Let us now take a retrospective view of the whole trilogy. In the _Agamemnon_ we have a predominance of free-will both in the plan and execution of the deed: the principal character is a great criminal, and the piece ends with the revolting impressions produced by the sight of triumphant tyranny and crime. I have already pointed out the allusions it contains to a preceding destiny.
The deed committed in the _Choephorae_ is partly enjoined by Apollo as the appointment of fate, and partly originates in natural motives: Orestes' desire of avenging his father, and his brotherly love for the oppressed Electra. It is only after the execution of the deed that the struggle between the most sacred feelings becomes manifest, and here again the sympathies of the spectators are excited without being fully appeased.
From its very commencement, the _Eumenides_ stands on the very summit of tragical elevation: all the past is here, as it were, concentrated into a focus. Orestes has become the mere passive instrument of fate; and free agency is transferred to the more elevated sphere of the gods. Pallas is properly the principal character. That opposition between the most sacred relations, which often occurs in life as a problem not to be solved by man, is here represented as a contention in the world of the gods.
And this brings me to the pregnant meaning of the whole. The ancient mythology is in general _symbolical_, although not _allegorical_; for the two are _certainly_ distinct. Allegory is the personification of an idea, a poetic story invented solely with such a view; but that is symbolical which, created by the imagination for other purposes, or possessing an independent reality of its own, is at the same time easily susceptible of an emblematical explanation; and even of itself suggests it.
The Titans in general symbolize the dark and mysterious powers of primaeval nature and mind; the younger gods, whatsoever enters more immediately within the circle of consciousness. The former are more nearly allied to original chaos, the latter belong to a world already reduced to order. The Furies denote the dreadful powers of conscience, in so far as it rests on obscure feelings and forebodings, and yields to no principles of reason. In vain Orestes dwells on the just motives which urged him to the deed, the cry of blood still sounds in his ear. Apollo is the god of youth, of the noble ebullition of passionate indignation, of bold and daring action. Accordingly this deed was commanded by him. Pallas is thoughtful wisdom, justice, and moderation, which alone can allay the conflict of reason and passion.