the Father – the
140 other two Plays as the Lesser Ritual of the Son – thus the Tenth Year presents the
changeover from the Aryan Hierophant of Kam – as Agamemnon - as thus Destroyed -
to the Akhaian Hierophant of Dharam Aigisthos – thus Shaking as a new-born Child –
thus we have first the Herald with his Torch – as the Eleusinian Daidoukhos
`Torch-Bearer’ – then the Pair as Hades and Persephone – finally the new Hierophant
of Dharam Aigisthos – Dharam Kam Arth – and as High Priest of his caste each speaks
only in accordance with his own Ritual – as applied to all the Rites - giving the
vaguenesses through the Play -
All Culture is Symbolism – as established and organized - so that the audience can
150 know precisely what is being presented – as pervading the entire Trilogy – thus
Agamemnon as Akhaian taking over the Aryan Rite is both – so entering in an Akhaian
Ship identified as Aryan Chariot – as Boat-Chariot – Ship on Wheels – with a Mast –
a Spar – and with a furled Sail – as seen on pottery - giving the Ship references
in the Play - he himself as both Akhaian Lion – Aryanised as Vulture - and Aryan
Eagle – as Menelaos and Agamemnon in identity – the Double-Throne (Aga 43) – again
everywhere there is ambiguity – as equally Aigisthos taking over the Aryan Rite
(Aga 1404) – as Akhaian he is Apollo – now with Resurrection of Peace as Hierophant
– as Man-Woman - the Goatskin round his waist in womanly fashion - as Pan – and as
Demi-god he is also Zeus (as Aga 55-6) – Akhaian set low as Kronian Zeus set high –
160 as Aryan Demi-god Agamemnon set high is Hades the Lower Zeus – as applying also –
with a Resurrection of Peace – to Orestes-Dionysos – as with the modus vivendi
Agamemnon as Aryan King is set at the centre – while Aigisthos as Akhaian Guard is
set with Wall – as thus regularly with the preposition peri -
Ambiguities are presented throughout – with words applying to all three Plays – as
the Chorus addresses Aigisthos - `to act with Unwisdom in Ills - I do not Bow’ (Aga
1612 seb-) – the infinitive is deliberately used to keep the subject vague - the
words thus applying both ways – to Aigisthos – and also to the Chorus – as in fact
in the kowtow (euseb-) – appropriate for the Demi-god – here however as ambiguously
170 to the Corpse of Agamemnon - as also to Aigisthos in the Second Play - and in the
Third - as fallen in Defeat – giving the kowtow to the Risen Dionysos – again (Kh
850) the nominative is separate - the two accusatives ambiguously as subject of the
Infinitive – the Glow is primarily the Fire of the High Ritual – however it also
represents the Pyre – as between Cremations reduced to a Glow -
Klytemnestra – wrongly abused by the savants - is the heroine of the Trilogy – alone
appearing in all Three Plays – and in the First Play in her different forms (Aga
1431-3) – first Themis wielding the Spear – as Destroyed (Aga 316) – then with the
Double-Axe as Dike – as showing the Way to Death - as Ate wielding the Sword for the
180 Slaying – and finally with the Thyrsos as Erinys – again in the Second Play first
there is Elektra wielding the Spear as Themis – then Klytemnestra wielding the
Double-Axe as Dike – again as showing the Way to Death - and then the Sword as Ate
for the Battle – finally Elektra – now with the Thyrsos - leading the Chorus – now
going mad with Lust – then in the Third Play – Athena wielding the Spear as Themis –
Klytemnestra – as accompanying the Chorus – wields the Double-Axe as Dike – changing
it for a Sword as Ate for the trial – and with the Defeat – leaving Alone – as Queen
of Death – having given her direct affirmation to Agamemnon {Aga 943) - Sacrificing
her Ritual – her Culture – and even her Life – for establishment of the new Rite –
then finally Athena – now wielding the Thyrsos as Erinys – leads the Eumenides out
190 towards the Pyre of Arth – showing the Way as Dike – Lady of Wisdom – Moon-Wisdom as
without Salvation - the Pyre-Queen presented in turn as Klytemnestra Elektra Athena -
The stage objects are all ambiguous – to be interpreted as required – thus the Bowl
of Blood with the Bodies is at once the Sea – and a Mixing-bowl – when Klytemnestra
describes Agamemnon (Aga 896ff) it will all be presented – as `Dog of the Fold’ –
Agamemnon appears as a Dog before the Door of the Temple as Anaktoron at Eleusis –
lined with Sheepskins – again the Golden Apple is presented – held at his Entrance
by Agamemnon – in his Right Hand declaring his Victory – and dropped for Destruction
as he crosses the Stage – then as a perversion Elektra wields the Bloody (Gold-Bay)
200 Head of Aigisthos – thrown after Fleeing Orestes (as in the Bakkhai) – finally with
the Equal Vote and Victory - Athena gives the Golden Apple to Orestes-Dionysos -
The Ritual Colours are precise – thus the Second Play opens with Elektra and Chorus –
entering from the East – of the Dawn - towards the West - as representing Death –
with the distinction that Elektra – with a Crown of Withes (Kh 15) – as Destruction –
as of the Rite of Dharam is in White - in Destruction as `Snow’ (eg Kh 11) – as Queen
of Earth Ge – as the Rite of the Titanic Hindus – while the Semitic Chorus – as Kam –
against the Black of Death is Winged Ivied Dark-Blue (as Kh 423) – for Resurrection –
while Orestes – with a White Serpent-Crown of Peace - as Child performing his Ritual
210 of Manhood – is also in White – as now Creative – as with the Brahmans – becoming all
Tawny – as Akhaian Blood – with the Four Strokes - given with the Cross as Herald’s
Staff by Pylades-Hermes – as beside the Aryan Blood-Red of the Eumenides – the Third
Play presents Klytemnestra – her original Silver-White of Peace now changed for the
Bronze-Red of War – beside Athena – as after Victory – her Bronze of War changed for
Silver-White of Peace – as original Klytemnestra Resurrected - both representing both
War and Peace for the new Salvation.
The Exits completing the Trilogy are organized – first Red Klytemnestra – Queen of
Destruction – then Blue Apollo – his Golden Lion-Skin given to Risen Dionysos-Orestes
210 – as Lord of Death - Dionysos in White (and Golden Lion-Skin) – the Warrior-Salvation
– the Five Red Guards (as voted for him) – Five Blue Guards (voted for Erinnyes) - as
Propompoi – Athena in White – and finally the Red Eumenides -