Coleridge, Resting with complacency

From Shakespeare as poet

Page 3

In the Greek drama there were no formal divisions into scenes and acts; there were no means, therefore, of allowing for the necessary lapse of time between one part of the dialogue and another, and unity of time in a strict sense was, of course, impossible. To overcome that difficulty of accounting for time, which is effected on the modern stage by dropping a curtain, the judgment and great genius of the ancients supplied music and measured motion, and with the lyric ode filled up the vacuity. In the story of the Agamemnon of Aeschylus, the capture of Troy is supposed to be announced by a fire lighted on the Asiatic shore, and the transmission of the signal by successive beacons to Mycenae. The signal is first seen at the 21st line, and the herald from Troy itself enters at the 486th, and Agamemnon himself at the 783rd line. But the practical absurdity of this was not felt by the audience, who, in imagination stretched minutes into hours, while they listened to the lofty narrative odes of the chorus which almost entirely fill up the interspace. Another fact deserves attention here, namely, that regularly on the Greek stage a drama, or acted story, consisted in reality of three dramas, called together a trilogy, and performed consecutively in the course of one day. Now you may conceive a tragedy of Shakspeare's as a trilogy connected in one single representation. Divide Lear into three parts, and each would be a play with the ancients; or take the three Aeschylean dramas of Agamemnon, and divide them into, or call them, as many acts, and they together would be one play. The first act would comprise the usurpation of Aegisthus, and the murder of Agamemnon; the second, the revenge of Orestes, and the murder of his mother; and the third, the penance and absolution of Orestes;- occupying a period of twenty-two years.

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